Roland V-Synth XT User Manual

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Errata

We apologize for the following errors in the V-Synth XT Owner’s Manual. Please make the corrections listed below.

P.41 Step 6

(Incorrect)

To save your patch, use the procedure described in “Saving Patches (PATCH Write)”(p. 53).

(Correct)

To save your patch, use the procedure described in “Saving Patches (PATCH Write)”(p. 53) and “Saving Project on Disk (Save

Project)”(p. 132) .

P.78 right column Step 6

(Incorrect)

Save your patch as described in “Saving Patches (PATCH Write)” (p. 75).

(Correct)

Save your patch as described in “Saving Patches (PATCH Write)” (p. 75) and “Saving Project on Disk (Save Project)”(p. 132) .

P.125 left column “Clock Source”

(Incorrect)

Value INTERNAL: EXTERNAL:

(Correct)

Value INT: MIDI: USB MIDI:

The Patch Tempo will be used.

Synchronize to the clock of an external sequencer.

The Patch Tempo will be used.

Synchronize to the clock of an external MIDI.

Synchronize to the clock of an external USB MIDI.

P.129 right column “KBD Output”

(Incorrect)

KBD Output

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.

Value:

(Correct)

Delete

(V-LINK Keyboard Output Fade Switch)

OFF, ON

P.156 “Common Group” table MIDI/USB –Clock Source

(Incorrect)

Parameter

Clock Source

(Correct)

Parameter

Clock Source

For the latest information about MIDI Implementation, please visit

Value

INTERNAL, EXTERNAL

Value

INT, MIDI, USB MIDI

http://www.roland.com/

お詫びと訂正

「V-Synth XT 取扱説明書」の内容に誤りがありましたので、ここに謹んでお

詫び申し上げるとともに、次のように訂正させていただきます。

P.42 手順

（誤）

「パッチを保存する（PATCH Write）」（P.53）の手順で保存してくださ

（正）

「パッチを保存する（PATCH Write）」（P.53）と

P.78 右段手順 66

（誤）

「パッチを保存する（PATCH Write）」（P.75）の手順で保存してくださ

（正）

「パッチを保存する（PATCH Write）」（P.75）と

い。

ススススククククにににに保保保保存存存存すすすするるるる（（（（SSSSaaaavvvveeeePPPPrrrroooojj

い。

ススススククククにににに保保保保存存存存すすすするるるる（（（（SSSSaaaavvvveeeePPPPrrrroooojj

jjeeeecccctttt））））」」」」（（（（PPPP....111133333333））））

「「「「ププププロロロロジジジジェェェェククククトトトトををををデデデディィ

の手順で保存してください。

「「「「ププププロロロロジジジジェェェェククククトトトトををををデデデディィ

の手順で保存してください。

P.125 左段「Clock Source（クロック・ソース）」

（誤）

設定値 INTERNAL：パッチ・テンポに合わせます。 EXTERNAL：外部シーケンサーのクロックに合わせます。

（正）

設定値 INT：パッチ・テンポに合わせます。

ィィ

MIDI：外部 MIDI のクロックに合わせます。 USB MIDI：外部 USB MIDI のクロックに合わせます。

P.156 表「Common グループ」 MIDI / USB − Clock Source

（誤）

パラメーター設定値

Clock Source クロック・ソース INTERNAL, EXTERNAL

ィィ

（正）

パラメーター設定値

Clock Source クロック・ソース INT, MIDI, USB MIDI

MIDI インプリメンテーションに関する最新情報は、ローランドの Web サイトをご覧ください

http://www.roland.co.jp/

VVVV----SSSSyyyynnnntttthhhhXXXXTT

LEAFLET

40670834 1PD

201b

Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY INSTRUCTIONS” (p. 2), “USING THE UNIT SAFELY” (p. 3), and “IMPORTANT NOTES” (p. 4). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owner’s manual and Sound List should be read in its entirety. These manuals should be saved and kept on hand as a convenient reference.

OWNER’S MANUAL

Thank you, and congratulations on your choice of the Roland V-Synth XT.

204

* Microsoft and Windows are registered trademarks of Microsoft Corporation.

206j

* Windows® is known officially as: “Microsoft® Windows® operating system.”

207

* Apple and Macintosh are registered trademarks of Apple Computer, Inc.

209

* Mac OS is a trademark of Apple Computer, Inc.

230

* SmartMedia is a trademark of Toshiba Corp.

231

* OMS is a registered trademark of Opcode Systems, Inc.

232

* FreeMIDI is a trademark of Mark of the Unicorn, Inc.

220

* All product names mentioned in this document are trademarks or registered trademarks of their respective

owners.

202

POWER

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. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with a dry cloth.

7. Do not block any of the ventilation openings. Install in accordance with the manufacturers instructions.

8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.

9. 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. Unplug this apparatus during lightning storms or when unused for long periods of time.

13. 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: IMPORTANT:

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.

THIS APPARATUS MUST BE EARTHED THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE. GREEN-AND-YELLOW: EARTH, BLUE: NEUTRAL, BROWN: LIVE

USING THE UNIT SAFELY

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 to damage or

other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets.

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 heat-generating 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 a rack or stand that is recommended by Roland.

........................................................................................................................

006

• When using the unit with a rack or stand recommended by Roland, the rack or stand must be carefully placed so it is level and sure to remain stable. If not using a rack or stand, 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.

........................................................................................................................

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.

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.

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.

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.

........................................................................................................................

012a

• 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.

........................................................................................................................

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.

........................................................................................................................

USING THE UNIT SAFELY

101a

• The unit should be located so that its location or position does not interfere with its proper ventilation.

........................................................................................................................

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 (p. 54).

........................................................................................................................

110a

• Whenever you suspect the possibility of lightning in your area, pull the plug on the power cord out of the outlet.

........................................................................................................................

118c

• Keep any screws you may remove and the included screws in a safe place out of children's reach, so there is no chance of them being swallowed accidentally.

........................................................................................................................

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)

........................................................................................................................

IMPORTANT NOTES

291b

In addition to the items listed under “IMPORTANT SAFETY INSTRUCTIONS” and “USING THE UNIT SAFELY” on pages 2–4, please read

and observe the following:

Power Supply

301

• 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.

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.

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.

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 memory card, 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.

USING THE UNIT SAFELY

Additional Precautions

• You cannot detach the V-Synth XT's rack-mounting hardware from the main unit. Also, you must never loosen any screws other than the “rotation lock hardware” (P.19). Doing so will cause malfunctions.

• Before you transport the V-Synth XT, you must install the included “rotation lock hardware.” The unit may be damaged if you transport it without the “rotation lock hardware” installed (p. 19).

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 memory card.

552

• Unfortunately, it may be impossible to restore the contents of data that was stored in the unit's memory, on a memory card, or in another MIDI device (e.g., a sequencer) 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.

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.

562

• Use a cable from Roland to make the connection. If using some other make of connection cable, please note the following precautions.

• 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.

Compatibility of patches created on an older version of V-Synth

•

Be aware that if patches created on a V-Synth with a system version older than 2.0 (i.e., versions 1.00 through 1.51 of the system) use preset PCM waves, those patches will not play correctly on version 2.0.

Before Using Cards

Using Memory Cards

704

• Carefully insert the DATA card all the way in—until it is firmly in place.

705

• Never touch the terminals of the memory card. Also, avoid getting the terminals dirty.

708

• Memory cards 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 cards.

• Do not touch or allow metal to come into contact with the contact portion of the cards.

• Do not bend, drop, or subject cards to strong shock or vibration.

• Do not keep cards in direct sunlight, in closed vehicles, or other such locations (storage temperature: -25 to 85˚ C).

• Do not allow cards to become wet.

• Do not disassemble or modify the cards.

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.

851

• Unauthorized recording, distribution, sale, lending, public performance, broadcasting, or the like, in whole or in part, of a work (musical composition, video, broadcast, public performance, or the like) whose copyright is held by a third party is prohibited by law.

852b

• When exchanging audio signals through a digital connection with an external instrument, this unit can perform recording without being subjected to some of the restrictions of the Serial Copy Management System (SCMS). This is because the unit is intended solely for musical production, and is designed not to be subject to restrictions as long as it is used to record works (such as your own compositions) that do not infringe on the copyrights of others. (SCMS is a feature that prohibits second-generation and later copying through a digital connection. It is built into MD recorders and other consumer digital-audio equipment as a copyright-protection feature.)

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.

■Patches that use a PCM oscillator

Patches that use preset waves

Not compatible Will NOT play correctly in version 2.0

Patches that use user waves

Upwardly compatible Can be imported and played in version 2.0

■Patches that use an analog oscillator

■Patches that use an external input oscillator

Upwardly compatible Can be imported and played in version 2.0

How To Use This Manual

This owner’s manual is organized as follows.

For details on all the patches and waves that the V-Synth XT

contains, refer to the separate “Sound List.”

Quick Start (

This chapter offers a basic introduction to the V-Synth XT, and

provides simple, easy-to-understand explanations, allowing the

beginner to quickly experience many of the V-Synth XT’s exciting

features. As you read the Quick Start, we recommend actually

performing the described operations on your V-Synth XT. This’ll

help you understand most of what you need to know for basic

operations.

Reference (

p. 17)

p. 55)

Overview of the V-Synth XT

This explains the structure of the V-Synth XT, and basic operation.

Reading it is essential for understanding V-Synth XT operational

procedures.

Playing in Patch Mode

This explains how to play the V-Synth XT in Patch mode. Reading it

is essential for understanding V-Synth XT operational procedures.

Creating a Patch

This chapter explains how to create patches, and describes what the

patch parameters do and how they are composed. Read this chapter

when you wish to create patches.

Other Functions

This explains how to transmit data to an external MIDI device (Data

Transfer), and how to restore all data of the V-Synth XT to the

factory settings (Factory Reset). Read it as necessary.

Appendices (p. 149)

This chapter contains a troubleshooting section for use when the V-

Synth XT is not functioning as expected. There is also a list of

messages that you can refer to if an message appears on the display.

A list of parameters and a MIDI implementation chart are also

provided.

Notation Used in This Owner’s Manual

To make operation procedures easy to understand, the following

notation system is adopted:

Characters and graphics in square brackets [ ] indicate buttons and

knobs on the front panel. For example, [MODE] indicates the MODE

button, and [ ], [ ], [ ], and [ ] indicates the cursor

buttons.

Text or graphics enclosed in < > indicate objects in the screen (touch

screen) that can be touched using your finger. The manual will

instruct you to “touch” the object shown in the touch screen.

(p. **) refers to pages within the manual.

Below are the meanings of the symbols preceding certain sentences

in the text.

These are notes. Be sure to read them.

Creating a Rhythm Kit (Rhythm Mode)

This chapter explains how to create a Rhythm Kit.

Creating and Editing Samples (Sample Mode)

This explains how to sample, and how to edit and encode samples.

Read this when you want to sample sounds.

Settings Common to All Modes (System Mode)

This chapter describes how the System parameters that determine

the V-Synth XT’s operation environment work and how these

parameters are organized. Read it as necessary.

Disk-Related Functions (Disk Mode)

This chapter covers disk-related operations such as saving data to

disk and loading data from disk. Read it as necessary.

Transferring Data (USB Mode)

This explains how to connect the V-Synth XT to your computer, and

transfer data such as patches and waves. Read this as necessary.

These are reference memos. Read it as necessary.

These are hints for operating the V-Synth XT. Read it as

necessary.

These provide information from related reference pages. Read it

as necessary.

985

The display screens printed in this owner’s manual are based on

the factory settings. However, please be aware that in some cases

they may differ from the actual factory settings.

Please be aware that in the screen shots printed in this manual,

the patch names may differ from the factory settings.

Separate booklet: V-Card owner's manual

The Roland “V-Card” series software VC-1 and VC-2 are

preinstalled in the V-Synth XT. For details on how to use the VC-1

“D-50” and VC-2 “Vocal Designer,” refer to the separate “V-Card

owner's manual.”

How To Use This Manual........................................................................................... 6

Notation Used in This Owner’s Manual...................................................................................... 6

Main Features........................................................................................................... 12

Panel Descriptions................................................................................................... 14

Front Panel................................................................................................................................................. 14

Rear Panel.................................................................................................................................................. 16

Quick Start ........................................17

Getting Ready........................................................................................................... 18

Placing the V-Synth XT............................................................................................................................ 18

Connecting an Amp and Speaker System............................................................................................. 20

Turning On the Power ............................................................................................................................. 21

Starting up V-Card ...................................................................................................................................22

Adjusting the Display Contrast (LCD Contrast).................................................................................. 22

Installing the PC Card Protector ............................................................................................................23

Basic Touch Screen Operation............................................................................... 24

Enabling/Disabling the Beep Tone........................................................................................................ 24

Moving the Cursor ................................................................................................................................... 25

Editing a Value.......................................................................................................................................... 26

Using the numeric keys for input .......................................................................................................... 27

Try Out the Sounds.................................................................................................. 28

Selecting Patches and Playing Sounds .................................................................................................. 28

Playing a Patch on the V-Synth XT from an External MIDI Device (MIDI Keyboard).................. 29

Selecting Patches from the List............................................................................................................... 29

Selecting Favorite Patches (Patch Palette)............................................................................................. 30

Playing a drum set (Rhythm mode) ...................................................................................................... 31

Try Out the Various Performance Features........................................................... 32

Manipulating Sounds with the Time Trip Pad ....................................................................................32

Using Knobs to Modify the Sound in Realtime (E1–E8 knobs) ......................................................... 34

Playing Arpeggios (Arpeggiator)........................................................................................................... 36

Using steps to vary the sound (Multi Step Modulator)...................................................................... 38

Holding the notes you play (Key Hold)................................................................................................ 39

Creating a Patch....................................................................................................... 40

Creating a patch intuitively (Sound Shaper)........................................................................................ 40

Initializing Patch Settings........................................................................................................................ 42

Selecting a Structure Type....................................................................................................................... 43

Switching Each Section On/Off ............................................................................................................. 45

Setting Up the Oscillators (OSC1/2)...................................................................................................... 46

Mixing/Modulating Two Sounds (Mod)..............................................................................................47

Applying COSM Modeling to Oscillators (COSM1/2)....................................................................... 48

Shaping a Sound’s Volume Over Time (TVA)..................................................................................... 49

Adding the V-Synth XT Effects ..............................................................................................................50

Saving Patches You’ve Created.............................................................................................................. 51

Turning Off the Power............................................................................................................................. 54

Contents

Reference ..........................................55

Overview of the V-Synth XT .................................................................................... 56

How the V-Synth XT Is Organized ........................................................................................................ 56

Basic Structure ............................................................................................................................... 56

Polyphony ...................................................................................................................................... 56

About Multitimbral Performance ...............................................................................................56

Memory...................................................................................................................................................... 57

Memory Structure ......................................................................................................................... 57

Basic Operation of the V-Synth XT ........................................................................................................ 58

Changing Operating Modes ([MODE]) .....................................................................................58

Playing in Patch Mode............................................................................................. 60

About the PATCH PLAY Screen............................................................................................................ 60

Displaying PATCH PLAY Screen............................................................................................... 60

Selecting a Patch .......................................................................................................................................60

Selecting Favorite Patches (Patch Palette) ................................................................................. 61

Selecting Patches by Category..................................................................................................... 61

Selecting Patches from the List.................................................................................................... 62

Playing Single Notes (Mono).................................................................................................................. 63

Creating Smooth Pitch Changes (Portamento) ....................................................................................63

Making Controller-related Settings (Control) ......................................................................................63

Playing Arpeggios (Arpeggiator)........................................................................................................... 64

Holding an Arpeggio.................................................................................................................... 64

Making Arpeggiator Settings ...................................................................................................... 65

Creating an Original Arpeggio Pattern (Pattern Edit)............................................................. 65

Using steps to vary the sound (Multi Step Modulator)...................................................................... 68

Applying Various Effects to the Sound................................................................................................. 69

Applying an Effect by Touching Your Finger to the Pad (Time Trip Pad)........................... 69

Applying an Effect by Turning a Knob (E1–E8 knobs) ........................................................... 70

Synchronizing Music and Video While You Play the V-Synth XT (V-LINK) .................................71

Enter V-LINK Mode ..................................................................................................................... 71

V-LINK Functions that the V-Synth XT Can Control and MIDI Messages.......................... 71

Creating a Patch....................................................................................................... 72

How to Make the Patch Settings ............................................................................................................72

Initializing Patch Settings (PATCH Init) ................................................................................... 73

Copying Patch Settings (PATCH Copy).................................................................................... 73

Naming a Patch (PATCH Name)........................................................................................................... 74

Assigning the Category of a Patch......................................................................................................... 74

Saving Patches (PATCH Write).............................................................................................................. 75

Auditioning the Save-Destination Patch (Compare) ............................................................... 76

Registering a Favorite Patch (Patch Palette) ............................................................................. 76

Deleting Patches (PATCH Delete) .........................................................................................................77

Creating a patch intuitively (Sound Shaper)........................................................................................ 77

Functions of Patch Parameters ...............................................................................................................79

Settings Common to the Entire Patch (Common) .................................................................... 79

Modifying Waveforms (OSC1/OSC2) ....................................................................................... 86

Mixing/Modulating Two Sounds (MOD)................................................................................. 93

Applying Various Effects to Each Note You Play (COSM1/COSM2) ..................................93

Adjusting the Volume and Pan (TVA)....................................................................................... 94

Making Envelope Settings ...........................................................................................................95

Making LFO Settings ....................................................................................................................96

Setting Effects for a Patch (Effect)............................................................................................... 97

Zone Settings (Zone) ................................................................................................................................99

Splitting the Keyboard to Play Different Sounds (Split) .........................................................99

Creating a Drum Patch (Drum)................................................................................................. 101

