Roland Corporation V-Synth GT Quick Start

Quick Start

The genesis of the V-Synth

In 1973, Roland unveiled its  rst synthesizer, the SH-1000. At that time, the

signal was generated and processed by analog circuitry, and it wasn’t possible to create

realistic pianos or similar sounds. But the synthesizer continued to evolve toward more

sophisticated sound-creating potential.

The early 1990’s saw the further advance of digital technology, with vari-

ous manufacturers releasing synthesizers containing sampled (PCM) waveforms. Roland

also released the JD-800, which was a digital instrument, but allowed analog-like sound

editing, as well as the XP-50 workstation which contained a built-in sequencer.

In this way, synthesizers became instruments that made it easy to obtain a wide variety

of sounds, and became indispensable to music.

But what is the true attraction of synthesizers?

In 2003

“It’s fun to create sound”

The V-Synth was released, a synthesizer that utilized the latest technology to create new

sounds. The time, pitch, and formant could be freely controlled even for sampled wave-

forms, allowing the creation of synthesizer sounds that had never been heard before.

, Roland returned to one of the ideals from which the synthesizer originated.

And now in 2007, the V-Synth engine has evolved to Dual Core, giving

birth to the V-Synth GT and bringing you “AP-Synthesis” which creating realistic sounds

based on an analysis of the playing techniques characteristic of instruments such as

violin and sax, and “Vocal Designer” which lets you perform human voice.

“New sounds for all musicians”—that is the genesis of the V-Synth.

Contents

00 The genesis of the V-Synth 3 01 An overview of the V-Synth GT 5

What the V-Synth GT can do . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

What is AP-Synthesis? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

What is Vocal Designer? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

What is VariPhrase? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

What is COSM? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

02 Basic operation 13

About the panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

About the display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Basic touch panel operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Convenient functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Calibrating the touch panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Changing the wallpaper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

03 Playing sounds 23

Selecting a patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Using controllers to modify the sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Performing with AP-Synthesis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Violin phrase model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Erhu phrase model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Sax phrase model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Flute phrase model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Multifade phrase model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Performing with Vocal Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

04 Creating sounds 37

How Patches and Tones are related . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

What is a Patch? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

What is a Tone? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Selecting a tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Editing a tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

SOUND SHAPER II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

PRO EDIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Saving patches and tones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Initializing a patch or tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Gives you an overview of the V-Synth GT.

Explains basic operation of the V-Synth GT.

Explains how to select and play patches.

Helps you start creating your own sounds.

05 Index 53

An overview of the V-Synth GT

This chapter introduces you to what can be done using the V-Synth GT.

Read this chapter  rst to get a glimpse into the world of the V-Synth GT.

“

“use the playing technique of a

violin to play synthesizer sounds such as sawtoot

What the V-Synth GT can do

ere are sounds that can be produced only by the V-Synth G

There are four important factors in sounds that can be produced only by the V-Synth GT

AP-Synthesis

VariPhrase

→ refer to “Performing with AP-Synthesis” (p. 28)

n AP-Synthesis, a “dynamic model” that’s distinctive of actually existing acous

tic instruments is applied to synthesizer sounds, allowing the “expression” and

movement” characteristic of those instruments to be portrayed, rather than

imply reproducing the sound

n other words, you can do things like

→ refer to “Using controllers to modify the sound” (p. 26)

There are performance techniques that are possible only on the V-Synth GT

You can use the following two performance techniques to perform sounds that can be produced only by the V-Synth GT.

You can apply a variety of e ects by touching the Time Trip pad while you hold

down keys on the keyboard.

By using the Time Trip function with VariPhrase

to stop the playback of a wave, or create scratch-type e ects by moving your  ngertip in a circle.”

“you can touch the pad

Overview

nalog synthesiz-

of  lters as

to a

ion of the vocoder, giving you possibilities

ice to realistic backing choruses.

Vocal Designer

→ refer to “Performing with Vocal Designer” (p. 34)

Analog Modeling / COSM

Basic operationPlaying soundsCreating soundsIndex

→ refer to “What is COSM?” (p. 12)

You can apply a variety of e ects by moving your hand over the D Beam while

you play the keyboard. If you assign this to control the Dynamics parameter

of AP-Synthesis,

you can create a natural-sounding crescendo and

decrescendo by moving your hand.

A new method of expression that s neither sampling nor modeling

Whil

le b

brato

Crescendo

What is AP-Synthesis?

AP-Synthesis (Articulative Phrase Synthesis) is one of the new features on the V-Synth GT. It en

ables performance expression that exceeds the realism of sampling.

