Roland V-Synth Specifications Page 16
- Page / 64
- Table of contents
- BOOKMARKS
Rated. / 5. Based on customer reviews
B a s i c S o u n d P a r a m e t e r s
B a s i c S o u n d P a r a m e t e r s
16
This chapter only deals with those sections which are directly
involved in sound generation and treatment. For information
about programming the Arpeggiator or applying realtime
controllers (TimeTrip, D Beam, Bender and Control knobs),
please refer to the chapter “Advanced Performance” towards
the end of this tutorial. For information about Sampling and more
advanced programming, see the chapter “Advanced Sound
Programming” below.
Practical instructions here are in a much more compact form than
those above because I assume that you already know your way
around the menus. Look in the Owner’s Manual under
“Creating a Patch - Functions of Patch Parameters”
whenever you need detailed information about individual
parameters. Although each section will be dealt with in turn, you
will be guided towards other sections in the V-Synth whenever
necessary. This will help you get used to switching between
sections and guard against seeing each one as a separate,
unrelated entity.
✱
IInn pprraaccttiiccee,, ccrreeaattiinngg aa ggoooodd ppaattcchh uussuuaallllyy mmeeaannss
jjuummppiinngg bbaacckk aanndd ffoorrtthh bbeettwweeeenn ppaarraammeetteerrss rraatthheerr
oofftteenn.. SSyynntthheessiizzeerr mmoodduulleess//sseeccttiioonnss aarree,, bbyy tthheeiirr vveerryy
nnaattuurree,, hhiigghhllyy iinntteerraaccttiivvee
Because the Effect section is dealt with last, the sounds will only
start coming to life towards the end of this chapter. If you find
dry sounds generally tiring to the ear, you can always add some
internal or external reverb.
Go to 512:INIT PATCH and touch the OSC1 pad...
For each of its two oscillators (per Zone), the V-Synth gives you
the choice of two fundamentally different types - Analog and
PCM. Whichever you choose, many of the parameters are
practically the same. There is a third option which will be
mentioned later on: EXT IN causes signals from the two INPUT
jacks to be routed directly to the MOD section.
As these diagrams clearly show, the signal passes through several
stages, each with its own dedicated envelope but with a single,
shared LFO. This means that the main parameters (Pitch,
Time...) in each of the four stages can be modulated by individual
envelopes as well as by a common LFO.
** AAnnyy aauuddiioo ssiiggnnaall tthhaatt''ss bbeeeenn iinnppuutt wwhhiillee tthhee oosscciillllaattoorr
ttyyppee oonn tthhee VV--SSyynntthh iiss sseett ttoo EEXXTT IINN wwiillll bbee hheeaarrdd oonnllyy
wwhheenn yyoouu ppllaayy tthhee kkeeyybbooaarrdd.. IInn ootthheerr wwoorrddss,, tthhee ssiimmppllee
aacctt ooff iinnppuuttttiinngg aa ssoouunndd iiss nnoott eennoouugghh ttoo ccaauussee iitt ttoo bbee
hheeaarrdd.. NNoottee tthhaatt tthhee ssiiggnnaall ffrroomm tthhee DDIIGGIITTAALL IINNPPUUTT iiss nnoott
aalllloowweedd ttoo bbee uusseedd aass aa ssoouurrccee ffoorr EEXXTT IINN..
The OSC1 / OSC2 Sections
Wave
Pitch
Envelope
Pitch
PW
Envelope
Pulse
Width
Fat
Envelope
Fat
TVA
Envelope
OSC
TVA
LFO
control signal
Analog OSC
audio signal
Waveform
Pitch
Envelope
Pitch
Time
Envelope
Time
Formant
Envelope
Formant
TVA
Envelope
OSC
TVA
LFO
control signal
PCM OSC
audio signal
- B e y o n d R e a l i t y 1
- ➝ Performance Control 2
- ➝ The Simplest of Patches 2
- S o n i c C o n t r o l 3
- Side Band Filter 4
- Main Feafures 5
- Sound-making that transcends 6
- A revolutionary leap in sound 7
- — COSM — 8
- F i r s t S t e p s 10
- Trying out the Presets 11
- The Simplest of Patches 12
- Simplicity 13
- The OSC1 / OSC2 Sections 16
- PITCH (Analog or PCM) 17
- PULSE WIDTH (Analog only) 17
- FAT (Analog only) 17
- TIME (PCM only) 18
- FORMANT (PCM only) 18
- The Mod Section 19
- OSC TVA (Analog or PCM) 19
- ENV RING 20
- OSC SYNC 20
- W-SHAPE (Wave Shaper) 21
- AMP (Amplifier Emulation) 21
- The COSM Sections 21
- SPEAKER (Speaker Emulation) 22
- SBF1 (SideBand Filter 1) 22
- SBF2 (SideBand Filter 2) 23
- COMB (Comb Filter) 23
- COMP (Compressor) 24
- TVF (Time-Variant Filter) 24
- DUAL (Dual Filter) 24
- LO-FI (Low-Fidelity) 25
- F-SHIFT (Frequency Shifter) 25
- The TVA Section 26
- The Effect Section 27
- Sampling and Encoding 28
- Pre-Effects 28
- Metronome 28
- Editing Samples - Truncating 29
- Encoding 30
- Defining Events 30
- Effective Use of Envelopes 31
- Typical Envelope Shapes 31
- Composite TVAs 31
- Inverse Envelopes 33
- Getting More out of a Sample 34
- Stage 1 - Normal Arpeggios 35
- The Arpeggiator 35
- Stage 2 - Custom Rhythms 36
- Stage 3 - Custom Sequences 37
- Performance Controls 37
- V-Synth controller section 42
- Preparing to use V-LINK 43
- A p p e n d i c e s 47
- 008:Voco Bass 49
- 018:Pulsatronic 49
- 110:Sidewalk 49
- Designer: Stephane Pigeon 49
- Hans-Joerg Scheffler 50
- 240:OTODAMA-East meets west 50
- 223:Cutting Edge 50
- 255:V-ocoder 50
- 009:Phraselab 50
- O t h e r T i p s 51
- Preset Patches 52
- P a t c h L i s t 54
- No. PatchName 55
- Elements 56
- Wa v e f o r m L i s t 56
- Menu waves 57
- Multi-samplesElements 57
- What is Sound? 58
- Manipulating Partials 58
- Wah pedal 59
- S p e c i f i c a t i o n s 60
- I n d e x 62
- The Book 64
Related products and manuals for Musical Instruments Roland V-Synth
(40 pages)
Musical Instruments Roland C-380 User Manual
(16 pages)
(16 pages)
Musical Instruments Roland PCR-80 User Manual
(104 pages)
(104 pages)
Musical Instruments Roland SC-88 Pro User Manual
(168 pages)
(168 pages)
Musical Instruments Roland FP-50 User Manual
(64 pages)
(64 pages)
Musical Instruments Roland SI-24 User Manual
(52 pages)
(52 pages)
Musical Instruments Roland KR7/5 User Manual
(200 pages)
(200 pages)
Musical Instruments Roland TMC-6 User Manual
(32 pages)
(32 pages)
Musical Instruments Roland VGA-3 User Manual
(36 pages)
(36 pages)
© 2020, manymanuals.com. All rights reserved. | 0.759 s |
Manymanuals.com
Manymanuals.de
Manymanuals.fr
Manymanuals.it
Manymanuals.pl
Manymanuals.cz
Manymanuals.es
Manymanuals-pt.com
Comments to this Manuals