Contents

Creating a Rhythm Kit (Rhythm Mode) ................................................................ 102

The concept of a Rhythm Kit ................................................................................................................102

Playing in Rhythm mode ...................................................................................................................... 102

Creating a Rhythm Kit........................................................................................................................... 103

Creating and Editing Samples (Sample Mode).................................................... 104

Sampling .................................................................................................................................................. 104

Settings Before You Sample (What Is a Template?) ...............................................................104

Sampling Procedure ................................................................................................................... 105

Resampling................................................................................................................................... 109

Setup Settings .............................................................................................................................. 109

Pre-Effect Settings .......................................................................................................................110

Metronome Settings.................................................................................................................... 111

Checking Sample Information.............................................................................................................. 112

Importing a Sample................................................................................................................................ 113

Editing a Sample..................................................................................................................................... 113

Common Procedure for Editing................................................................................................ 113

Editing the Specified Region of the Sample ............................................................................ 115

Loop Region Settings.................................................................................................................. 117

Original Tempo Setting .............................................................................................................. 118

Converting the Sample to V-Synth XT Data (Encode)...................................................................... 118

Selecting the Encoding Type .....................................................................................................119

Automatically Detecting Events ...............................................................................................120

Deleting and Adding Events .....................................................................................................120

Saving a Sample...................................................................................................................................... 121

Settings Common to All Modes (System Mode) .................................................122

How to Make the System Function Settings....................................................................................... 122

Saving the System Settings (Write)........................................................................................... 122

Initializing the System Settings (Init) ....................................................................................... 122

Functions of System Parameters ..........................................................................................................123

Settings Common to the Entire System (Common) ............................................................... 123

Controller Settings (Controller) ................................................................................................ 127

V-LINK Settings (V-LINK) ........................................................................................................ 129

Disk-Related Functions (Disk Mode).................................................................... 131

About Disk Utility .................................................................................................................................. 131

Basic Disk Utility Operations................................................................................................................ 131

Sorting the Files Displayed in the File List.............................................................................. 132

Loading a Project from Disk into the V-Synth XT (Load Project) ...................................................132

Saving Project on Disk (Save Project) .................................................................................................. 132

Delete Unneeded Files (Clean Project) ................................................................................................133

Importing Individual Patch or Wave Files (Import Files) ................................................................133

Initializing a Disk (Format)................................................................................................................... 134

Functions Related to Files and Folders (Tools) .................................................................................. 135

Copying Files/Folders (Copy) .................................................................................................. 135

Moving Files/Folders (Move) ...................................................................................................135

Deleting Files/Folders (Delete)................................................................................................. 136

Renaming a Files/Folders (Rename)................................................................................................... 137

Connecting to Your Computer via USB (USB Mode).......................................... 138

About USB Functions............................................................................................................................. 138

Driver Installation and Settings............................................................................................................ 138

Exchanging MIDI Messages with Your Computer (MIDI function) .............................................. 138

USB audio signal flow (USB audio device function)......................................................................... 138

Transferring Files to or from Your Computer (Storage Function) ..................................................139

Windows Users ........................................................................................................................... 139

Macintosh Users ..........................................................................................................................141

Examples of Using Storage Function................................................................................................... 143

Contents

Using V-Synth Librarian ....................................................................................................................... 145

Features of V-Synth Librarian ...................................................................................................145

Installation.................................................................................................................................... 145

Other Functions .....................................................................................................146

Transmitting Data to an External MIDI Device (Data Transfer) .....................................................146

Reset to Default Factory Settings (Factory Reset).............................................................................. 147

Viewing Various Information (Info).................................................................................................... 147

Adjusting the Sensitivity of the Touch Screen (Calibration Mode) ................................................ 148

Adjusting the Sensitivity of the Touch Screen ........................................................................ 148

Appendices......................................149

Parameter List ........................................................................................................ 150

Patch Parameters .................................................................................................................................... 150

System Parameters .................................................................................................................................156

COSM List............................................................................................................... 159

COSM Parameters .................................................................................................................................. 159

Overdrive / Distortion............................................................................................................... 159

Wave Shape.................................................................................................................................. 159

Amp Simulator ............................................................................................................................ 160

Speaker Simulator ....................................................................................................................... 160

Resonator...................................................................................................................................... 160

1st order SideBandFilter............................................................................................................. 160

2nd order SideBandFilter........................................................................................................... 161

Comb Filter .................................................................................................................................. 161

Dual Filter..................................................................................................................................... 161

TVF ................................................................................................................................................162

Dynamic TVF............................................................................................................................... 162

Polyphonic Compressor............................................................................................................. 162

Polyphonic Limiter .....................................................................................................................162

Frequency Shifter ........................................................................................................................163

Lo-Fi Processor ............................................................................................................................163

TB Filter ........................................................................................................................................163

Effects List.............................................................................................................. 164

MFX Parameters .....................................................................................................................................164

01: Parametric EQ (Parametric Equalizer)............................................................................... 165

02: Graphic EQ (Graphic Equalizer)......................................................................................... 165

03: Resonant Filter....................................................................................................................... 165

04: Isolator and Filter .................................................................................................................. 166

05: Distortion / OD (Distortion / Overdrive)......................................................................... 166

06: Amp Simulator (Guitar Amp Simulator) .......................................................................... 167

07: Auto Wah ...............................................................................................................................168

08: Humanizer .............................................................................................................................168

09: Dynamic Processor (Stereo Dynamic Processor).............................................................. 169

10: Tape Echo Simulator............................................................................................................. 169

11: Stereo Delay ........................................................................................................................... 170

12: Multi Tap Delay..................................................................................................................... 171

13: Reverse Delay ........................................................................................................................171

14: Vocal Echo.............................................................................................................................. 172

15: Band Pass Delay .................................................................................................................... 172

16: Analog Delay -> Chorus ...................................................................................................... 173

17: Digital Chorus ....................................................................................................................... 173

18: Space Chorus ......................................................................................................................... 174

19: Hexa Chorus ..........................................................................................................................174

Contents

20: Analog Flanger ...................................................................................................................... 174

21: BOSS Flanger ......................................................................................................................... 175

22: Step Flanger ........................................................................................................................... 175

23: Analog Phaser........................................................................................................................ 176

24: Digital Phaser......................................................................................................................... 176

25: Rotary...................................................................................................................................... 177

26: Tremolo/Auto Pan ............................................................................................................... 177

27: Stereo Pitch Shifter................................................................................................................ 178

28: OD/DS -> Cho/Flg (Overdrive/Distortion -> Chorus/Flanger).................................. 178

29: OD/DS -> Delay (Overdrive/Distortion -> Delay) ......................................................... 179

30: Cho/Flg -> Delay (Chorus/Flanger -> Delay) .................................................................179

31: Enh -> Cho/Flg (Enhancer -> Chorus/Flanger) .............................................................. 180

32: Enh -> Delay (Enhancer -> Delay)...................................................................................... 180

33: Vocal Multi............................................................................................................................. 181

34: Guitar Multi ...........................................................................................................................181

35: Bass Multi............................................................................................................................... 182

36: EP Multi.................................................................................................................................. 183

37: Keyboard Multi .....................................................................................................................183

38: Phonograph............................................................................................................................ 184

39: Radio Tuning .........................................................................................................................185

40: Bit Rate Converter................................................................................................................. 185

41: Pseudo Stereo......................................................................................................................... 185

Chorus Parameters................................................................................................................................. 186

Chorus Type................................................................................................................................. 186

Chorus Parameters...................................................................................................................... 186

Reverb Parameters ................................................................................................................................. 186

01: Room 1 .................................................................................................................................... 187

02: Room 2 .................................................................................................................................... 187

03: Room 3 .................................................................................................................................... 188

04: Hall 1....................................................................................................................................... 188

05: Hall 2....................................................................................................................................... 189

06: Hall 3....................................................................................................................................... 189

07: Garage..................................................................................................................................... 190

08: PLATE..................................................................................................................................... 190

09: Non-Linear ............................................................................................................................. 191

10: Delay ....................................................................................................................................... 191

Troubleshooting..................................................................................................... 193

Problems Related to the V-Synth XT ................................................................................................... 193

Problems Related to the USB Driver (Windows)............................................................................... 194

Problems Related to the USB Driver (Macintosh) .............................................................................196

Message List .......................................................................................................... 197

ERROR Screens ....................................................................................................................................... 197

WARNING Screens................................................................................................................................ 198

Message Boxes ........................................................................................................................................ 199

About MIDI .............................................................................................................. 200

About MIDI Connectors............................................................................................................. 200

MIDI Channels and Multi-timbral Sound Generators........................................................... 200

MIDI Implementation Chart.................................................................................... 201

Specifications......................................................................................................... 202

Index........................................................................................................................ 203

Main Features

The V-Synth XT is a professional synthesizer with a sound generator section that represents a pooling of numerous proprietary Roland

technologies, allowing an extremely high level of musical expressive potential.

From acoustic-like sounds to lush pads, rhythmical grooves, and aggressive sounds that could not be produced by synthesizers of the past, the V-

Synth XT is able to create organic changes in the sound. Furthermore, the VC-1 and VC-2 “V-Card” series software expansions are preinstalled.

You can switch systems simply by pressing a single switch—there's no need for the bothersome routine of switching off the power, then switching

it back on again. Thanks to the inclusion of this software, the V-Synth XT can be used as two other, completely different products; as a “D-50” and

as a “Vocal Designer.”

Whether you're playing live on stage or producing music in the studio, and regardless of the musical styles in which you're working, the V-Synth

XT gives you usable and playable sounds that are available nowhere else.

■

The V-Synth sound engine, producing utterly unique sounds

●

The sound generator section consists of a PCM oscillator with

VariPhrase capability, high-quality analog modeling oscillators,

powerful modulators, and COSM processors equipped with

sideband filters. You can specify how these sections are

connected simply by selecting a structure. By combining these

sections, each of which delivers powerful functionality, you can

create completely new sounds, which could not be produced on

any previous synthesizer.

●

Each of the two oscillators can function as one of three types:

PCM (VariPhrase), analog modeling, and external input.

Dedicated envelopes are provided for the principal parameters

of each oscillator. Even when using the oscillators alone, you can

apply a wide range of time-based changes.

●

The PCM oscillators utilize Roland's proprietary VariPhrase

technology. In a revolutionary breakthrough in comparison to

conventional waveform playback, VariPhrase allows the pitch,

time, and formant of the audio material to be varied with

complete independence in real time, while maintaining high

audio quality. This transforms a PCM waveform into “elastic

audio,” which you can freely stretch like a rubber band in the

desired direction and create organic-sounding changes.

●

The analog modeling oscillators are packed with high-quality

waveforms, such as the “Super Saw,” which is just what you

need for thick detuned textures; and a feedback oscillator, which

produces a dramatically varying lead sound—all together giving

you a total of fourteen waveforms to stimulate your musical

creativity.

●

The oscillator output can be processed by Roland's proprietary

COSM processors. Going far beyond the filter functionality seen

on typical synthesizers, these implement a wide range of

processes. There are a total of 16 types, including TVF, guitar

amp modeling, Lo-Fi processor, a sideband filter, which imparts

a sense of playable pitch to noise or a phrase, and a resonator,

which adds the body resonances of an instrument. You can also

apply a COSM processor to an external audio input and use the

V-Synth XT as a filter bank.

■

Sound Shaper function allows intuitive sound creation

●

V-Synth XT features a Sound Shaper function, which liberates

the musician from dealing with an overwhelming number of

edit parameters. Simply choose the desired sound template from

the list, and the parameters that are effective for that template

will be selected and available for your control. You'll be able to

obtain the desired variations easily by operating a few knobs or

buttons to edit exactly what you need, just like a professional

sound designer.

■

Unique and useful patches

●

All sounds can be rewritten by the user down to the level of the

source waves. You can sample directly into the V-Synth XT, or import

WAV/AIFF files from external devices, making this is an ideal

instrument for the professional who insists on absolute originality.

●

V-Synth XT provides a Rhythm mode screen, which lets you

assign different V-Synth sounds to each note of the keyboard.

This means that you can use the synth sound generator as a

rhythm kit to play many types of sound from the keyboard.

Since the sound assigned to each key is a fully editable V-Synth

sound, you can have anything from an analog kick to VariPhrase

rhythm loops available for immediate playing.

■

The power to make bold timebased changes in sound

●

V-Synth XT provides a multi-step modulator, which lets you

choose four parameters from a broad range of choices, and

simultaneously modulate these parameters by completely

different ascending or descending patterns. You can use the panel

knobs to freely program the ascending or descending patterns,

and you can even turn Smoothing on and use this as an LFO.

●

VariPhrase waves can be freely controlled using the Time Trip

function. By stroking the Time Trip pad in a circular motion, you

can halt the progress of the waveform while the sound is still

being heard, and then play that sound from the keyboard as the

desired pitches. It's also easy to create distinctive effects such as

manually controlling the progression of break-beats.

●

All of the various functions that control time-based change can

be synchronized to the tempo. VariPhrase, the LFO and

envelope of each section, the programmable arpeggiator, the

multi-step modulator, and the effects can all be controlled by the

master tempo.

■

What is VariPhrase?

VariPhrase has the following advantages:

1 Capable of changing the pitch, rate of time expansion/

compression and voice characteristics (formant) on a real-

time basis.

2 Allows easy synchronization to tempo and pitch.

3 A single sample covers an extended range of keys compared

to conventional digital samplers.

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.

Hardware that meets the demands of the professional

●

A unique design allows the V-Synth XT to be placed in a variety

of locations; both table-top and rack-mounted use are possible.

The design not only looks good, but is also highly practical.

●

The V-Synth XT features a large color touch-screen, which

provides a sophisticated user interface and guarantees easy

editing of the displayed parameters. There are also eight editing

knobs, which give you an “analog-feel” editing experience, and

which can also be used as a general-purpose MIDI control

surface.

●

Both optical and coaxial digital audio jacks are provided. The

output supports sample rates of 44.1 kHz, 48 kHz, and 96 kHz.

The main out allows balanced output via TRS phone plugs.

●

The front panel provides a mic input jack, which supports both

XLR connectors and phone plugs. Phantom power can be

supplied, and you can switch to high-impedance input,

accommodating a variety of input sources from studio mics to

electric guitars.

●

The USB connector supports file transfer, MIDI communication,

and audio streaming. A wide variety of data can be easily

backed up to your computer via a USB connection, and you can

even use the V-Synth XT as a USB audio converter for a broad

range of applications.

●

You can also store large amount of data using the PC card slot.

Commercially available PC card adaptors allow you to use

CompactFlash or SmartMedia cards.

Main Features

→

VC-2 "Vocal Designer" transforms the V-Synth XT into a

cutting-edge vocal modeling processor. By playing a

keyboard while you speak into the mic, you can create

beautiful and clearly intelligible human choruses as well as

many other vocal-type sounds with unprecedented quality.

For details on using VC-2 “Vocal Designer,” refer to the separate

“V-Card owner's manual.”

■

“V-Card” series expansions are preinstalled

●

The V-Synth XT comes with the VC-1 and VC-2 titles from

Roland's “V-Card” software series preinstalled. Without having

to cycle power to the unit, you can simply press a single switch

to transform the V-Synth XT into a completely different product

(p. 22).

→

VC-1 "D-50" transforms the V-Synth XT into a sound module

that's equivalent to the Roland D-50 (a classic digital

synthesizer that was released in 1987). Not just the preset

patches, but every bit of functionality has been faithfully

reproduced, giving you that distinctive D-50 sound with the

stability of modern hardware.

For details on using VC-1 “D-50,” refer to the separate “V-Card

owner's manual.”

Panel Descriptions

Front Panel

INPUT

Adjusts the volume of the signal input through the MIC jacks on the

front panel. → (p. 106)

* This does not affect the rear panel INPUT jacks.

VOLUME

Adjusts the overall volume that is output from the MAIN OUT jacks

and PHONES jack.→ (p. 21)

MIC 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 48V phantom power, allowing

you to connect condenser mics that require phantom power. In this

case, turn the mic switch to “PHANTOM ON.”

* The audio signal received via the MIC jack is switched on/off by the

MIC Jack Switch

922

* This instrument is equipped with balanced (XLR/TRS) type jacks.

Wiring diagrams for these jacks are shown below. Make connections

after first checking the wiring diagrams of other equipment you intend

to connect.

fig.XLR/TRSJack

(p. 126).

9 10

USB Connector

This is a USB connector. You can connect it to your personal computer

to send or receive files and MIDI messages (p. 138).Audio streaming

is also supported.

MIC Switch

This setting specifies the impedance and phantom power supply for

the mic jack.

Hi-Z

NORMAL

PHANTOM ONChoose this setting if you need to supply

* The MIC switch does not affect the rear panel INPUT jacks.

* 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)

Choose the high impedance (Hi-Z) setting if you've connected a high-impedance device such as a guitar or bass to the phone-type input jack. Choose the NORMAL setting if you've connected a low impedance device such as a mic to the phone-type input jack.

phantom power to a mic connected to the XLR-type input jack.

[PEAK] (Peak Indicator)

This will light when the input volume is too high.

* This responds to either the front panel MIC jack or the rear panel

INPUT jacks.

[MIDI] (MIDI indicator)

This will light when a MIDI message is received.

[USB] (USB indicator)

This will light when the V-Synth XT is connected via USB.

PHONES Jack

This is the jack for connecting headphones (sold separately).

→

(p. 20)

V-CARD Button

The Roland “V-Card” series software VC-1 and VC-2 are

preinstalled in the V-Synth XT. You can switch between V-Synth/

VC-1/VC-2 functionality simply by pressing the V-Card button (p.

22).

Panel Descriptions

E1–E8 knobs

These knobs control the on-screen parameters in real time (p. 34).