’

P-Synthesis is a completely new method of sound generation; it does

ot merely sample and reproduce the sound of an acoustic instrument,

ut actually models the way that an instrument responds to being played

In a big step up from merely seeking realism in the sound waveform

, this method meticulously models the way in which the sound

itsel

roduced by the instrument responds to how the instrument is played

e conventional physical modeling sound generators modeled an

instrument’s “structure” (the shape of its resonant bod

he tube, or the material of the vibrating object), AP-Synthesis models

he “responses” or “operations” that are typical of that instrument being

ayed, such as trills, portamento, vibrato, or dynamics

This means that the synthesizer is not restricted to simply reproducing the “sound,” but is also able

to reproduce the “expressions” and “operations” that are typical o

each instrument

, the length of

The V-Synth GT models the way in which the sound responds to playing technique on several

ories of solo instrument that have particular expressive power: the saxophone, the  ute, the

cate

erh-hu (a traditional Chinese instrument), and the violin. A trill played on a  ute, a glissando on

in, and special techniques such as vibrato or crescendo can be expressed simply by play

a vio

ing the keyboard, without your having to be conscious of them, allowing you to create humanly

emotional per

For examp

ealistically expressive solo violin sound that’s just like what a violinist would play—simply by

laying the keyboard in the conventional manner.

ormances in a realistic way.

Glissando technique Vi

y applying the “violin” phrase model to the “violin” source wave, you can obtain a

reality

AP-Synthesis modeling types also include variations that are possible only on a synthesizer; you

can select distinctive models such as “analog lead s

technique.” These sounds can then be processed by COSM, and layered with VariPhrase sounds to

create sounds that are not limited to re-creations of conventional instruments

nth sounds played using violin performance

The sound of a synthesizer ...

rase Mode

Overview

Basic operationPlaying soundsCreating soundsIndex

played with violin technique ...

allows new performance expressions

P-Synthesis can be used with either the UPPER or LOWER tone (not both simultaneously).

“

Vocal Designer

hnol

ly play

“Play like y

What is a

vocoder?

lly sy



What is Vocal Designer?

Vocal Designer” is a further evolution of the “vocoder.” This function was featured on the VP-550,

is also provided on the V-Synth GT.

ocal Designer uses cutting-edge model-

ing tec

eap in synthesis precision, succeeding in

roducing “human voice” that is incom arably more natural and realistic than

onventional vocoders. Vocal Designer uses

he audio from the mic to express elements

the sound other than pitch. The pitch is

ontrolled from the keyboard.

Simp duce sound. The important thing about learning to take advantage of Vocal Designer is the timing at which you play the keyboard and vocalize into the mic. For phrases involving rapid passages, it’s best to hold down the notes on the keyboard, and mark the rhythm using your voice

Unlike conventional synthesizers, you’ll use the mic to control the volume. In other words, you’re

sing your voice to describe the volume curve. Try using your voice to add expression to an extent

ou might consider excessive

ing the keyboard or simply vocalizing into the mic will not make Vocal Designer pro

ou’re singing”—that’s the most important technique

Vocal Designer.

ogy to attain a revolutionary

or taking advantage of

The vocoder was invented by the physicist H. Dudle

n 1939 as a method of compressing vocal signals. Taking advantage o was born as an instrument that let you per

ies or harmonies using a human voice. Of course, ou’re not limited to using a human voice as the audio

source—an

ocal apparatus as its starting point, we’ll explain how the human voice works.

The human voice starts the the vibrational wave signi cantl

roduced. These sounds become intelligible as spoken words because of

arious resonances produced by the vocal tract (i.e., changes in the shape and structure o sounds known as “sibilants

orm produced by the vocal cords is relatively small

A vocoder analyzes these time-variant changes in the sound, electrica thesizes the changes in the shape of the throat and mouth (formant move

ents), and produces sound by using these formants to modulate a signal from a musical instru ent (the carrier) instead of the signal from the vocal cords. “Voices” produced by a vocoder in this

way are typically closer to a robot in a science

audio source can be used. Still, since the vocoder was developed with the human

rom the “vocal cords.” Except for di erences in

orce and the pitch of the voice, and di erences between individuals,

orm produced by the vocal cords does not change

even when di erent sounds (such as “aah” or “ooh”) are being

the throat and movements of the mouth) and time-varying

” “fricatives,” and “nasals.” The e ect of the wave-

ction movie than to any actual human voice.

this technology, the “vocoder”

orm melo-

Resonances (formants) resulting from the vocal tract (shape and structure of the throat) and movements of the mouth

Vocal cords (carrier)

“

VariPhrase

What is VariPhrase?

VariPhrase” is technology that breaks through the limitations of conventional samplers, and

allows you to independently change the pitch, time (playback speed), and

ter) of the sampled sound in realtime.

On conventional samplers, changing the pitch would also change the time (playback speed) and

the formants (the vocal or tonal character)

ormants (vocal charac

Overview

Basic operationPlaying soundsCreating soundsIndex

However when using VariPhrase, you can change just the pitch while leaving the time and for

ants unaltered.

course, you can also change just the “time” or just the “formants” to transform the bark of a

large dog into the bark o

In this wa

ot possible on conventional samplers

, the VariPhrase that’s at the core of the V-Synth GT gives you a range of control that was

a small dog.

ynth

COSM types provided by the V Synth GT

distortion that is eve

Amp Simulator

Speaker Simulator

overtone structures.