The parameters that are controlled by these knobs can be

p. 60

switched in the PATCH PLAY screen (

[SHIFT] key and using the up/down [ ][ ] cursor buttons.

) by holding down the

POWER

PREVIEW Button

Use this button to audition the patch.

KEY PAD Button

This button switches the function of the numeric keypad.

When lit:

• The numeric keypad will function as input keys.

→

Using the numeric keys for input

When unlit:

• The numeric keypad will function as a Patch Palette which lets

you select your favorite patches.

→

Selecting Favorite Patches (Patch Palette)

(p. 27)

(p. 61)

PC CARD Slot

A memory card can be inserted here.

For details on installing the included PC card protector, refer to

p. 23.

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. 26)

Press the VALUE dial to perform the function of the ENTER button.

When the cursor is at an input location, you can press [ENTER]

(VALUE dial) and use the numeric keys to enter a numeric value (p.

27).

[SHIFT]

This button is used in conjunction with other buttons to execute

various functions.

[MODE]

Opens the Mode Menu window.

Numeric Key

When the cursor is at an input location, you can use the numeric

keypad to input parameter values (p. 27).

The keypad can also function as a Patch Palette that lets you select

your favorite patches (p. 61).

LCD CONT (LCD CONTRAST) Knob

Adjusts the display contrast. → (p. 22)

Display

This displays information regarding the operation you are

performing.

[CTRL]

This accesses the Control screen (p. 63). In the Control screen you use

the “Time Trip” function (p. 69) which lets you apply various effects

to the sound by touching the display. Additionally, this is also used

for the External Control function (p. 63), which lets you use the E1–

E8 knobs to control an external MIDI device; for the V-LINK

function (p. 71), which lets you control a video device; and for

switching the Arpeggio function on/off (p. 64).

[EXIT]

Return to the PLAY screen, or close the currently open window. In

some screens, this causes the currently executing function to be aborted.

[DEC], [INC]

This is 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. 26)

Panel Descriptions

[ ], [ ], [ ], [ ] (Cursor Buttons)

Moves the cursor location up/down/left/right. → (p. 25)

In the PATCH PLAY screen (p. 60), you can hold down the

[SHIFT] key and use the cursor up/down [ ][ ] keys to alter

the function of the E1–E8 knobs.

Rear Panel

fig.00-02

1 2 3 4 5 6

By holding down the [SHIFT] key and using the cursor left/right

([ ][ ]) keys you can switch the zone displayed in the

upper right of the PATCH PLAY screen or EDIT screen (p. 99).

POWER Switch

Press to turn the power on/off. → (p. 21, p. 54)

AC Inlet

Connect the included power cord to this inlet.

DIGITAL AUDIO INTERFACE

Connector (OPTICAL IN/OUT, COAXIAL IN/OUT)

(conforming to IEC60958).

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.

MIDI Connectors (IN, OUT, THRU)

These connectors can be connected to other MIDI devices to receive

and transmit MIDI messages.

INPUT Jacks (L, R)

An external audio source such as a CD player can be connected to

these jacks for sampling or external input.

* The audio signal received via the INPUT jacks can be switched on/off

by the

INPUT Jack Switch

* * The gain of the audio signal received via the INPUT jacks is adjusted

by the

INPUT Jack Gain

(p. 126).

DIRECT OUT Jacks (L, R)

(1/4 inch phone type)

This jack is a stereo output of the sound unprocessed by onboard

effects. An external effects processor or other devices can be

connected to these jacks.

MAIN OUT Jacks (L (MONO), R)

(1/4 inch TRS phone type)

These jacks output the audio signal to the connected mixer/amplifier

system in stereo. For mono output, use the L jack.

→

(p. 20)

Quick Start

Getting Ready

Placing the V-Synth XT

The V-Synth XT's unique design lets you use it either on a table or in a rack.

Table-top use

Place the V-Synth XT as shown.

Rack-mount use

Install the V-Synth XT securely in a rack.

Use screws (sold separately) to mount the V-Synth XT securely in your rack (four locations).

POWER

You cannot detach the V-Synth XT's rack-mounting hardware from the main unit. Also, you must never loosen any screws other than the “rotation lock hardware.” Doing so will cause malfunctions.

Getting Ready

You can change the angle of the V-Synth XT while it is mounted in a

rack.

Make sure that the V-Synth XT is securely installed in your rack. Then

firmly grasp both of the front panel handles, and pivot it toward

yourself until you hear a click.

To return the unit to its normal angle, push the handles inward until

you hear the click.

* You must perform this operation with the V-Synth XT installed in a rack.

* Some space above the V-Synth XT is required in order to use this rotating capability.

If equipment is installed in your rack directly above the V-Synth XT, you won't be able to perform this operation.

Quick Start

Installing the rotation-lock hardware

Before you transport the V-Synth XT, you must install the included “rotation lock hardware.” The unit may be damaged if you transport it without the “rotation lock hardware” installed.

Use screws to fasten the “rotation lock hardware” as shown in the following illustration.

POWER

Getting Ready

V-Synth XT Rear Panel

Monitor speakers

(powered)

Power amp

Mixer etc.

Stereo headphones

to Power outlet

V-Synth XT

PHONES MAIN OUT

MIDI IN

MIDI OUT

POWER

External MIDI device

(MIDI Keyboard, Sequencer, etc.)

Connecting an Amp and Speaker System

Since the V-Synth XT 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.

Here we will explain example connections that use mainly the MAIN OUT jacks.

921

Before hooking anything up, make sure that the power on all of your

gear is turned OFF.

Connect one end of the supplied power cable to the V-Synth XT, and

the other end to a power outlet.

Connect the V-Synth XT to your amp/speaker system.

fig.Q-01.e

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.

add

Use audio cables to connect audio equipment such as an amp or speakers. If you’re using headphones, plug them into the PHONES jack.

*The unit should be connected to a power source only of the type marked on the rear panel of the unit.

For details on the power consumption, refer to

For details on the settings you need when connecting the VSynth XT to your computer, refer to “

Computer via USB (USB Mode)

p. 202

Connecting to Your

”(p. 138)

In order to fully experience the

V-Synth XT’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

XT’s MAIN OUT jack L

(MONO).

Audio cables are not included

with the V-Synth XT. You’ll

need to provide them.

Getting Ready

While the V-Synth XT is

starting up, the display will

indicate “Processing...”

Turning On the Power

941

Before turning on the V-Synth XT’s power, consider these two

questions:

• Are all peripheral devices connected correctly?

• Have the volume controls of the V-Synth XT and all connected audio devices been turned to their lowest settings?

Turn on the POWER switch located on the front panel of the V-Synth XT.

fig.Q-02.e

ON OFF

942

Turn on the power for any connected amplifiers or speakers.

Wait for the V-Synth XT to start up. When it has started up normally, a

screen like the following will appear.

* When you turn on the power, the V-Card that was most recently started will start up (p. 22).

fig.Q-02a_60

Quick Start

Once the connections have

een completed (p. 18), turn on

power to your various devices

in the order specified. By

turning on devices in the

wrong order, you risk causing

malfunctions and/or damage

to speakers and other devices.

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.

Set the volume for your connected amplifier and speakers. While

playing the external MIDI keyboard, gradually raise the V-Synth XT’s

volume slider to the desired listening level.

fig.Q-03

Be careful not to set your

listening volume too high to

avoid damage to your amp/

speaker system or your

hearing.

In order to obtain the best

audio quality from the V-Synth

XT, we recommend that you

set the V-Synth XT’s volume to

the maximum position, and

adjust the volume

appropriately on your amp or

speaker system.

Getting Ready

When you start up V-Card

operation, any data that you

were editing will be lost. If

you've edited patches or

system settings, be sure to save

them first.

→“Saving Patches (PATCH

Write) ”(p. 75)

→“Saving the System

Settings (Write) ”(p. 122)

Starting up V-Card

You can press the [V-CARD] button to switch between V-Synth/VC-1/VC-2.

The Roland “V-Card” series VC-1 and VC-2 software is preinstalled in the V-Synth XT. By pressing a single switch, you can change between these functions without having to restart the unit, and use the V-Synth XT as a completely different product.

VC-1 “D-50” transforms the V-Synth XT into a sound module that's equivalent to the Roland D-50 (a classic digital synthesizer that was released in 1987). Not just the preset patches, but every bit of functionality has been faithfully reproduced, giving you that distinctive D-50 sound with the stability of modern hardware.

VC-2 “Vocal Designer” transforms the V-Synth XT into a cutting-edge vocal modeling processor. By playing a keyboard while you speak into the mic, you can create beautiful and clearly intelligible human choruses as well as many other vocal-type sounds with unprecedented quality.

When the V-Synth XT has started up, press the [V-CARD] button, and

in the screen that appears, touch the V-Card that you want to use.

When you turn on the power,

the V-Card that was most

recently started will start up.

The V-Card startup screen will appear.

* By holding down the [V-CARD] button while you turn on the power, you can take a shortcut

to the above screen when the V-Synth XT starts up.

Adjusting the Display Contrast (LCD Contrast)

The characters in the display may be difficult to view immediately after turning on the V-Synth XT’s power or after extended use. Your viewing angle or the current lighting conditions can also affect the appearance of the display. In such situations, you can turn the LCD CONT knob to adjust the contrast of the display.

fig.Q-04

For details on how to use the VC-1 “D-50” and VC-2 “Vocal Designer,” refer to the separate “V-Card owner's manual.”

Getting Ready

PC card protector

Memory card

front panel

Installing the PC Card Protector

The V-Synth XT provides a PC card protector to prevent theft of the memory card. To install the PC card protector, use the following procedure.

Use a screwdriver to remove both of the screws from the bottom side

of the PC CARD slot.

Insert the PC card into the PC CARD card slot.

Use the screws to fasten the PC card protector as shown below.

930

931

* Never insert or remove a memory card while this unit’s power is on. Doing so may corrupt

the unit’s data or the data on the memory card.

* Carefully insert the memory card all the way in—until it is firmly in place.

Quick Start

Basic Touch Screen Operation

The V-Synth XT 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

You can specify whether or not a beep tone will be heard when you touch a valid point on the touch screen.

* At the factory setting, the beep tone will be sounded.

In the upper right of the screen, touch <▼ MENU>.

A pulldown menu appears.

fig.01-05_50

fig.01-06

In the pulldown menu, touch <Beep> to add a check mark (✔).

With this setting, the beep tone will be heard. If you perform the same procedure once again, the check mark will be cleared and the beep tone will no longer be heard.

* If you have turned off the beep tone, a “∇” appears in the title area at the top of the screen

when you touch a valid point on the touch screen.

Basic Touch Screen Operation

Moving the Cursor

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

fig.01-07.e

Cursor

Cursor Buttons

Press [ ], [ ], [ ], or [ ] (the cursor buttons) to move the cursor.

fig.01-08

Quick Start

[ ]: moves the cursor up.

[ ]: moves the cursor down.

[ ]: moves the cursor to the left.

[ ]: moves the cursor to the right.

Touch Screen

Directly touch a parameter value to move the cursor.

fig.01-09

Basic Touch Screen Operation

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 XT 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.

fig.01-10

[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.01-11

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.01-12

Basic Touch Screen Operation

Using the numeric keys for input

Using the numeric keys to switch patch numbers

When the cursor is located at a patch number, you can use the numeric keys to switch patches.

Input a numeric value in the input value area.

• [0]-[9] buttons: Input the patch number.

• [BANK-], [BANK+] buttons: These function as ENTER.

Quick Start

The numeric keys also function

as the Patch Palette (p. 30).

Using the numeric keys to input parameters

When the cursor is located at an input location, pressing a numeric key will sometimes make a list of parameter values appear.

When you can input a numeric value

Use the numeric keys to input a value in the input field.

• [0]-[9] buttons: Input numeric values.

• [BANK-] button: Reverse the sign of the input value.

• [BANK+] button: Clear the input value.

• [KEY PAD] button: Return the list to the middle.

You can also display the list by

pressing the VALUE dial

(ENTER) instead of the

numeric keys.

When you can input directly

The input area will blink “SELECT.”

• Press a button to input a value directly. From the top of the list, the items correspond to the [0]-[9] buttons.

• The corresponding buttons will light. The current value will blink.

Try Out the Sounds

Selecting Patches and Playing Sounds

The V-Synth XT comes with a wide range of onboard sounds, including single tones called patches. Let’s select a few patches to get an idea of the variety of sounds available with the V-Synth XT.

Make sure the PATCH PLAY screen is displayed.

If the PATCH PLAY screen—shown below—is not displayed, press [EXIT] once or twice until the PATCH PLAY screen appears.

fig.Q-06.e

Patch number

Press the [PREVIEW] button to audition the patch.

To change to a different patch, touch the patch number to highlight it,

and then turn the VALUE dial or press [INC] [DEC]. At this time you

can switch more rapidly by holding down [SHIFT] while you perform

these operations.

fig.Q-06a

You can also touch the patch

number display area and use

the numeric keys to switch

patches (p. 27).

Alternately, you can touch the

patch number and drag your

finger up and down—or right

and left—to change patches.

Try Out the Sounds

Playing a Patch on the V-Synth XT from an External MIDI Device (MIDI Keyboard)

The V-Synth XT produces sound in response to MIDI messages it receives from an external MIDI device such as a MIDI keyboard or sequencer.

Try connecting your MIDI keyboard and playing sounds on the V-Synth XT.

Connecting the MIDI Keyboard

Connect the MIDI keyboard as shown in the following.

fig.03-005.e

V-Synth XT

MIDI IN

MIDI OUT

MIDI keyboard

Matching MIDI Channels

In order for the V-Synth XT to respond to MIDI data sent by an external MIDI device, both devices must be set to use the same MIDI channel or channels.

Quick Start

Executing a Factory Reset sets

the V-Synth XT’s reception

channel in Patch mode to “1.”

If you want to set this to a

channel other than 1, use “Part

MIDI ”(p. 126) to specify the

desired MIDI receive channel

for Part 1.

Selecting Patches from the List

You can easily find the desired patch by selecting it from the patch list.

Make sure the PATCH PLAY screen is displayed.

If the PATCH PLAY screen is not displayed, press [EXIT] once or twice until the PATCH PLAY screen appears.

Touch <List> in the upper left area of the display.

The PATCH List window appears.

fig.Q-06b_60

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.

For details on the factory-set

patches in the V-Synth XT’s

memory, refer to “Sound List”

(separate booklet).

If you select a patch in the list

and play your external MIDI

keyboard, the selected patch

will sound. This is a useful

way to audition the sound of a

patch.

Try Out the Sounds

The Patch Palette is available

only in the PATCH PLAY

screen.

To view other patches, touch <017-032>–<241-256>, located at either

side of the screen. To view higher-numbered patches, touch <257-

512>, located at the bottom of the screen.

Touch <OK>.

The patch is selected and the PATCH List window closes.

“

Selecting Patches by Category

”(p. 61)

Selecting Favorite Patches (Patch Palette)

If your favorite, frequently used patches are registered in the Patch Palette, you can select them instantly by simply pressing Numeric Key [0]–[9].

In each patch palette you can register eight patches, corresponding to the [1]–[8] keys. By using the [BANK] button to switch between the eight banks, you can register a total of 64 patches.

Make sure the PATCH PLAY screen is displayed.

Press [KEY PAD]. The Patch Palette will appear in the screen.

Press Numeric Key [1]–[8] to select a patch.

You can also select patches by touching the

screen.

To switch between patch palette banks, press

[BANK-] / [BANK+].

To exit the Patch Palette, press [KEY PAD] once

again.

The [0] key and the [9] key

increment or decrement the

patch number in steps of 100.

For instructions on how to

patch palette, refer to

“Registering a Favorite

Patch (Patch Palette) ”(p. 76).

Try Out the Sounds

Playing a drum set (Rhythm mode)

Rhythm mode lets you assign a different V-Synth sound to each note of the keyboard. This lets you use the V-Synth XT as a rhythm sound module.

Press [MODE].

In the V-SYNTH XT MODE MENU window that appears, touch <RHYTHM>.

Use an external MIDI device to play the rhythm kit.

Quick Start

To switch rhythm kits, touch the area where the patch number is

displayed so it's highlighted, then turn the VALUE dial or use

[INC][DEC].

To exit RHYTHM mode, press [MODE], and then touch <PATCH> in the

V-SYNTH XT MODE MENU window that appears.

For details on how to edit

Rhythm mode settings, refer to

“Creating a Rhythm Kit

(Rhythm Mode) ”(p. 102).

Try Out the Various Performance Features

What is the Time Trip

function?

One of the advantages of vari-

phrase 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 vari-

phrase, switch the Time Trip

Pad function to “TIME TRIP”

to use this function. While

playing your external MIDI

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.

The V-Synth XT is equipped with a variety of powerful performance features that can raise your musical expressiveness to new levels. These include the Time Trip Pad and the Arpeggiator. Take a moment to try out some of the V-Synth XT’s performance features.

Manipulating Sounds with the Time Trip Pad

You can apply a variety of effects to the sound simply by touching your fingertip to the Time Trip Pad.

Make sure the PATCH PLAY screen is displayed.

If the PATCH PLAY screen is not displayed, press [EXIT] once or twice until the PATCH PLAY screen appears.

Press [CTRL] to access the Control screen.

fig.02-10

Choose the function that you want to control from the Time Trip pad,

and press the TIME TRIP PAD button for that function.

Apply the Time Trip effect.

Apply the effect that is specified by each patch.

The Time Trip pad will have

an effect if PCM is selected for

the oscillator (OSC1/OSC2)

and the “Time Trip Sw (Time

Trip Switch) ”(p. 87) is ON.

Try Out the Various Performance Features

Time Trip Pad settings are

saved with each patch. This

means that you can create the

best Time Trip Pad settings for

each patch.

fig.02-11

fig.02-13

While you play your external MIDI keyboard to produce sound, place

your fingertip on the Time Trip pad and move your finger in the

following way.

If is on

The effect will be applied when you move your finger in a circle on the Time Trip pad.

If is on

The effect will be applied when you move your finger up/down/left/right on the Time Trip pad.

Quick Start

For details on using the Time

Trip Pad, refer to “

an Effect by Touching Your

Finger to the Pad (Time Trip

Pad)

”(p. 69).

Applying

Try Out the Various Performance Features

Using Knobs to Modify the Sound in Realtime (E1–E8 knobs)

By turning the E1–E8 knobs while you play, you can control the various functions that’ve been assigned to them.

Make sure the PATCH PLAY screen (p. 60) is displayed.

If the PATCH PLAY screen is not displayed, press [EXIT] once or twice until the PATCH PLAY screen appears.

While playing your external MIDI keyboard to produce sound, turn the

E1–E8 knobs

The sound will change according to the function assigned to each knob.

fig.Q-14

As shown in the following illustration, numbers (1–8) will appear in the PATCH PLAY screen; these correspond to E1–E8.

In the PATCH PLAY screen, you can hold down the [SHIFT] key and use the cursor

up/down [ ][ ] buttons to switch the parameters that will be controlled.

In the menu that appears when you touch <▼ MENU> in the upper right of the PATCH PLAY screen, you can touch “Global Knob” and use the buttons to switch E1–E8 knob sets. These are saved as patch parameters.

If you want to edit the user knob settings, use the System settings “

128).

Preset settings

User settings

E1 - E8 Knob

”(p.

Try Out the Various Performance Features

E1–E8 knobs in the editing screens

In the editing screens that appear when you touch the buttons at the bottom of the PATCH PLAY screen (Com, OSC1, OSC2, etc.), the E1–E8 knobs function as follows.

In the menu that appears when you touch <▼MENU>, verify the “Indiv Knob” setting.

If “Indiv Knob” is checked:

The knobs correspond to the knob numbers shown in each editing screen.

Quick Start

* You cannot change the knob number assignments of each editing screen.

If “Indiv Knob” is not checked:

The knob numbers are not shown in the editing screens. The knobs will correspond to the knob numbers shown in the top screen (PATCH PLAY screen).

Try Out the Various Performance Features

Playing Arpeggios (Arpeggiator)

The V-Synth XT provides an automatic arpeggio function (Arpeggiator). When you turn on the arpeggiator and play your external MIDI keyboard, arpeggios are produced automatically.

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

fig.Q-15

C4E4G4

E4 G4

Make sure the PATCH PLAY screen is displayed.

If the PATCH PLAY screen is not displayed, press [EXIT] once or twice until the PATCH PLAY screen appears.

Press Arpeggio <ON/OFF> to make the indicator light.

The arpeggiator is turned on.

fig.Q-17

Play your external MIDI keyboard.

The V-Synth XT arpeggiates what you’ve played.

E4 G4

Try Out the Various Performance Features

To adjust the tempo of the arpeggio, touch <TEMPO> in the location

shown below, and turn the [VALUE] dial.

Turning the dial toward the right makes the tempo faster, and turning it toward the left makes the tempo slower.Hold down [SHIFT] as you move the VALUE dial to increase value increments to make large value changes more quickly.

fig.Q-16a

To finish listening to the arpeggio, press Arpeggio <ON/OFF> again

so its indicator turns off.

Quick Start

Arpeggiator settings can be

saved with each patch. This

means that you can create the

est arpeggio settings for each

patch.

For details on using the

Arpeggiator, refer to “Playing

Arpeggios (Arpeggiator) ”(p.

64).

Try Out the Various Performance Features

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 XT, 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.

Make sure the PATCH PLAY screen is displayed.

If the PATCH PLAY screen is not displayed, press [EXIT] once or twice until the PATCH PLAY screen appears.

At the bottom of the screen,

touch < Com >.

At the left side of the screen,

touch < Step Mod >.

The Multi Step Modulator screen appears.

At the top of the screen, turn < Step Switch > ON.

The Multi Step Modulator will be applied to the currently selected patch.

While you play the external MIDI keyboard to hear the sound, input

steps 1–16.

If you touch <▼ MENU > and select Hand Draw, you'll be able to draw the graph directly with your finger.

You can also turn on the Multi

Step Modulator by using the

uttons of the PATCH PLAY

screen shown below.

For details on using the

Arpeggiator, refer to “Using

To exit the step sequencer, turn < Step Switch > OFF at the top of the

screen.

steps to vary the sound

(Multi Step Modulator) ”(p.

68).

Try Out the Various Performance Features

Holding the notes you play (Key Hold)

The Key Hold function changes the way in which the patch will play when you press a note on the MIDI keyboard. If Key Hold is on, the patch will start or stop sounding each time you press a note. In other words, the patch will begin sounding when the V-Synth XT receives a note-on, and will stop sounding when the next note-on is received.

In the upper right of the screen, touch <▼ MENU>.

A pulldown menu appears.

fig.01-05_50

Quick Start

In the pulldown menu, touch < Key Hold >.

The Key Hold window will appear.

Turn < Hold Switch > ON.

Play the MIDI keyboard.

The patch will sound according to the key you pressed. When you press the same key once again, the patch will stop sounding.

* If the Key Hold function is turned on, and you forget which key you pressed, the patch will

simply continue sounding. In such cases, press the key that is assigned as the “Panic Key” in the Key Hold window. All notes that are being sounded by the Key Hold function will stop sounding.

* If you change the Panic Key assignment, you must save the system settings as described in

“

Saving the System Settings (Write)

”(p. 122).

The Key Hold function is

turned “off” when you power

up the V-Synth XT.

Creating a Patch

This chapter explains the steps for creating a patch on the V-Synth XT. Broadly speaking, there are two ways to create a patch.

Using a template to create a patch intuitively (the Sound Shaper function)

You can easily create a patch just by choosing a group and template.

Refer to “

Creating a patch from scratch

This section explains the basic procedure for creating a patch on the V-Synth XT.

Refer to “

Creating a patch intuitively (Sound Shaper)

The “Sound Shaper” function lets you create a patch simply by choosing a group and template, and operating knobs and buttons to edit the relevant aspects of the sound, just like a professional sound designer.

Creating a patch intuitively (Sound Shaper)

Initializing Patch Settings

”(p. 42).

”(p. 40).

Make sure that the PATCH PLAY screen is displayed.

At the upper right of the screen, touch <▼ MENU >.

A pulldown menu will appear.

In the pulldown menu, touch < Sound Shaper >.

The following window will appear.

Choose the “Group” and “Template” that are closest to the sound you want to create. Use the list at the left to choose a group, and use the list at the right to choose a template. Then touch < Enter >.

Creating a Patch

A window like the following will appear.

While playing the external MIDI keyboard, use the eight switches and

knobs to adjust the sound.

• The [E1]–[E8] knobs correspond to the knobs in the screen.

• Some buttons have an on/off function, while others select choices from a list.

Quick Start

For each template, the most

suitable parameters have been

automatically selected for each

of the eight switches and

knobs.

At the bottom of the screen, touch the < FX > tab to make effect

settings.

From the top, the effects are MFX (multi-effect), chorus, and reverb.

• You can use the button for each effect to turn it on/off.

• If you want to switch the type of an effect, touch the effect name to highlight it, and then turn the VALUE dial or use [INC][DEC].

• In the Sound Shaper you can edit only the main parameters of each effect, using the on-screen knobs.

In the lower right of the screen, touch < Write > to open the “Patch

Write” screen, where you can save the patch you created.

To save your patch, use the procedure described in “

(PATCH Write)

”(p. 53).

Saving Patches

For details on each effect, refer

to “Effects List ”(p. 164).

For more about the Sound

Shaper function, refer to

“Creating a patch intuitively

(Sound Shaper) ”(p. 77).

Creating a Patch

Initializing Patch Settings

This section explains the basic procedure for creating a patch on the V-Synth XT from scratch.

First we will return the settings of the currently selected patch to a standard set of values.

Make sure that the PATCH PLAY screen is displayed.

Touch <▼ MENU> in the upper right of the screen.

A pulldown menu appears.

fig.Q-24_60

Touch <PATCH Name> in the pulldown menu.

A window like the following appears.

fig.Q-25_60

Touch <EXECUTE>.

The initialization will be carried out, and you’ll be returned to the PATCH PLAY screen.

Creating a Patch

Selecting a Structure Type

The sounds of the V-Synth XT are produced by six elements (sections). Here’s how to select the Structure Type, which determines how these elements are combined.

Section name Function

OSC1, OSC2

MOD This section mixes and modulates the two audio

COSM1, COSM2 This section applies a wide variety of processing

TVA This section creates time-variant changes in vol-

Make sure that the PATCH PLAY screen is displayed.

This section generates the sound on which a patch is based. The sound is produced either by built-in preset waves or sampled waves, or by calculating an analog modeling waveform. An external audio input source can also be used.

signals.

including filtering. This differs from the effects in that effects are applied to the final mix of the sound, COSM is applied to each individual note.

ume, and sets the pan position.

Quick Start

In the lower part of the screen, touch <COM>.

A screen like the following appears. If a different screen appears, touch the <General> tab at the left side of the screen.

Creating a Patch

Press Structure Type <TYPE 1>–<TYPE 3> to select a structure type.

Structure Type

Description

This is the most conventional structure on the VSynth XT. The sounds from OSC1 and OSC2 are mixed by MOD, processed by COSM1 to shape their tonal character (e.g., using SBF), and then sent through COSM2 for additional tonal refinement (e.g., using TVF).

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.

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.

Creating a Patch

Switching Each Section On/Off

After deciding on the structure type to use, you can switch each section within that structure on or off as desired.

Touch <Exit>. Make sure that the PATCH PLAY screen is displayed.

While holding down the [SHIFT] button on the front panel, touch the

relevant sections in the PATCH PLAY screen to turn individual

sections on or off as needed.

Section names shown in white characters are on, and those displayed in gray characters are off.

fig.Q-26

Off

Quick Start

For example if “OSC1” and “OSC2” are both off, there will be no sound-producing section, and no sound will be output.

Creating a Patch

Setting Up the Oscillators (OSC1/2)

The oscillator sections produce the original sound, either by playing back an internal PCM wave or a sampled wave, or by generating an analog modeling wave.

Selecting a Wave

Make sure that the PATCH PLAY screen is displayed.

In the lower part of the screen, touch <OSC1> (or <OSC2>).

A screen like the following appears. If a different screen appears, touch the <OSC Type> tab at the left side of the screen.

fig.Q-28_60

fig.Q-29_60

Analog oscillator

PCM oscillator

Touch either <ANALOG> or <PCM> to select the type of oscillator.

In the Waveform area, select the wave you wish to use.

Make your selection while playing your external MIDI keyboard to hear the sounds.

For more about the oscillator

settings, refer to “Modifying

Waveforms (OSC1/OSC2)

”(p. 86).

Creating a Patch

Mixing/Modulating Two Sounds (Mod)

The Modulator mixes and modulates the two audio signals.

Selecting a Modulator Type

In the lower part of the screen, touch <Mod>.

A screen like the following appears.

fig.Q-32_60

Quick Start

In the Modulator Type area, select the modulator type you wish to use.

Modulator Type

MIX

RING

ENV RING

OSC SYNC

Description

Add OSC1 and OSC2.

Use OSC2 to apply ring modulation to OSC1.

Use OSC2 to apply FM (frequency modulation) to OSC1.

Use the envelope of OSC2 to control the volume of OSC1.

Synchronize the output waveform of OSC1 to the output waveform of OSC2.

OSC SYNC is valid only when

OSC2 is an analog oscillator.

For more about the modulator

settings, refer to “Mixing/

Modulating Two Sounds

(MOD) ”(p. 93).

Creating a Patch

For more about COSM

settings, refer to “

Applying

Various Effects to Each Note

You Play (COSM1/COSM2)

”(p. 93).

Applying COSM Modeling to Oscillators (COSM1/2)

The COSM sections modify the sound in various ways, including filtering the sound. COSM differs from the Effects section in that while Effects are applied to the final mix of the sound, COSM is applied individually to each note.

Selecting a COSM Type

In the lower part of the screen, touch <COSM1> (or <COSM2>).

A screen like the following appears.

fig.Q-32a_60

Press the desired COSM type button to select the form of COSM.

Make your selection while playing your external MIDI keyboard to hear the sounds.

Creating a Patch

Shaping a Sound’s Volume Over Time (TVA)

You can adjust the way in which the patch’s volume changes over time, or modify the attack or decay of the sound.

In the lower part of the screen, touch <TVA>.

A screen like the following appears.

fig.Q-34_60

Use the “ENVELOPE” sliders in the lower left of the screen to adjust

the shape of each note’s volume.

“ENVELOPE” in the lower right of the screen shows a graphical representation of the envelope produced by the current settings.

fig.Q-34a

Quick Start

Slider

For example, if you shorten a note’s attack time and lengthen its release time, the note’s volume may be shaped like a note on a piano. If the sustain level is at maximum, it may sound like an organ, and if the attack time is long, it may sound like a string section.

Function

[A] Attack Time

Sets the time required for the volume of each note to reach its peak. This time increases as you raise the slider.

Decay Time

[D]

Determines the time it takes for the note’s volume to drop from its peak to its sustain level. If the sustain level is at its maximum, this has no effect.

[S]

Sustain Level

Determines the level at which the volume is maintained after the peak has been reached. As long as you continue to press a key on the keyboard, its note keeps sounding at this level.

[R]

Release Time

Sets the time it takes for a note’s volume to reach zero after you release your finger from a key on a keyboard.

For details about volume

settings, refer to “Adjusting

the Volume and Pan (TVA)

”(p. 94).

Creating a Patch

Adding the V-Synth XT Effects

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

Three separate effects are always available in the V-Synth XT. You can independently edit each effect’s settings.

MFX (Multi-Effects)

Chorus

Reverb

The V-Synth XT contains 41 different multi-effects, including distortion and a rotary-speaker simulation.

Chorus adds a sense of depth and spaciousness to patches.

Reverb adds ambience that emulates the sound of various physical spaces, such as concert halls or auditoriums.

For details about effect

settings, refer to “Setting

Effects for a Patch (Effect)

”(p. 97).

Creating a Patch

Saving Patches You’ve Created

When you edit the settings of a patch, the PATCH PLAY screen displays <EDITED> to remind you that the patch’s settings have been modified. If <EDITED> is displayed, you will lose your edited patch settings if you switch to another patch or turn off the power. If you want to keep a patch whose settings you have edited, assign a name to the patch and then perform the

fig.Q-36

Naming Patches (PATCH Name)

Before you save your patch, give it a new name as follows.

Save

Quick Start

operation.

Make sure that the patch you want to name is selected.

Touch <▼ MENU> in the upper right of the screen.

A pulldown menu appears.

fig.Q-37_60

Creating a Patch

Touch <PATCH Name> in the pulldown menu.

The PATCH Name window appears.

fig.Q-38_60

Enter a name into the text box by touching the desired characters. For

this example, let’s enter “My Patch1” as the currently selected patch’s

name.

4-1.

Touch <Clear> to erase all characters from the text box.

4-2.

Touch <Shift> to turn it on, and then touch <M> to enter a capital

“M.”

4-3.

Touch <Shift> to turn it off, and then touch <y> to enter a lower-

case “y.”

4-4.

Touch <→> to move the cursor one character to the right.

4-5.

Touch <Shift> to turn it on, and then touch <P> to enter “P.”

4-6.

Touch <Shift> to turn it off, and then successively touch

<a><t><c><h><1>.

When you’ve finished entering the name, touch <OK> to close the

PATCH Name window.

Creating a Patch

Saving Patches (PATCH Write)

After you've named your patch, save it as follows.

Make sure that the patch you want to save is selected.

Touch <▼ MENU> in the upper left area of the display.

A pulldown menu appears.

fig.Q-38a_60

Touch <PATCH Write> in the pulldown menu.

The PATCH Write window appears.

fig.Q-39_60

Quick Start

Choose the save destination (Destination). Turn the VALUE dial to

select an unused patch number.

* The patch you select (as the save destination) will be erased when it is overwritten by the

newly saved patch.

• To move through the patches more quickly, you can hold down [SHIFT] and turn the VALUE dial.

• If you touch < Compare > you'll be able to play the external MIDI keyboard to audition the patch that is at the save destination you choose (the Compare function).

• If you touch < List >, the PATCH List window will open, allowing you to choose a save-destination patch from a list.

Touch <Execute>.

When shipped from the

factory, the V-Synth XT

already contains a collection of

patches. When you save your

own patches, you replace the

factory patches. If you wish to

restore the original patches,

use the Factory Reset operation

(p. 147).

Creating a Patch

Turning Off the Power

Before you turn off the power, consider these two questions:

• Have the volume controls for the V-Synth XT and all connected audio devices been turned to their lowest settings?

• Have you saved your V-Synth XT sounds or other data you’ve created? (p. 53)

Turn off the power for all connected audio devices.

Turn off the POWER switch located on the front panel of the V-Synth

XT.

fig.Q-02.e

ON OFF

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. 4).

Reference

Overview of the V-Synth XT

Zone 16

Zone 15

Zone 2

Zone 1

Patch

How the V-Synth XT Is Organized

Basic Structure

Sound Generator Section

The sounds you play on the V-Synth XT are called

patch consists of a

zones

(which allow for sixteen individual setups for sixteen key

ranges), and three

fig.01-02.e

structure

effects

(an arrangement of its six sections),

patches

. Each

Effects

MFX

CHORUS Applies a chorus effect to give the sound

REVERB Applies a reverb effect to add ambience to

function

The multi-effects are multi-purpose effects that can completely change the nature of the patch’s sound. There are 41 different effects types; select and use the type that suits your aims.

depth and spaciousness.

the sound.