Processor

TB Filter

the Roland

303.

What is COSM?

COSM (Composite Object Sound Modeling) is proprietary Roland technology that uses DSP technolog ity, electronic circuits, and magnetism in order to calculate the e ect they have on the sound that

eaches the human ear as vibrations in the air

he V-Synth GT provides two COSM units as extensions of a conventional analog synthesizer’s  lters. In addition to the  lters of a conventional synthesizer, these provide unique  lters found only on the V-S amp, speaker, or acoustic guitar bod

to model physical characteristics such as the structure of an object, materials, electric

, such as SBF (Side Band Filter) and TB  lter. You can also apply various modeling types such as

resonances, as well as e ects such as compressor and distortion.

verdrive/Distortion

his simulates the sound of overdrive

roduced by vacuum tubes, and the in

ense distortion sounds of a guitar amp

Wave Shapin

is allows you to create a distinctive

verdrive or Distortion

n more intense than

sounds to prevent distortion.

-Fi

is lets you lower the bit-depth or

sample rate

When you play a chord, the e ect produced by a conventional e ect processor will apply to the combined sound of all notes of the chord. However the V-Synth GT’s COSM e ects are applied individually to each note within the chord

tones, allowing you to create unusual

his is based on an analysis of the  lter of

TB-

Basic operation

This chapter explains basic operation of the V-Synth GT, focused mainly on the screen.

controller area

dly

to three areas. We

describe each of these below.

”

eam

e ects to the sound.

Control knobs

e ects to the sound.

About the panel

rformance controller ar

isplay area

The V-Synth GT’s panel contains numerous buttons and knobs, but we can broa

For details on what each control actually does, refer to the “Owner’s Manual.

In this area you’ll  nd the controllers that you can operate to modify the sound while you play.

The result that each controller has will de

’ll

ft. (approx.)

end on the patch

D B

y moving your hand above

the D Beam you can apply various

Edit ar

group these

or details, refer to “Using controllers

to modify the sound” (p. 26).

ime Trip pa

By rubbing your  ngertip on the surface of this pad you can ap-

ly various e ects to the sound. For details, refer to “Usin controllers to modify the sound”

p. 26)

turning these knobs you can apply various

When the [LEVEL] or [PAN] buttons

re lit, you can use the C1 knob to

ontrol the level or pan of the lower one, and the C2 knob to control he level or pan of the upper tone.

area

STRUCTURE

the sections are connected is called the

structures.

the illustration sho

obs of the edit

)

ou’ll use this area mainly to edit tones

Parameters of the selected tone can also be directly selected from the panel

Overview

ou can change the way in which the

V-Synth GT sound generator’s elements

sections) are connected. The way in which

“structure,” and you can choose one of  ve

KEY MOD

Here you can turn the lower tone and upper tone on/o .

If the [SELECT] button is lit, these

uttons will operate as the select

ns for the lower tone and

pper tone

In left, the upper tone is selected,

eaning that you can use the

ns and kn

area to edit the upper tone.

wn at

ection on/o buttons

ere you can directly turn on/o each section in the structure. While you’re editing, this gives you a convenient way to hear what each section is actually doing.

Basic operationPlaying soundsCreating soundsIndex

NV (envelope

ere you can control the TVA section

f the SCREEN indicator is lit, you can edit

the envelope directly in the screen.

area

Cursor buttons

You can access convenient

(

This area groups the buttons and knobs that are related to operations in the display.

Tou ch pane

You can perform various o

rations by directly touching

the buttons or knobs shown

n the display. For details,

refer to “Basic touch panel

perations” (p. 18).

Use these to move the cursor in the display.

VALUE di

this to edit the value of

e item (parameter) you’ve

selecte

SHIFT] butto

shortcuts by using this in conjunction with various other buttons.

he value of the selected item

parameter), or press [DEC/-]

E1–E8 kno

hen the Patch Play screen or the SOUND SHAPER II creen are shown, you can use these knobs to directly ontrol the parameters shown in the bottom of the

ispla

n the Pro Edit screen, these knobs directly contro

the parameters numbered 1–8.

Scree

This

cates the name of the

current screen.

wind

(

ON/OFF

obs sho

the lowe

screen.

About the display

The V-Synth GT’s display is a touch panel. You can perform a variety of operations by directly touching the displa

n nam

indi

. There are many screens, but here we’ll introduce some basic rules

this icon is lit reen, you can touch

t to open a Help

ow.

Touch this icon to

en the pulldown

Overview

Basic operationPlaying soundsCreating soundsIndex

earch

is opens a list

indow of items

such as a patch list)

ou can currently

choose from

his turns a func ion on/o

The kn part of the screen can be directly

ontrolled by the

wn in

his indicates which part you’re

currently editing.

This takes you back to the Patch Play screen

you’ve lost track of the screen you’re in, you can touch <EXIT> to return to the Patch Pla

1–E8 knobs.

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