Polyphony

The maximum polyphony of the V-Synth XT 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.

About Multitimbral Performance

The V-Synth XT allows up to 16-part multitimbral operation, and can

be played multitimbrally by performance data sent from an external

device. You can use the V-Synth XT to play the sounds of a song you

created on your sequencer, or as part of an ensemble. From the MIDI

keyboard you can play only the patch that is assigned to part 1. The

PATCH Information window shows you the patch that is assigned

to each part (p. 147).

A sound module that allows you to control multiple sounds

independently in this way is called a

multitimbral sound module

Section name

OSC1, OSC2

MOD This section mixes and modulates the two

COSM1, COSM2 This section applies a wide variety of pro-

TVA This section creates time-variant changes in

Function

audio signals.

cessing including filtering. This differs from the effects in that effects are applied to the final mix of the sound, COSM is applied to each individual note.

volume, and sets the pan position.

Overview of the V-Synth XT

V-Synth XT

Internal Memory

Project

Wave

999

Patch

512

System

Preset Memory

Memory card

Project

Patch

512

Wave

999

System

Save

Load

USB

Computer

SaveSelect

Work Area Temporary Area

Memory

Memory Structure

fig.01-03.e

Project

The largest unit of memory used by the V-Synth XT is the

project contains up to 512 patches, up to 999 waves, and various

system settings.

The V-Synth XT uses one project at a time.

Internal Memory

The V-Synth XT has

V-Synth XT 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).

internal memory

project

. A

that stores a project. When the

Work Area/Temporary Area

When you turn on the power of the V-Synth XT, or when you load a

project in Disk mode, the project data is placed in temporary

memory called the

Sampling and sample editing operations modify the data that is in

the work area.

The currently playable patch data is then further placed (from the

work area) into a location called the

that even after editing a patch, you can return to the unedited

condition by once again recalling that patch.

Since sample data and patch data that you edit will disappear if you

simply turn off the power, you must

want to keep your changes.

work area

temporary area

save

. This means

(SAVE/WRITE) it if you

Memory cards

Internal memory can hold only one project, but you can use

commercially available memory cards to store additional projects.

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 work area. With

the factory-set project, there is approximately 115 seconds (stereo) /

230 seconds (monaural) of sampling memory. If you delete the

factory-set waves, you will be able to use a maximum of

approximately 280 seconds (stereo) / 560 seconds (monaural) of

sampling memory. However since a maximum of approximately 56

seconds (stereo) / 113 seconds (monaural) can be saved in internal

memory, you will need to use a commercially available memory

card if you want to store more samples than this.

* The above values are for when the sample is encoded using the “LITE”

type (p. 119).

The factory-set waves can be restored using the Factory Reset

operation (p. 147) even if they have been erased.

Preset Memory

Preset memory contains the state of the internal memory when the

unit is shipped from the factory. If, after erasing the internal

memory, you once again want to use the factory-set patches or

waves, you can either perform the Factory Reset operation or use

Disk mode to import the factory data from preset memory.

USB

If you connect the V-Synth XT to your computer via a USB cable,

projects, patches, and wave data in the V-Synth XT’s internal

memory or on a memory card can be saved (backed up) to the hard

disk or other media on your computer.

In addition, wave data created on the V-Synth XT 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 XT.

Overview

Overview of the V-Synth XT

Basic Operation of the V-Synth XT

Changing Operating Modes ([MODE])

The V-Synth XT has nine operating modes: Patch mode, Rhythm

mode, Sample mode, System mode, Disk mode, USB mode,

Calibration mode, Factory reset mode and Demo mode. To access

the desired V-Synth XT feature, you must select the appropriate

mode.

Here’s how to change modes.

Press [MODE].

The V-SYNTH XT MODE MENU window appears.

fig.MODE_50

Patch Mode (p. 60, p. 72)

fig.PATCH_50

In this mode you can play a single patch from the keyboard, and

edit patch settings.

Rhythm Mode (p. 102)

fig.PATCH_50

Touch the touch screen to select the desired mode.

When you select a mode, the screen for that mode appears. The

currently selected mode is shown in the upper left of each

screen.

fig.01-04

In this mode you can play a rhythm kit from the keyboard, and

edit rhythm kit settings.

Sample Mode (p. 104)

fig.SAMPLE_50

In this mode, you can sample the waves that form the basis of

the sounds you create, and edit the sampled waves.

Overview of the V-Synth XT

Disk Mode (p. 131)

fig.DISK_50

In this mode, you can perform operations related to disks, such

as saving data on a disk or loading data from a disk.

USB Mode (p. 138)

fig.USB_50

Factory Reset Mode (p. 147)

fig.FACTORY_50

Overview

In this mode, you can reset to default factory settings.

Demo Mode

This is a demo screen mode that introduces you to the V-Synth

XT's functionality.

System Mode (p. 122)

fig.SYSTEM_50

In this mode, you can connect the V-Synth XT to your computer

and exchange patch or wave data.

Calibration Mode (p. 148)

fig.CALIBRATION_50

In this mode you can adjust the response of the touch screen.

In this mode, you can set the overall behavior of the V-Synth XT,

such as its tuning and how it handles received MIDI messages.

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.

Press [MODE].

The V-SYNTH XT MODE MENU window appears.

fig.MODE_50

Functions in the PATCH PLAY Screen

fig.02-01.e

Indicates a list of patches.

Indicates the current mode.

Indicates the patch number (numeric key).

Indicates/sets the tempo.

Arpeggio, Arpeggio Hold, Multi Step Modulator

Indicates the name and zone of the selected patch.

Indicates/sets the zone

Opens the pulldown menu.

Indicates/selects the number and name of the selected patch.

Graphically displays the parameter settings of the selected patch.

Displays the various patch setting screens.

Return to the PATCH PLAY screen.

Touch <PATCH>.

You will enter Patch mode, and the PATCH PLAY screen

appears.

fig.PATCH_50

Selecting a Patch

V-Synth XT contains 512 patches for you to select and use.

All of these patches can be overwritten.

Access the PATCH PLAY screen (p. 60).

fig.02-02.e

Patch number

Move the cursor to the patch number, either by using the

cursor buttons or by touching the patch number display.

Turn the VALUE dial, or press [INC][DEC] to select a patch

number. You can also do this by dragging on the touch

screen.

You can also touch the patch number display area and use the

numeric keys to switch patches (p. 27).

Playing in Patch Mode

Page navigation button

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.

In each patch palette you can register eight patches, corresponding

to the [1]–[8] keys. By using the [BANK] button to switch between

the eight banks, you can register a total of 64 patches.

For details on how to register a patch in the patch palette, refer

“Registering a Favorite Patch (Patch Palette)”

Access the PATCH PLAY screen (p. 60).

* The Patch Palette is available only in the PATCH PLAY screen.

Press [KEY PAD]. The Patch Palette will appear in the

screen.

(p. 76).

Selecting Patches by Category

The V-Synth XT provides a Patch Search function which allows you

to specify a type (category) of patch so that you can quickly find the

desired patch. There are a total of 16 categories.

Access the PATCH PLAY screen.

Touch the category button in the upper left area of the

display.

The PATCH List window appears, and the categories will be

displayed at both sides of the screen.

fig.01

fig.02e

Playing in Patch Mode

Press Numeric Key [1]–[8] to

select a patch.

You can also select patches by

touching the screen.

The [0] key and the [9] key increment

or decrement the patch number in

steps of 100.

To switch between patch palette

banks, press [BANK-] / [BANK+].

To exit the Patch Palette, press [KEY PAD] once again.

Playing in Patch Mode

Touch the desired category, and select a patch from the list.

You can move to a different page within the same category by

touching a page navigation button in the bottom of the screen.

Selecting Patches from the List

You can display a list of patches and select a patch from that list.

Access the PATCH PLAY screen (p. 60).

Touch <List> in the upper left area of the display.

The PATCH List window appears.

fig.02-04_50

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 external MIDI

keyboard, the selected patch will sound. This is a useful way to

audition the sound of a patch.

To view other patches, touch <017-032>–<241-256>, located

at either side of the screen. To view higher-numbered

patches, touch <257-512>, located at the bottom of the

screen.

Touch <OK>.

The patch is selected and the PATCH List window closes.

Playing in Patch Mode

Playing Single Notes (Mono)

When using a patch for a naturally monophonic instrument such as

sax or flute, it is effective to play in mono.

Access the PATCH PLAY screen (p. 60).

At the bottom of the screen, touch <Com>.

In the left side of the screen, touch the <General> tab.

The Patch Edit Com General screen appears.

fig.02-07_50

In the “Mono/Poly” field, touch < >.

Now you can play in mono mode.

Making Controller-related Settings

(Control)

On the panel, press [CTRL] to access the Control screen.

The Control screen provides the following functions.

< External Control >

If this button is on, the E1–E8 knobs will control an external MIDI

device. The MIDI controller number that is transmitted when you

turn the E1–E8 knobs is specified by

External CC)”

(p. 129).

“E1 - E8 ExtCC (E1–E8

Playing in Patch Mode

Creating Smooth Pitch Changes (Portamento)

Portamento is an effect which smoothly changes the pitch from the

first-played key to the next-played key. By applying portamento

when Mono mode is selected (see the preceding item), you can

simulate performance effects such as slurring on a violin.

Access the PATCH Edit Com General screen (p. 63).

fig.02-07_50

In the “Portamento” field, touch the on/off switch to turn it

“ON.”

You’re ready to play portamento.

When you want to change the portamento setting, edit the

following parameters in the screen of step 2.

Mode

(Portamento Mode),

(Portamento Time),

Sens)

Type

(Portamento Type),

Time Velo Sens

Time

(Portamento Time Velocity

< V-LINK >

If you turn this button on, the V-Synth XT will be in V-LINK mode,

where it can control video equipment (p. 71).

< Time Trip Pad >

This lets you use the “Time Trip Pad” function (p. 69) which allows

you to apply various effects to the sound by moving your finger over

the pad displayed in the screen.

< Arpeggio >

This switches the Arpeggio function (p. 64) on/off.

See p. 79 for each parameter’s functions.

Playing in Patch Mode

Playing Arpeggios (Arpeggiator)

The V-Synth XT comes with an

automatically. Once you turn on the arpeggiator, the keys you press

will automatically be played as an arpeggio.

Access the PATCH PLAY screen (p. 60).

Press Arpeggio <ON/OFF> to make the indicator light.

The arpeggiator is turned on.

fig.Q-17

Play your external MIDI keyboard.

The V-Synth XT arpeggiates what you’ve played.

To adjust the tempo of the arpeggio, touch <TEMPO> in the

location shown below, and turn the [VALUE] dial.

Turning the dial toward the right makes the tempo faster, and

turning it toward the left makes the tempo slower.Hold down

[SHIFT] as you move the VALUE dial to increase value

increments to make large value changes more quickly.

arpeggiator

that can play arpeggios

Holding an Arpeggio

By using the following procedure, you can produce arpeggios even

without continuing to press the keyboard.

Press Arpeggio <ON/OFF> to turn the Arpeggiator on.

Press Arpeggio <HOLD> to make the indicator light.

Play the MIDI keyboard.

If you play a different chord or notes while the arpeggio is

being held, the arpeggio will change accordingly.

To cancel Arpeggio Hold, press Arpeggio <HOLD> again.

To finish listening to the Arpeggio, press Arpeggio <ON/

OFF> again so its indicator turns off.

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.

Connect a pedal switch (DP series) to the HOLD PEDAL jack

of your external MIDI keyboard.

Press Arpeggio <ON/OFF> to turn the Arpeggiator on.

Play the keyboard while pressing the hold pedal.

To play another chord, release the pedal, press it again as

you play the next chord.

Playing in Patch Mode

Cursor

Pattern input area

Making Arpeggiator Settings

Access the PATCH PLAY screen (p. 60).

At the bottom of the screen, touch <Com>.

In the left side of the screen, touch the <Arpeggio> tab.

The PATCH Edit Com Arpeggio screen appears.

fig.02-09_50

In this screen you can set the following arpeggiator parameters.

Arpeggio Switch:

Hold:

Switch between Hold On/Hold Off for the Arpeggiator

performance.

Patch Tempo:

Octave Range:

in octave units.

KBD Velo:

Duration:

modify the rhythmic feel (groove) of the performance.

Motif:

Specifies how the arpeggio will be sounded.

Shuffle Rate:

which notes are sounded.

Shuffle Resolution:

note value.

For details regarding each parameter, refer to

82).

Switches the Arpeggiator on/off.

Specify the tempo of an arpeggio.

Specify the range of the arpeggio performance,

Specify the note strength of the keys you play.

Vary the strength and note length of the accents to

Create shuffle rhythms by modifying the timing at

Specify the timing of the notes in terms of

“Arpeggio”

(p.

Creating an Original Arpeggio Pattern

(Pattern Edit)

You can create your own

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

Access the PATCH Edit Com Arpeggio screen (p. 65).

Touch <Pattern Edit>.

The Pattern Edit window will appear.

fig.02-09a.e

State

Specifies the status of each line.

NOTE:

Note pitch

CTRL:

Control change

arpeggio pattern

that specifies how an

Playing in Patch Mode

Arpeggiator settings can be saved with each patch as part of the

patch settings. This means that you can create patches that

contain the most effective settings.

Note/CC (Note/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).

Pattern Input Area

This area is where you input or edit notes or control changes. The

symbols have the following meaning:

●

: Note

=: Tie

❍

: Control change

Value

Shows the velocity of the note or the value of the control change

selected in the pattern input area.

Playing in Patch Mode

0, 32, 64, 96, 127, Tie/Clr

When inputting notes:

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:

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].

When you touch one of these buttons, a note

A control change with the value

Grid

Specifies the note value that will correspond to “one step” of the

arpeggio pattern.

fig.02-09b.e

(Dotted eighth note),(Eighth note),(Quarter note),

(Sixteenth note), (Dotted sixteenth note),

(Thirty-second note)

End Point

Specifies the pattern length as a number of steps (1–32).

Clear

Erases the pattern data (p. 67).

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 MIDI keyboard and

your controller operations will be recorded “as is.”

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.

Touch <Real Rec>.

The V-Synth XT will be in realtime-input standby mode, and the

metronome will sound a guide rhythm.

fig.02-09c_50

In time with the guide rhythm sounded by the metronome,

play the MIDI 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.

Real Rec (Realtime Recording)

Use realtime recording to create a pattern (p. 66).

Step Rec (Step Recording)

Use step recording to create a pattern (p. 67).

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.

When you are finished with realtime input, touch <Stop>.

The metronome guide will stop sounding.

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.

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.

Touch <Step Rec>.

The V-Synth XT will be in step-input standby mode.

fig.02-09d_50

Play the MIDI 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.

Erasing a Pattern (Clear)

Here’s how to erase data from the pattern. You can erase a specific

line or the entire pattern.

To specify a line that you want to erase, move the cursor to

that line.

Touch <Clear>.

A window like the following will appear.

fig.02-09e_50

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>.

Playing in Patch Mode

• 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.

When you are finished with step input, touch <Stop>.

Playing in Patch Mode

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 XT, 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.

Access the PATCH PLAY screen (p. 60).

At the bottom of the screen, touch <Com>.

In the left side of the screen, touch <Step Mod>.

The Multi Step Modulator screen appears.

Make settings for the track.

Touch one of the tabs for a track name you turned ON in step 5.

While playing the external MIDI keyboard to hear the sound,

input steps 1–16.

The V-Synth XT's E1–E8 knobs correspond to knobs 1–8 and 9–

16. To switch between 1–8 and 9–16, hold down the [SHIFT] key

and use the cursor up/down [ ][ ] buttons (the frame in the

screen will move).

At the top of the screen, turn < Step Switch > ON.

The Multi Step Modulator will be applied to the currently

selected patch.

You can also turn on the Multi Step Modulator by using the

buttons of the PATCH PLAY screen shown below.

Press < A >–< D > to turn tracks on/off as desired.

* If you turn all of the tracks off, there will be no effect even if < Step

Switch > is ON.

If you touch <▼ MENU > and select Hand Draw, you'll be able

to draw the graph directly with your finger.

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 patch. In the screen, you can touch Destination < List > to

change the assigned parameter.

In the same way, make settings for other tracks you turned

on in step 5.

If you want to stop using the step sequence, turn <

StepSwitch > OFF in the screen.

For details regarding each parameter, refer to

Modulator”

(p. 83).

“Multi Step

Playing in Patch Mode

What is the Time Trip function?

One of the advantages of VariPhrase 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.

Applying Various Effects to the Sound

The V-Synth XT provides numerous ways in which you can make

your performance more expressive, such as the Time Trip pad and

E1 – E8 knobs.

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 XT.

<>:

If < > is on, the effect is applied via matrix control. This

means that matrix control settings must be made separately. Set

the matrix control

the parameter to be controlled in

these settings, refer to

By setting matrix control

Time Trip effect and the matrix control effect simultaneously. In

this case, turn < > on.

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 < > is on

The effect will be applied when you move your finger in a circle

on the Time Trip pad.

fig.02-11

Apply the Time Trip effect.

Apply the effect that is specified by each patch.

Source

to “PAD-X” or “PAD-Y,” and specify

Destination

“Matrix Ctrl”

Source

to “TRIP-R,” you can apply the

(p. 81).

. For details on

Playing in Patch Mode

Access the PATCH PLAY screen (p. 60).

Press [CTRL] to access the Control screen.

Choose the function that you want to control from the Time

Trip pad, and press the TIME TRIP PAD button for that

function.

fig.02-10

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.02-12

Playing in Patch Mode

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.

> is on

Applying an Effect by Turning a Knob

(E1–E8 knobs)

By turning the E1–E8 knobs while you play, you can control the

various functions that’ve been assigned to them.

Make sure the PATCH PLAY screen is displayed.

If the PATCH PLAY screen is not displayed, press [EXIT] once or

twice until the PATCH PLAY screen appears.

While playing your external MIDI keyboard to produce

sound, turn the E1–E8 knobs

The sound will change according to the function assigned to

each knob.

fig.Q-14

As shown in the following illustration, numbers (1–8) will

appear in the PATCH PLAY screen (p. 60); these correspond to

E1–E8.

• 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.

In the PATCH PLAY screen, you can hold down the [SHIFT] key

and use the cursor up/down [ ][ ] buttons to switch the

parameters that will be controlled.

In the Sound Shaper screen (p. 77), these correspond directly to

the eight on-screen knobs.

By assigning MIDI controller numbers to the E1–E8 knobs, you

can turn [E1]–[E8] to control an external MIDI device that is

connected. For details, refer to

“E1–E8 Assign”

(p. 129).

Synchronizing Music and Video

Display

Projector

V-Synth XT

POWER

Edirol PR-80

MIDI OUT

Edirol UM-1X

While You Play the V-Synth XT (V-LINK)

The V-Synth XT lets you use the Time Trip pad and E1–E8 knobs to

control an externally connected video device that supports V-LINK.

This means that your performance on the V-Synth XT 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.02-18.e

Playing in Patch Mode

Press <V-LINK> so the indicator lights.

“V-LINK” appears in the PATCH PLAY screen (p. 60), and the

V-Synth will enter V-LINK mode.

In this screen you can view the V-LINK functions that are

assigned to the various controllers.

For details on how to assign V-LINK functions to the controllers,

refer to

“V-LINK Settings (V-LINK)”

To exit V-LINK mode, press <EXIT V-LINK>.

(p. 129).

V-LINK Functions that the V-Synth XT Can Control and MIDI Messages

You can assign the following functions to the V-Synth XT’s

controllers to control a V-LINK compatible video device.

Playing in Patch Mode

Enter V-LINK Mode

Access the PATCH PLAY screen (p. 60).

Press [CTRL] to access the Control screen.

V-LINK function

Playback Speed Dissolve Time (amount time the

video clips overlap) Audio (Volume of audio play-

back) Color Cb (color-difference sig-

nal) Color Cr (color-difference signal) CC 71 (Resonance) Brightness CC 74 (Cutoff) VFX1 (Visual Effects 1) CC 1 (Modulation) VFX2 (Visual Effects 2) CC 91 (Reverb) VFX3 (Visual Effects 3) CC 94 (Celeste) VFX4 (Visual Effects 4) CC 95 (Phaser) Output Fade CC 73 (Attack) T Bar CC 11 (Expression) Dual Stream CC 64 (Hold 1) Time Trip CC 92 (Tremolo)

Palette1–8 (Selecting a palette) CC 0 (Bank Select): 00H–07H Clip1–8 (Selecting a video clip) Program Change: 00H–07H

Transmitted MIDI message

CC 10 (Panpot) CC 5 (Portamento Time)

CC 7 (Volume)

CC 72 (Release)

CC 93 (Chorus)

Creating a Patch

Five Tips for Editing Patches

● Use the Sound Shaper function (p. 77)

The Sound Shaper function makes it easy to design sounds

intuitively. Simply choose the appropriate group and template

for the type of sound you want to create, and turn the knobs to

edit the relevant parameters just like a professional sound

designer.

● Select a patch 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 patch and modify its parameters at random. It

makes sense to start with a patch 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 six sections are combined. Before you actually begin

editing, you should understand how the sections are related to

each other (p. 43).

● Decide which section(s) you will use.

When creating a patch, 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).

● Turn Effects off.

Since the V-Synth XT 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 patch 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.

With the V-Synth XT, you have total control over a wide variety of

settings. Each item that can be set is known as a

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.

parameter

. When

How to Make the Patch Settings

Start with an existing patch and edit it to create a new patch. The

sound of a patch is created by six sections of parameters (p. 43).

When editing a patch, you need to be aware of how each section

affects the overall sound.

Access the PATCH PLAY screen, and select the patch

whose settings you wish to modify (p. 60).

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

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.

In the PATCH PLAY screen, you can touch the display area for

each section to jump to the setting screen for that section.

Touch one of the tabs in the left of the screen to select the

desired editing screen.

For details on how the parameters are grouped, refer to

Parameters”

In each editing screen, touch the touch screen to set the

parameters.

operation (p. 73).

(p. 150).

“Patch

For details on how to use the touch screen, refer to

Touch Screen Operation”

When editing a parameter that requires you to specify a

value, move the cursor to the value box of that parameter.

Then modify the value by either turning the VALUE dial or

pressing [INC] or [DEC]. You can also modify a value by

dragging over the touch screen.

Repeat steps 2–5 to complete a patch.

If you wish to save the changes you’ve made, perform the

Save operation (p. 74). If you do not wish to save changes,

press [EXIT] to return to the PATCH PLAY screen.

If you return to the PATCH PLAY screen without saving, the

display will indicate “EDITED,” reminding you that the patch

settings have been modified.

If you turn off the power or select a different patch while the

display indicates “EDITED,” your edited patch will be lost.

(p. 24).

“Basic

Initializing Patch Settings (PATCH Init)

“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 in temporary area; the patches that are stored in internal

memory and work area will not be affected. If you wish to

restore all of the V-Synth XT’s settings to their factory values,

perform a Factory Reset (p. 147).

Access the PATCH PLAY screen, and select the patch that

you wish to initialize (p. 60).

Touch <▼ MENU> in the upper right of the screen.

A pulldown menu appears.

fig.01-05_50

Creating a Patch

Touch <▼ MENU> in the upper right of the screen.

A pulldown menu appears.

fig.01-05_50

In the pulldown menu, touch <PATCH Copy>.

The PATCH Copy window appears.

fig.03-02_50

Creating a Patch

In the pulldown menu, touch <PATCH Init>.

A window like the following appears.

fig.03-01_50

Touch <EXECUTE>.

The initialization will be carried out, and you’ll be returned to

the Patch Edit screen.

Copying Patch Settings (PATCH Copy)

This operation copies the settings of any desired patch to the

currently selected patch. You can use this feature to make the editing

process faster and easier.

Access the PATCH PLAY screen, and select the copy-

destination patch (Dest Patch) (p. 60).

Touch a button in the left side of the screen to select the

object you want to copy.

<ZONE>:

<OSC>:

source (Source) and copy-destination (Destination) oscillator

(OSC1/OSC2).

<COSM>:

source (Source) and copy-destination (Destination) COSM

section (COSM1/COSM2).

<TVA>:

<MFX>:

<CHO>:

<REV>:

<ARP>:

<STEP>:

Specify the zone (Zone 01–Zone 16) for the copy source

(Source) and copy destination (Destination). Move the

cursor to “Zone**” and make your selection.

Move the cursor to “Src Patch” and select the copy-source

patch number.

For the Zone Copy, Oscillator Copy, COSM Copy, and TVA

Copy operations, you can specify the currently selected patch as

the copy source by setting “SrcPatch” to “TEMP.”

Touch <Execute> to execute the copy operation.

Copy patch settings for one zone.

Copy oscillator parameter settings. Specify the copy-

Copy COSM parameter settings. Specify the copy-

Copy TVA parameter settings.

Copy MFX settings.

Copy chorus settings.

Copy reverb settings.

Copy arpeggiator settings.

Copy Multi Step Modulator settings.

Creating a Patch

Naming a Patch (PATCH Name)

Before you save the patch, here’s how to give it a new name.

Make sure that the patch that you want to name is selected.

Touch <▼ MENU> in the upper right of the screen.

A pulldown menu appears.

fig.03-02a_50

In the pulldown menu, touch <PATCH Name>.

The PATCH Name window appears.

fig.03-03_50

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.”

Make sure that the patch that you want to category is

selected.

Touch <▼ MENU> in the upper right of the screen.

A pulldown menu appears.

fig.03_50

In the pulldown menu, touch <PATCH Name>.

The PATCH Name window appears.

fig.04_50

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.

<←><→>:

location.

<Shift>:

or symbols.

<Insert>:

cursor location.

<Clear>:

<Delete>:

<Back>:

You can also move the input location cursor by pressing the

[ ][ ] cursor buttons. Pressing [ ] will change the

character at the cursor location to uppercase, and pressing [ ]

will change it to lowercase.

When you have finished inputting, touch <OK> to finalize the

patch name.

* 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. 75).

Move the cursor in the text box to the desired input

Turn this on when you want to input uppercase letters

Turn this on when you want to insert a character at the

Erases all characters in the text box.

Deletes the character at the cursor location.

Deletes the character that precedes the cursor location.

Touch <Category> tab in the lower area of the display.

fig.05_50

Select a category from the list.

Touch <OK> to finalize the category.

Creating a Patch

Saving Patches (PATCH Write)

You can also assign a category by touching <Category> in the

Patch Write window.

fig.06

* 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. 75).

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 “EDITED.” Once you save the patch into internal

memory, the “EDITED” 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. 147).

Make sure that the patch you wish to save is selected.

Touch <▼ MENU> in the upper right of the screen.

A pulldown menu appears.

fig.03-03a_50

Creating a Patch

In the pulldown menu, touch <PATCH Write>.

The PATCH Write window appears.

fig.03-04_50

Turn the VALUE dial to specify the save-destination patch.

Creating a Patch

• You can touch <Compare> and play your external MIDI

keyboard to hear the patch that currently occupies the save

destination (Compare function).

• When you touch <List>, the PATCH List window will appear,

allowing you to select the save-destination patch from the list.

fig.03-05_50

Touch <Execute> to execute the Save operation.

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.

For details on how to select patches that are registered in the

patch palette, refer to

Palette)”

Access the PATCH PLAY screen, and select the patch that

you wish to register (p. 60).

Press [KEY PAD].

(p. 61).

“Selecting Favorite Patches (Patch

Auditioning the Save-Destination Patch

(Compare)

Before you save a patch, you can audition the patch which currently

occupies the save destination to make sure that it is one you don’t

mind overwriting. This can help prevent important patches from

being accidentally overwritten and lost.

Follow the procedure in “Saving Patches (PATCH Write)”

through step 4 to select the save destination.

Touch <Compare> to turn it on.

Now you can play the patch that is in the currently selected save

destination.

fig.03-06_50

Play the MIDI keyboard to sound the save destination patch,

then check whether you really want to overwrite it.

The Patch Palette will appear in the screen.

Press [BANK-] / [BANK+] to select the bank in which you

wish to register the sound.

While holding down [SHIFT], touch the Patch Palette in the

screen (or a numeric key on the front panel).

The patch will be registered in the Patch Palette you touched.

The patch auditioned using the Compare function may sound

slightly different than when it is played normally.

If you wish to change the save destination, re-specify the

save-destination patch by using the VALUE dial.

Touch <Execute> to execute the Save operation.

Creating a Patch

Deleting Patches (PATCH Delete)

Delete unneeded patches from the internal memory.

Touch <▼ MENU> in the upper right of the screen.

A pulldown menu appears.

fig.01-05_50

In the pulldown menu, touch <PATCH Delete>.

The PATCH Delete List window appears.

fig.03-06a_50

Creating a patch intuitively (Sound Shaper)

The Sound Shaper function lets you create a sound simply by

choosing the appropriate group and template for the type of sound

you want to create, and using the knobs and buttons to edit the

relevant parameters just like a professional sound designer.

Make sure that the PATCH PLAY screen is displayed.

In the upper right of the screen, touch <▼ MENU >.

A pulldown menu appears.

In the pulldown menu, touch < Sound Shaper >.

A window like the following appears.

Creating a Patch

From the list, select the patch that you want to delete.

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.

Each screen in the PATCH Delete List window shows a group of

16 patches. To view other patches, touch <017-032>–<241-256>,

located at either side of the screen. To view higher-numbered

patches, touch <257-512>, located at the bottom of the screen.

Touch <Execute>.

The selected patch will be deleted.

If you want to continue deleting other patches, repeat steps

3 and 4.

Press [EXIT].

The PATCH Delete List window closes.

Choose the “group” and “template” that are closest to the type

of sound you want to create.

Choose the group from the list at left, choose the template from

the list at right, then touch < Enter >.

Creating a Patch

A window like the following will appear.

While playing the external MIDI keyboard to hear the sound,

use the eight switches and knobs to make changes.

The eight switches and knobs are automatically assigned to the

most appropriate parameters for each template.

The [E1]–[E8] knobs correspond to the knobs in the screen.

At the bottom of the screen, touch the < FX > tab to make

effect settings.

• From the top, the effects are MFX (multi-effect), chorus, and

reverb.

• Use the button for each effect to turn it on/off.

• To change the type of each effect, touch the effect name to

highlight it, then turn the VALUE dial or use [INC][DEC].

• The Sound Shaper function lets you edit only the most important

parameters of each effect using the on-screen knobs.

Some buttons act as on/off switches, while others choose items

from a list.

You can press the pad ( ) button located in the bottom of the

screen to open the Virtual Pad screen.

Max

Min

• In this screen you can simultaneously edit the four parameters

X1, Y1, X2, and Y2. (The most appropriate parameters for each

template are automatically selected for X1, Y1, X2, and Y2.)

• By turning on the < XY1 > and <XY2 > buttons located in the

lower right of the screen, and rubbing your finger over the

virtual pad, you can edit these parameters in real time.

• Even if each < XY > button is off, you can edit the four

parameters individually by touching the X1, Y1, X2, and Y2 areas

at the four corners of the pad.

• To exit the Virtual Pad screen, press the [EXIT] button located on

the front panel.

For details on each effect, refer to

When you touch < Write > in the lower right of the screen,

the “Patch Write” screen will appear, where you can save

the patch you created.

Save your patch as described in

Write)”

(p. 75).

“Effects List”

“Saving Patches (PATCH

(p. 164).

If the value of each parameter is outside its upper limit or lower

limit, an arrow icon pointing in that direction will appear.

Functions of Patch Parameters

Creating a Patch

This section explains the functions the different patch parameters

have, as well as the composition of these parameters.

Parameters marked by “★” can be controlled by specific MIDI

messages (Matrix Control). In the PATCH Edit Com Matrix Ctrl

screen you can specify how the parameter will be controlled (p.

81).

Settings Common to the Entire Patch (Common)

General

fig.03-07_50

Portamento

Portamento is an effect which smoothly changes the pitch from

the first-played key to the next-played key. By applying

portamento when the Mono/Poly parameter is monophonic,

you can simulate slide performance techniques on a violin or

similar instrument.

Mode (Portamento Mode)

Specifies the performance conditions for which portamento will be

applied.

Value

NORMAL:

LEGATO:

(i.e., when you press the next key before releasing the previous key).

Portamento will always be applied.

Portamento will be applied only when you play legato

Type (Portamento Type)

Specifies the type of portamento effect.

Value

RATE:

The time it takes will depend on the distance between the

two pitches.

TIME:

The time it takes will be constant, regardless of how far apart

in pitch the notes are.

Creating a Patch

Structure Type

Specifies how the various sound-creating elements will be combined.

Value

TYPE1:

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).

TYPE2:

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.

TYPE3:

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.

Portamento (Portamento Switch)

Specifies whether the portamento effect will be applied (ON) or not

(OFF).

Value:

OFF, ON

Time (Portamento Time)

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.

Value:

0–127

Time Velo Sens (Portamento Time Velocity Sensitivity)

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.

Value:

-63– +63

Mono/Poly

Specifies whether the patch will play monophonically or

polyphonically. The monophonic setting is effective when playing a

solo instrument patch such as sax or flute.

Value

Only the last-played note will sound.

Two or more notes can be played simultaneously.

Creating a Patch

Legato (Legato Switch)

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).

Value:

OFF, ON

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.

Bender

fig.03-08_50

Octave Shift

Adjusts the pitch of the patch’s sound up or down in units of an

octave (+/-3 octaves).

Value:

-3– +3

TT Pad

fig.03-09_50

Mode (Time Trip Pad Mode)

Specifies the operating mode of the Time Trip pad.

Value

XY mode. The effect will be applied when you move your

finger up/down/left/right on the Time Trip pad.

Time Trip mode. The effect will be applied when you move

your finger in a circle over the Time Trip pad.

Hold (Time Trip Pad Hold Switch)

Specifies whether the current value will be maintained (ON) when

you remove your finger from the Time Trip pad, or not maintained

(OFF).

Value:

OFF, ON

For details on settings for the Time Trip effect, refer to

Ctrl”

(p. 81) and

“TT Pad”

(p. 130).

“Matrix

Bend Range Up (Pitch Bend Range Up)

Specifies the degree of pitch change in semitones when the Pitch

Bend lever of the external MIDI keyboard 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.

Value:

0–48

Bend Range Down (Pitch Bend Range Down)

Specifies the degree of pitch change in semitones when the Pitch

Bend lever of the external MIDI keyboard 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.

Value:

0–48

Matrix Ctrl

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 XT. 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

XT’s patch 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 patches 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 (Sns parameter).

fig.03-10_50

Creating a Patch

PAD-X:

Time Trip pad (horizontal direction)

PAD-Y:

Time Trip pad (vertical direction)

TRIP-R:

Time Trip pad (center from the circumference)

BEAM-L*:

BEAM-R*:

KNOB1*:

KNOB2*:

VELO:

KEYF:

* Parameters marked by * will not function since the V-Synth XT (rack-

D-Beam Left

D-Beam Right

Assignable Controller ([C1])

Assignable Controller ([C2])

Velocity (pressure you press a key with)

Note Number

mount) does not have the corresponding controller. They will function

if a patch created on the V-Synth XT is played on the V-Synth

(keyboard), or if you connect the V-Synth (keyboard) to the V-Synth

XT as an external MIDI controller.

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.

Source (Matrix Control Source)

Sets the MIDI message used to change the patch parameter with the

Matrix Control.

Value

OFF:

Matrix control will not be used.

CC01–31, 33–95:

BEND:

Pitch Bend

AFT:

Aftertouch

+PAD-X:

+PAD-Y:

Time Trip pad (horizontal direction from the center)

Time Trip pad (vertical direction from the center)

Controller numbers 1–31, 33–95

Sens (Matrix Control Sens)

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.

Value:

-63– +63

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.

Value

You can control the following parameters. For details on each

parameter, refer to the corresponding reference page.

In this manual, Parameters that can be controlled using the

Matrix Control are marked with a “★.”

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:

Oscillator Pitch (p. 88)

Time/Pulse Width (p. 91)

Formant/Fat (p. 89, p. 92)

Level (p. 92)

Pitch Envelope Attack Time (p. 95)

Pitch Envelope Decay Time (p. 95)

Pitch Envelope Release Time (p. 95)

Time Envelope Attack Time (p. 95)

Time Envelope Decay Time (p. 95)

Time Envelope Release Time (p. 95)

Formant Envelope Attack Time (p. 95)

Formant Envelope Decay Time (p. 95)

Formant Envelope Release Time (p. 95)

Oscillator TVA Envelope Attack Time (p. 95)

Oscillator TVA Envelope Decay Time (p. 95)

Oscillator TVA Envelope Release Time (p. 95)

Creating a Patch

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:

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:

MFX-SEND:

CHO-SEND:

REV-SEND:

MFX1–3:

TVA-PAN:

Level (p. 94)

(p. 164)

Pan (p. 94)

When you touch <List>, the Destination List window will

appear, allowing you to select the Matrix Control Destination

from the list.

Oscillator LFO Rate (p. 96)

Oscillator Pitch LFO Depth (p. 88)

Time/Pulse Width LFO Depth (p. 88, p. 91)

Formant/Fat LFO Depth (p. 89, p. 92)

Oscillator Level LFO Depth (p. 92)

(p. 159)

COSM Envelope Attack Time (p. 95)

COSM Envelope Decay Time (p. 95)

COSM Envelope Release Time (p. 95)

COSM Envelope Attack Time (p. 95)

COSM Envelope Decay Time (p. 95)

COSM Envelope Release Time (p. 95)

COSM LFO Rate (p. 96)

(p. 159)

TVA Envelope Attack Time (p. 95)

TVA Envelope Decay Time (p. 95)

TVA Envelope Release Time (p. 95)

TVA LFO Rate (p. 96)

Level LFO Depth (p. 94)

Pan LFO Depth (p. 94)

MFX Send Level (p. 97)

Chorus Send Level (p. 97)

Reverb Send Level (p. 97)

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.

125) is set to “INTERNAL,” this setting value is effective.

Value:

20.0–250.0

Hold (Arpeggio Hold Switch)

Switch between Hold On/Hold Off for the Arpeggiator

performance.

Value:

OFF, ON

Octave Range (Arpeggio Octave Range)

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.

Value:

-3– +3

Pattern Edit

Press this when you want to create an original arpeggio pattern.

For details on creating an arpeggio pattern, refer to

Original Arpeggio Pattern (Pattern Edit)”

“Creating an

(p. 65).

KBD Velo (Arpeggio Keyboard Velocity)

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).

Value:

REAL, 1–127

Creating a Patch

Step Indicator

Step Bar

Duration (Arpeggio Duration)

Modifies the length of the notes to adjust the “groove” feel of the

arpeggio. A setting of “100%” will produce the most pronounced

groove feel.

Value:

0–100%

Motif (Arpeggio Motif)

Sets the order in which notes of the chord will sound.

Value

UP:

Notes you press will be sounded, beginning from low to high.

DOWN:

Notes you press will be sounded, from high to low.

UP&DOWN:

then back down from high to low.

RANDOM:

NOTE ORDER:

which you pressed them. By pressing the notes in the appropriate

order you can produce melody lines. Up to 128 notes will be

remembered.

RHYTHM:

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. This is suitable for playing a drum patch (p. 101).

PHRASE:

pitch of that key. If multiple keys are pressed, the last-pressed key

will be valid.

AUTO:

automatically, starting at the lowest key that you pressed.

Notes you press will be sounded, from low to high, and

Notes you press will be sounded, in random order.

Notes you press will be sounded in the order in

Unlike a conventional arpeggio, the notes that you

Pressing a single key will sound the phrase based on the

The timing at which the keys are sounded is assigned

Shuffle Rate (Arpeggio Shuffle Rate)

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.

Value:

0–100%

fig.Shuffle Rate

Shuffle Rate = 50%

Shuffle Rate = 90%

Multi Step Modulator

Step (Step Indicator)

This indicates the current location within the step sequence.

Step Bar

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 <▼ MENU > and select Hand Draw, you'll be able

to draw the changes by directly touching the graph.

If you touch < SMOOTH >, the graph will become a (smooth)

line graph.

If you touch < STEP >, the graph will become a bar graph.

Step knob (Step knobs)

Use these knobs to input the sixteen steps.

The V-Synth XT's E1–E8 knobs correspond to knobs 1–8 and 9–

16. To switch between 1–8 and 9–16, hold down the [SHIFT] key

and use the cursor up/down [ ][ ] buttons (the frame in the

screen will move).

Creating a Patch

50 50 50 50

90 10 90 10

Shuffle Resolution (Arpeggio Shuffle Resolution)

Specify the timing resolution in terms of a note value. The note value

can be specified as either an 16th note or a eighth note.

Value:

Step Switch (Step modulator switch)

This turns the multi step modulator on/off.

Value:

OFF, ON

* This setting applies to all tracks (Track A–D).

Creating a Patch

Key Sync (Step modulator key sync)

This specifies whether the step sequence will be reset (i.e., will play

from the beginning) when a note-on occurs.

Value

Off:

The step sequence will not be reset when a note-on occurs.

Part:

The step sequence will be reset when a note-on occurs, but will

not be reset if the key was played legato.

Voice:

The step sequence will be reset each time a note-on occurs.

* This setting applies to all tracks (Track A–D).

Track Button A–D (Step modulator track buttons A–D)

These turn the multi step modulator on/off for the four tracks (A–

D).

Value:

OFF, ON

Track TAB A–D (Step modulator track tabs A– D)

These access the editing screens for the four multi step modulator

tracks (A–D).

Loop (Step modulator loop switch)

This turns looping on/off for the step sequence.

Value:

OFF, ON

Grid (Step grid)

This specifies the note value of each step.

Value:

Dir (Step modulator direction)

This specifies the direction in which the step sequence will play.

Value:

FWD1

FWD2

FWD3

BWD1

BWD2

BWD3

1 2 3 • • • 14 15 16

1 2 3 • • • 14 15 16 2 3 • • • 14 15

1 2 3 • • • 14 15 16 1 2 3 • • • 14 15 16

16 15 14 • • • 3 2 1

16 15 14 • • • 3 2 1 15 14 • • • 3 2

16 15 14 • • • 3 2 1 16 15 14 • • • 3 2 1

Zone (Step modulator zone)

This specifies the zone to which the step modulator will be applied.

Value:

1–16

Destination (Step modulator destination)

The parameter that is controlled by the step sequence will depend on

the patch. Touch < List > to change the parameter that is controlled.

STEP/SMOOTH (Step/Smooth switch)

Touch < SMOOTH > to select a line graph (smooth change), or touch

<STEP > to select a bar graph (stepped change).

Value:

STEP, SMOOTH

(Dotted eighth note),(Eighth note),(Quarter note),

(Sixteenth note), (Dotted sixteenth note),

(Thirty-second note)

End P (Step modulator end point)

This specifies the sequence length as a number of steps.

Value:

1–16

Multi Step Modulator menu

In the Multi Step Modulator screen you can touch <▼ MENU > to

access the following menu.

Reset Value

Invert Value

Reverse Value

Shift Value R

Shift Value L

Preset...

Copy Graph...

Hand Draw

Resets the step bar

Inverts the step bar in the vertical direction

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

Recalls a preset graph

Copies the step bar graph. You can copy a graph between patches or tracks (A–D).

If this is checked, you can draw the graph by directly touching the step bars with your finger.

Tune

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 XT employs equal temperament when the

Scale Tune Switch is set to “OFF.”

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 XT, you can use

Arabian temperament in the three keys of G, C and F.

Note

name

Equal tem-

perament

Just Tempera-

ment (tonic C)

Arabian Scale

C 0 0 -6

C# 0 -8 +45

D 0 +4 -2

Eb 0 +16 -12

E 0 -14 -51

F 0 -2 -8

F# 0 -10 +43

G 0 +2 -4

G# 0 +14 +47

A 0 -16 0

Bb 0 +14 -10

B 0 -12 -49

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).

Value:

-50– +50

Creating a Patch

One cent is 1/100th of a semitone.

Scale Tune (Scale Tune Switch)

Turn this on when you wish to use a tuning scale other than equal

temperament.

Value:

OFF, ON

The V-Synth XT 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.

• The selected scale applies to MIDI messages received from an

external MIDI device.

Scale Tune C–B

Make scale tune settings.

Value:

-100– +100

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.

If you choose “EXT IN,” the signal from the front panel MIC jack, the

rear panel INPUT jacks, or an audio signal being received from a

USB-connected computer via USB audio will be used as the

oscillator. This lets you play the externally input signal from the

keyboard.

Value

ANALOG:

PCM:

EXT IN:

Wave Gain

Sets the gain (amplification) of the waveform.

Value:

Analog Oscillator

PCM Oscillator

External Input Oscillator

-12– +12 dB

ANALOG OSC

Waveform (Analog Oscillator Waveform)

Selects the wave upon which the sound is to be based when using an

analog oscillator.

Value

Waveform SAW:

Sawtooth wave Pulse Width

SQUARE:

TRI:

SINE:

RAMP:

JUNO:

HQ-SAW:

wave

HQ-SQUARE:

square wave

NOISE:

LA-SAW:

LA-SQUARE:

SUPER-SAW:

FEEDBACK-OSC:

Feedback Oscillator *3

X-MOD-OSC:

Cross Modulation Oscillator *3

*1 If you use the sub-oscillator (P.87), the Fat will change to the Detune.

*2 “LA-SAW” and “LA-SQR” simulate waveforms used in the LA

*3 “SUPER-SAW,” “FEEDBACK-OSC,” and “X-MOD-OSC”

Square wave

Triangle wave

Sine wave

Ramp wave

Modulated sawtooth wave Pulse Width

High quality sawtooth

High quality

Noise wave Pulse Width

LA sawtooth wave *2

LA square wave *2

Super Saw *3

(Linear Arithmetic) sound generator of the Roland D-50. These

produce a more mild and fat sound than the conventional “SAW”

and “SQR.”

simulate waveforms used in the Roland JP-8000/JP-8080. The V-

Synth XT significantly enhances this functionality by letting you

control these parameters by an envelope and by applying COSM.

SUPER-SAW (Super Saw)

This sounds like seven sawtooth waveforms sounding

simultaneously. Pitch-shifted sounds are added to a central

sound. It is especially suitable for creating thick string-type

sounds.

FEEDBACK OSC (Feedback Oscillator)

This sound is similar to electric guitar feedback. It is

suitable for creating hard and aggressive sounds that stand

out.

Third tab Fourth tab

Fat (P.89) /

(P.88) Pulse Width

(P.88)

(P.88) Pulse Width

(P.88)

(P.88) Pulse Width

(P.88) Detune

(P.89) Harmonics

(P.90) X-MOD

(P.91)

Detune (P.89) *1 Fat (P.89) /

Detune (P.89) *1 Fat

(P.89) Fat

(P.89) Fat (P.89) /

Detune (P.89) *1 Fat (P.89) /

Detune (P.89) *1 Mix

(P.90) FBK Amount

(P.90) Fat

(P.89)

X-MOD-OSC (Cross Modulation Oscillator)

Cross Modulation is when OSC2 modify the frequency of

OSC1.

Creating a Patch

Sub-Oscillator (ANALOG)

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 sub-oscillator, you can

apply a detune effect by setting Detune to a value other than “0.”

Octave Select (Sub Oscillator Octave Select)

When using the sub-oscillator, this specifies the number of octaves

below the basic pitch at which it will be sounded.

Value

OFF:

The sub-oscillator will not be used.

-2:

The sub-oscillator will be added two octaves below the basic

pitch.

-1:

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.

If you use the sub-oscillator (i.e., when the value is -2, -1, or 0),

the Fat parameter will be ignored.

Sub Level (Sub Oscillator Level)

Specifies the volume of the sub oscillator.

Value:

0–127

Impact (Analog Oscillator Impact)

Specifies the sharpness of the attack of the analog oscillator. Higher

settings will produce a sharper attack.

Value:

0.0–4.0

PCM OSC

Playback Mode (PCM Oscillator Playback Mode)

Specifies how the wave will be assigned to each key.

Value

RETRIGGER:

time you play a key.

LEGATO:

synchronized with the currently playing sound.

STEP:

next event (p. 120) and then stop.

EVENT:

separate keys. Each time you press a key, the sample will play from

the beginning of the corresponding event.

The sample will play back from the beginning each

When you play legato, the playback point will be

Each time you play a key, the sample will play back to the

The sample will be divided at each event and assigned to

Vari Sw (PCM Oscillator Vari Switch)

Switches whether the sound will be produced using Vari Phrase

(ON) or linearly (OFF).

Value:

OFF, ON

Time Trip Sw (Time Trip Switch)

Selects whether Time Trip will operate (ON) or not (OFF).

Value:

OFF, ON

Beat Keep (Time Trip Beat Keep)

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).

Value:

OFF, ON

Loop (PCM Oscillator Loop Switch)

Specifies whether the wave will be played as a loop (ON) or not

(OFF).

Value:

OFF, ON

Creating a Patch

Waveform (PCM Oscillator Waveform)

Selects the wave upon which the sound is to be based when using a

PCM oscillator.

Value:

1–999 (wave number)

When you touch <List>, the Wave List window will appear,

allowing you to select the wave from the list.

When you select a wave, the wave name, encoding type, and

stereo/mono will also be displayed.

Start Offset (PCM Oscillator Start Offset)

Specifies the starting address of the wave.

Value:

0–**

Robot Voice (PCM Oscillator Robot Voice Switch)

Specifies whether the pitch of the wave will be held steady (ON) or

not (OFF).

Value:

OFF, ON

Tempo Sync (PCM Oscillator Tempo Sync Switch)

Specifies whether the wave will be sounded in sync with the tempo

clock (ON) or not (OFF).

Value:

OFF, ON

Creating a Patch

Pitch

fig.03-14_50

Pitch (Oscillator Pitch)

Adjusts the pitch of the oscillator.

Value:

-63– +63

Pitch KF (Oscillator Pitch Key Follow)

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.

Value:

-200– +200

fig.Pitch KF.e

Pitch

★

+200

C4C3C2C1 C5 C6 C7

+100

+50

-50

-100-200

Key

Random (Oscillator Random Pitch Depth)

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).

Value:

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

Pit LFO Dp (Oscillator Pitch LFO Depth)

Specifies how deeply the LFO will affect pitch.

Value:

-63– +63

In this screen you can make settings for the envelope that affects

the pitch. For details on envelope settings, refer to

Envelope Settings”

(p. 95).

★

“Making

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.

Value:

-200– +200

★

Coarse (Oscillator Coarse Tune)

Adjusts the pitch of the oscillator up or down in semitone steps (+/-4

octaves).

Value:

-48– +48

Fine (Oscillator Fine Tune)

Adjusts the pitch of the oscillator up or down in 1-cent steps (+/-50

cents).

Value:

-50– +50

One cent is 1/100th of a semitone.

PW LFO Depth (Pulse Width LFO Depth)

Specifies how deeply the LFO will affect pulse width.

Value:

-63– +63

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. 95).

★

Creating a Patch

Fat (ANALOG)

fig.03-16_50

Fat

★

Emphasizes the low-frequency region of the sound.

Value:

0–127

Fat KF (Fat Key Follow)

Specifies the amount by which the fat value will be affected by the

key you play.

Value:

-200– +200

Fat LFO Depth

Specifies how deeply the LFO will affect fat.

Value:

-63– +63

★

Detune KF (Detune Key Follow)

Specifies the amount by which the detune value will be affected by

the key you play.

Value:

-200- +200

Detune LFO Depth

Specifies how deeply the LFO will affect detune.

Value:

-63- +63

In this screen you can make settings for the envelope that affects

the detune. For details on envelope settings, refer to

Envelope Settings”

(P.95).

“Making

Detune (ANALOG, when SUPER-SAW is selected)

fig.08_50

Creating a Patch

In this screen you can make settings for the envelope that affects

the fat. For details on envelope settings, refer to

Envelope Settings”

(p. 95).

“Making

Detune (ANALOG, when using Sub OSC)

fig.08_50

Detune

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.”

Value:

-63–+63

Detune

Adjust 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.

Value:

-63–+63

Detune KF (Detune Key Follow)

Specifies the amount by which the detune value will be affected by

the key you play.

Value:

-200- +200

Detune LFO Depth

Specifies how deeply the LFO will affect detune.

Value:

-63- +63

In this screen you can make settings for the envelope that affects

the detune. For details on envelope settings, refer to

Envelope Settings”

(P.95).

“Making

Creating a Patch

Mix (ANALOG, when SUPER-SAW is selected)

fig.08_50

Mix

Adjust 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.

Value:

-63–+63

Mix KF (Mix Key Follow)

Specifies the amount by which the Mix value will be affected by the

key you play.

Value:

-200- +200

Harmonics LFO Depth

Specifies how deeply the LFO will affect Harmonics.

Value:

-63- +63

In this screen you can make settings for the envelope that affects

the Harmonics. For details on envelope settings, refer to

“Making Envelope Settings”

You can create distinctive effects by applying an LFO or

envelope to HARMONICS or FBK AMOUNT.

(P.95).

FBK Amount (ANALOG, when FEEDBACK-OSC is selected)

fig.08_50

Mix LFO Depth

Specifies how deeply the LFO will affect Mix.

Value:

-63- +63

In this screen you can make settings for the envelope that affects

the Mix. For details on envelope settings, refer to

Envelope Settings”

(P.95).

“Making

Harmonics (ANALOG, when FEEDBACK-OSC is selected)

fig.08_50

Harmonics

Vary the sound of the harmonics.

Value:

-63–+63

FBK Amount (Feedback Amount)

Adjust the amount of feedback to adjust the level of the harmonics.

Value:

-63–+63

Amount KF (Amount Key Follow)

Specifies the amount by which the feedback value will be affected by

the key you play.

Value:

-200- +200

Amount LFO Depth

Specifies how deeply the LFO will affect feedback.

Value:

-63- +63

In this screen you can make settings for the envelope that affects

the feedback. For details on envelope settings, refer to

Envelope Settings”

You can create distinctive effects by applying an LFO or

envelope to HARMONICS or FBK AMOUNT.

(P.95).

“Making

Harmonics KF (Harmonics Key Follow)

Specifies the amount by which the Harmonics value will be affected

by the key you play.

Value:

-200- +200

Creating a Patch

X-MOD

(ANALOG, when X-MOD-OSC is selected)

fig.08_50

X-MOD (Cross Modulation Depth)

Cross Modulation is when OSC2 modify 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.

Value:

-63–+63

“Cross Modulation Depth” can be selected only for OSC1.

Time (PCM)

fig.03-17_50

Time

★

This sets the range of change in playback speed (time).

Value:

-63– +63

Time

FWD

ZERO -2x speed Reverse

BWD 4x speed -2x speed Reverse

-40 -20 0 20 40

Reverse playback

Stop Normal

speed Stop Normal

playback

2x speed 4x speed

speed Stop Normal

Creating a Patch

2x speed

speed

“Cross Modulation Depth” does nothing if OSC2 is off.

X-MOD KF (X-MOD Key Follow)

Specifies the amount by which the Cross Modulation value will be

affected by the key you play.

Value:

-200- +200

X-MOD LFO Depth

Specifies how deeply the LFO will affect Cross Modulation.

Value:

-63- +63

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. 95).

Time KF (Time Key Follow)

Specifies the amount by which the time value will be affected by the

key you play.

Value:

-200– +200

Time Offset

Specifies the basic speed for a time value of “0”.

Value

BWD:

Specifies a backward direction.

ZERO:

Specifies a pause.

FWD:

Specifies a forward direction.

Time LFO Depth

Specifies how deeply the LFO will affect time.

Value:

-63– +63

In this screen you can make settings for the envelope that affects

the time. For details on envelope settings, refer to

Envelope Settings”

★

“Making

(p. 95).

Creating a Patch

Formant (PCM)

fig.03-18_50

The parameters of this screen are ignored when the Vari switch

(p. 87) is off and when the Encode Type (p. 119) is “BACKING”

or “ENSEMBLE.”

Formant

This sets the range of change in vocal quality (formant).

Value:

Formant KF (Formant Key Follow)

Specifies the amount by which the formant value will be affected by

the key you play.

Value:

Energy

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.

Value:

Fmt LFO Depth (Formant LFO Depth)

Specifies how deeply the LFO will affect formant.

Value:

In this screen you can make settings for the envelope that affects

the formant. For details on envelope settings, refer to

Envelope Settings”

★

-63– +63

-200– +200

OFF, 1–127

★

-63– +63

“Making

(p. 95).

OSC TVA

fig.03-19_50

Level

★

Specifies the volume of the oscillator.

Value:

0–127

Level KF (Level Key Follow)

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.

Value:

-200– +200

Level LFO Dp (Level LFO Depth)

Specifies how deeply the LFO will affect the volume of the oscillator.

Value:

-63– +63

In this screen you can make settings for the envelope that affects

the sub TVA. For details on envelope settings, refer to

Envelope Settings”

(p. 95).

★

“Making

LFO

fig.03-20_50

In this screen you can make settings for the LFO that affects the

oscillator. For details on LFO settings, refer to

Settings”

(p. 96).

“Making LFO

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.

FM:

Use OSC2 to apply FM (frequency modulation) to OSC1.

ENV RING:

OSC1.

OSC SYNC:

output waveform of OSC2.

Use the envelope of OSC2 to control the volume of

Synchronize the output waveform of OSC1 to the

Applying Various Effects to Each Note You Play (COSM1/COSM2)

COSM Switch

Switches the COSM on/off.

Value:

OFF, ON

COSM Type

fig.09_50

CO SM Type

Use this parameter to select from among the 16 available COSMs.

For details on COSM parameters, refer to

159).

Value:

THRU, OD/DS, W-SHAPE, AMP, SPEAKER, RESONATOR,

SBF1/2, COMB, DUAL, TVF, DYN-TVF, COMP, LIMITER, F-SHIFT,

LO-FI, TB FILTER

LFO

fig.03-23_50

“COSM Parameters”

(p.

Creating a Patch

OSC SYNC is valid only when OSC2 is an analog oscillator.

Original Level (Modulator Original Level)

Specifies the volume for the original sound of OSC1.

Value:

0–127

This can be set if Modulator Type is set to “RING” or “FM.”

Attack (Modulator Attack Time)

Specifies the attack time of the OSC2 envelope.

Value:

0–127

This can be set if Modulator Type is set to “ENV RING.”

Release (Modulator Release Time)

Specifies the release time of the OSC2 envelope.

Value:

0–127

This can be set if Modulator Type is set to “ENV RING.”

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. 96).

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. 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.

Value:

-200– +200

Lvl LFO Dp (Level LFO Depth)

Specifies how deeply the LFO will affect the volume of the patch.

Value:

-63– +63

★

Pan KF (Pan Key Follow)

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.

Value:

-200– +200

fig.Pan KF.e

Pan

Pan LFO Dp (Pan LFO Depth)

Specifies how deeply the LFO will affect the pan.

Value:

-63– +63

In this screen you can make settings for the envelope that affects

the TVA. For details on envelope settings, refer to

Envelope Settings”

C4C3C2C1 C5 C6 C7

★

(p. 95).

+100

+50

-50

-100

“Making

Key

LFO

fig.03-25_50

Pan

Specifies the pan of the patch. “L64” is far left, “0” is center, and

“63R” is far right.

Value:

L64–0–63R

In this screen you can make settings for the LFO that affects the

TVA. For details on LFO settings, refer to

Settings”

(p. 96).

“Making LFO

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. If you

don’t want your keyboard playing strength to affect the envelope

depth, set this to “0”.

Value:

0–7

fig.Curve-7

0123

4567

Velocity Sens (Envelope Velocity Sensitivity)

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.

Value:

-63– +63

Velocity A-Sens (Envelope Attack Time Velocity Sensitivity)

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.

Value:

-63– +63

ADSR Attack (Envelope Attack Time)

Specifies the attack time of the envelope (the time from when you

press a key until the envelope level reaches the maximum value).

Value:

0–127, Note

ADSR Decay (Envelope Decay Time)

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).

Value:

0–127, Note

ADSR Sustain (Envelope Sustain Level)

Specifies the sustain level of the envelope (the level at which the

envelope remains constant).

Value:

0–127

ADSR Release (Envelope Release Time)

Specifies the release time of the envelope (the time from when you

release a key until the envelope level reaches 0).

Value:

0–127, Note

“ENVELOPE” in the lower right of the screen shows a graphical

representation of the envelope produced by the current settings.

★

Env Time KF (Envelope Time Key Follow)

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.

Value:

-200– +200

fig.Time KF.e

Time

+100

+50

Creating a Patch

Velocity D-Sens (Envelope Decay Time Velocity Sensitivity)

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.

Value:

-63– +63

Velocity R-Sens (Envelope Release Time Velocity Sensitivity)

The parameter to use when you want key release speed to control

the release time value 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.

Value:

-63– +63

C4C3C2C1 C5 C6 C7

-50

-100

Key

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.

Value

SIN:

Sine wave

TRI:

Triangle wave

SAW:

Sawtooth wave

SQR:

Square wave

RND:

Random wave

TRP:

Trapezoidal wave

S&H:

Sample & Hold wave (one time per cycle, LFO value is

changed)

CHAOS:

Chaos wave

Rate (LFO Rate)

Adjusts the modulation rate, or speed, of the LFO.

Value:

0–127, Note

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)

(quarter note)

(eighth note)

This setting will be ignored if the Waveform parameter is set to

“CHAOS.”

“LFO” in the lower right of the screen shows a diagram of the

wave cycle that corresponds to the current settings.

★

Delay time

1 second (60 / 60 =1 (second))

0.5 seconds (60 / 120= 0.5 (seconds))

0.25 seconds (60 / 240= 0.25 (seconds))

Fade Mode (LFO Fade Mode)

Specifies how the LFO will be applied.

Value:

ON <<, ON >>, OFF <<, OFF >>

“LFO” in the lower right of the screen shows a wave graphic that

corresponds to the current settings.

Offset (LFO Offset)

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.

Value:

-100, -50, 0, +50, +100

Key Sync (LFO Key Sync Switch)

This specifies whether the LFO cycle will be synchronized to begin

when the key is pressed (ON) or not (OFF).

Value:

OFF, ON

Delay Time (LFO Delay Time)

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).

Value:

0–127

After referring to

setting until the desired effect is achieved.

“How to Apply the LFO”

(p. 97), change the

After referring to

setting until the desired effect is achieved.

“How to Apply the LFO”

(p. 97), change the

Fade Time (LFO Fade Time)

Specifies the time over which the LFO amplitude will reach the

maximum (minimum).

Value:

0–127

After referring to

setting until the desired effect is achieved.

“How to Apply the LFO”

(p. 97), change the

Creating a Patch

How to Apply the LFO

●

Apply the LFO gradually after the key is pressed

fig.LFO-1.e

high (more)

Cutoff Frequency

Fade Mode:

Fade Time:

Pitch

Level

low (less)

ON <<

The time over which the LFO amplitude will reach the

maximum after the Delay Time has elapsed.

Delay Time:

The time from when the keyboard is played until the

LFO begins to be applied.

●

Apply the LFO immediately when the key is pressed, and then gradually begin to decrease the effect

fig.LFO-2.e

Fade Mode:

Fade Time:

high (more)

Pitch

Cutoff Frequency

Level

Pan

low (less)

ON >>

The time over which the LFO amplitude will reach the

minimum after the Delay Time has elapsed.

Delay Time:

The time that the LFO will continue after the keyboard

is played.

●

Apply the LFO gradually after the key is released

fig.LFO-3.e

high (more)

Cutoff Frequency

Fade Mode:

Fade Time:

Pitch

Level

Pan

low (less)

OFF <<

The time over which the LFO amplitude will reach the

maximum after the Delay Time has elapsed.

Delay Time:

The time from when the keyboard is released until the

LFO begins to be applied.

●

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)

Cutoff Frequency

Fade Mode:

Fade Time:

minimum after the Delay Time has elapsed.

Delay Time:

is released.

Pitch

Level

Pan

low (less)

OFF >>

The time over which the LFO amplitude will reach the

The time that the LFO will continue after the keyboard

Pan

Note

Delay Time

Note on

Note

off

Note on

Delay Time

Fade Time

Note off

Delay Time

Depth

Fade Time

Depth

Fade Time

Depth

Setting Effects for a Patch (Effect)

Routing

fig.03-28_50

MFX Send (MFX Send Level)

Sets the level of the signal sent to MFX.

Value:

0–127

CHO Send (Chorus Send Level)

Sets the level of the signal sent to chorus.

Value:

0–127

REV Send (Reverb Send Level)

Sets the level of the signal sent to reverb.

Value:

0–127

Output Assign

Sets the direct sound’s output method.

Value

MULTI:

Output in stereo through MFX. You can also apply chorus or

reverb to the sound that passes through MFX.

MAIN:

Output to the MAIN OUT jacks in stereo without passing

through MFX.

DIR:

Output to the DIRECT OUTjacks in stereo without passing

through MFX. Make this setting when you want to use external

effects.

MFX (MFX On/Off Switch)

Switches MFX on and off.

Value:

(OFF), (ON)

MFX Type

Use this parameter to select from among the 41 available MFX. For

details on MFX parameters, refer to

Value:

00 (Thru)–41

MFX Master Level

Adjusts the volume of the sound that has passed through the MFX.

Value:

0–127

★

“MFX Parameters”

(p. 164).

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. If you don’t want to add the Reverb effect, set it to “0.”

Value:

0–127

CHO (Chorus On/Off Switch)

Switches chorus on and off.

Value:

(OFF), (ON)

CHO Type (Chorus Type)

Use this parameter to select from among the 8 available chorus. For

details on chorus parameters, refer to

186).

Value:

00 (Off)–08

“Chorus Parameters”

(p.

CHO Master Level (Chorus Master Level)

Adjusts the volume of the sound that has passed through chorus.

Value:

0–127

MFX

fig.03-29_50

MFX Type

Use this parameter to select from among the 41 available MFX. For

details on MFX parameters, refer to

Value:

00 (Thru)–41

In this setting screen, you can edit the parameters of the MFX that is

selected by the MFX Type setting. For details on the parameters that

can be edited, refer to

When you touch <List>, the MFX List window will appear,

allowing you to select the MFX from the list.

“MFX Parameters”

(p. 164).

CHO To REV (Chorus Reverb Send Level)

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.”

Value:

0–127

REV (Reverb On/Off Switch)

Switches reverb on and off.

Value:

(OFF), (ON)

REV Type (Reverb Type)

Use this parameter to select from among the 10 available reverb. For

details on reverb parameters, refer to

Value:

00 (Off)–10

“Reverb Parameters”

(p. 186).

REV Master Level (Reverb Master Level)

Adjusts the volume of the sound that has passed through reverb.

Value:

0–127

MFX Switch

Switches the MFX on/off.

Value:

OFF, ON

CHO

fig.03-30_50

CHO Type (Chorus Type)

Use this parameter to select from among the 8 available chorus. For

details on chorus parameters, refer to

186).

Value:

00 (Off)–08

In this setting screen, you can edit the parameters of the chorus that

is selected by the CHO Type setting. For details on the parameters

that can be edited, refer to

“Chorus Parameters”

(p. 186).

(p.

When you touch <List>, the Chorus List window will appear,

allowing you to select the chorus from the list.

Creating a Patch

An indication of the zone for the note you play

An indication of the note you play

Chorus Switch

Switches the Chorus on/off.

Value:

OFF, ON

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

Value:

00 (Off)–10

In this setting screen, you can edit the parameters of the reverb that

is selected by the REV Type setting. For details on the parameters

that can be edited, refer to

“Reverb Parameters”

(p. 186).

Zone Settings (Zone)

V-Synth XT lets you divide the keyboard into as many as sixteen

zones, with each zone playing a different sound.

The zone is shown in the upper right of the PATCH PLAY screen

or EDIT screen. To move between zones, hold down [SHIFT] and

use the left/right cursor ([ ], [ ]) keys.

The following patch 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 MFX, Chorus, and Reverb type, and

effect settings

Splitting the Keyboard to Play Different Sounds (Split)

A patch that contains settings to play different patches in each

keyboard zone is called a

patch.

fig.11e

split patch

. Here’s how to create a split

Creating a Patch

When you touch <List>, the Reverb List window will appear,

allowing you to select the reverb from the list.

Reverb Switch

Switches the Reverb on/off.

Value:

OFF, ON

Access the PATCH PLAY screen, and select the patch

whose settings you wish to modify (p. 60).

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. 73).

Roland V-Synth XT User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

How To Use This Manual

Notation Used in This Owner’s Manual

Contents

Main Features

Panel Descriptions

Front Panel

Rear Panel

Quick Start

Getting Ready

Basic Touch Screen Operation

Try Out the Sounds

Try Out the Various Performance Features

Creating a Patch

Reference

Overview of the V-Synth XT

How the V-Synth XT Is Organized

Basic Structure

Polyphony

About Multitimbral Performance

Memory

Memory Structure

Basic Operation of the V-Synth XT

Changing Operating Modes ([MODE])

Playing in Patch Mode

About the PATCH PLAY Screen

Displaying PATCH PLAY Screen

Selecting a Patch

Selecting Favorite Patches (Patch Palette)

Selecting Patches by Category

Selecting Patches from the List

Playing Single Notes (Mono)

Creating Smooth Pitch Changes (Portamento)

Playing Arpeggios (Arpeggiator)

Holding an Arpeggio

Making Arpeggiator Settings

Using steps to vary the sound (Multi Step Modulator)

Applying Various Effects to the Sound

Applying an Effect by Touching Your Finger to the Pad (Time Trip Pad)

V-LINK Functions that the V-Synth XT Can Control and MIDI Messages

Enter V-LINK Mode

Creating a Patch

How to Make the Patch Settings

Initializing Patch Settings (PATCH Init)

Copying Patch Settings (PATCH Copy)

Naming a Patch (PATCH Name)

Assigning the Category of a Patch

Saving Patches (PATCH Write)

Registering a Favorite Patch (Patch Palette)

Deleting Patches (PATCH Delete)

Creating a patch intuitively (Sound Shaper)

Functions of Patch Parameters

Settings Common to the Entire Patch (Common)

Modifying Waveforms (OSC1/OSC2)

Mixing/Modulating Two Sounds (MOD)

Applying Various Effects to Each Note You Play (COSM1/COSM2)

Adjusting the Volume and Pan (TVA)

Making Envelope Settings

Making LFO Settings

Setting Effects for a Patch (Effect)

Zone Settings (Zone)

Splitting the Keyboard to Play Different Sounds (Split)