Roland V-Synth GT Owner's manual

Quick Start

2

3

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

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

“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.

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.

00

4

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

05 Index 53

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.

5

01

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.

6

01

What the V-Synth GT can do

I

n AP-S

y

nthesis, a “d

y

namic model” that’s distinctive o

f

actuall

y

existing acous

-

tic instruments is applied to s

y

nthesizer sounds, allowing the “expression” and

“

movement” characteristic o

f

those instruments to be portra

y

ed, rather than

s

impl

y

reproducing the sound

.

I

n other words,

y

ou can do things like

“use the playing technique of a

violin to play synthesizer sounds such as sawtoot

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

“you can touch the pad

to stop the playback of a wave, or create scratch-type e ects by

moving your  ngertip in a circle.”

Th

ere are soun

d

s t

h

at can

b

e pro

d

uce

d

on

ly

by

t

h

e V-S

y

nt

h

G

T

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

There are

f

our important

f

actors in sounds that can be produced onl

y

b

y

the V-S

y

nth GT

.

AP-Synthesis

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

VariPhrase

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

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

7

Overview

Basic operationPlaying soundsCreating soundsIndex

nalog synthesiz-

s of famous

of  lters as

to a

ion of the vocoder, giving you possibilities

ice to realistic backing choruses.

wn voice as part of the sound-

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.

Vocal Designer

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

Analog Modeling / COSM

→ refer to “What is COSM?” (p. 12)

8

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

-

ables per

f

ormance expression that exceeds the realism o

f

samplin

g

.

A new method of expression that

’

s neither sampling nor modeling

A

new

method

of

expression

that s

neither

sampling

nor

modeling

A

P-S

y

nthesis is a completel

y

new method o

f

sound generation; it does

n

ot merel

y

sample and reproduce the sound o

f

an acoustic instrument,

b

ut actuall

y

models the wa

y

that an instrument responds to being pla

y

ed

.

In a big step up

f

rom merely seeking realism in the sound wave

f

orm

itsel

f

, this method meticulously models the way in which the sound

p

roduced by the instrument responds to how the instrument is played

.

Wh

i

l

e conventiona

l

p

hy

sica

l

mo

d

e

l

ing soun

d

generators mo

d

e

l

e

d

an

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

y

, the length of

t

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

y

nthesis models

t

he “responses” or “operations” that are t

y

pical of that instrument being

pl

a

y

e

d

, suc

h

as tri

ll

s, portamento, vi

b

rato, or

dy

namics

.

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

f

each instrument

.

T

h

e V-S

y

nt

h

GT mo

d

e

l

s t

h

e wa

y

in w

h

ic

h

t

h

e soun

d

respon

d

s to p

l

a

y

ing tec

h

nique on severa

l

cate

g

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

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

a vio

l

in, an

d

specia

l

tec

h

niques suc

h

as vi

b

rato or crescen

d

o can

b

e expresse

d

simp

l

y

b

y p

l

ay

-

ing the keyboard, without your having to be conscious o

f

them, allowing you to create humanly

emotional per

f

ormances in a realistic way.

For examp

l

e

b

y app

l

ying t

h

e “vio

l

in” p

h

rase mo

d

e

l

to t

h

e “vio

l

in” source wave, you can o

b

tain a

r

ea

l

istica

ll

y expressive so

l

o vio

l

in soun

d

t

h

at’s just

l

i

k

e w

h

at a vio

l

inist wou

ld

p

l

ay—simp

l

y

b

y

p

laying the keyboard in the conventional manner.

What is AP-Synthesis?

01

Glissando technique

Vi

b

r

ato

C

r

esce

n

do

9

Overview

Basic operationPlaying soundsCreating soundsIndex

Beyond reality

Beyond

reality

AP-Synt

h

esis mo

d

e

l

ing types a

l

so inc

l

u

d

e variations t

h

at are possi

bl

e on

l

y on a synt

h

esizer; you

can select distinctive models such as “analog lead s

y

nth sounds pla

y

ed using violin performance

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

.

A

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

✍

Ph

rase Mo

d

e

l

The sound of a synthesizer ...

played with violin technique ...

allows new performance expressions

10

“

Vocal Desi

g

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

an

d

is a

l

so provi

d

e

d

on t

h

e V-S

y

nt

h

GT.

Vocal Designer

Vocal

Designer

V

ocal Desi

g

ner uses cuttin

g

-ed

g

e model-

ing tec

h

no

l

ogy to attain a revo

l

utionary

l

eap in s

y

nt

h

esis precision, succee

d

ing in

p

ro

d

ucing “

h

uman voice” t

h

at is incom

-

p

arabl

y

more natural and realistic than

c

onventional vocoders. Vocal Designer uses

t

he audio

f

rom the mic to express elements

of

the sound other than pitch. The pitch is

c

ontrolled from the ke

y

board.

Simp

ly

p

l

a

y

ing t

h

e

k

e

yb

oar

d

or simp

ly

voca

l

izing into t

h

e mic wi

ll

not ma

k

e Voca

l

Designer pro

-

duce sound. The important thing about learning to take advantage o

f

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

.

Un

l

i

k

e conventiona

l

synt

h

esizers, you’

ll

use t

h

e mic to contro

l

t

h

e vo

l

ume. In ot

h

er wor

d

s, you’re

u

sing

y

our voice to

d

escri

b

e t

h

e vo

l

ume curve. Tr

y

using

y

our voice to a

dd

expression to an extent

y

ou mig

h

t consi

d

er excessive

.

“

P

l

a

y

l

i

k

e

y

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

f

or taking advantage o

f

Vocal Designer.

What is a

What

is

a

vocoder?

T

h

e voco

d

er was invente

d

by

t

h

e p

hy

sicist H. Du

dl

e

y

i

n 1939 as a method o

f

compressing vocal signals.

Taking advantage o

f

this technology, the “vocoder

”

was born as an instrument that let you per

f

orm melo-

d

ies or harmonies usin

g

a human voice. O

f

course,

y

ou’re not

l

imite

d

to using a

h

uman voice as t

h

e au

d

io

source—an

y

au

d

io source can

b

e use

d

. Sti

ll

, since t

h

e voco

d

er was

d

eve

l

ope

d

wit

h

t

h

e

h

uman

v

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

The human voice starts

f

rom the “vocal cords.” Exce

p

t

f

or di



erences in

the

f

orce and the

p

itch o

f

the voice, and di



erences between individuals,

the vibrational wave

f

orm produced by the vocal cords does not change

signi cantl

y

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

p

roduced. These sounds become intelligible as spoken words because of

v

arious resonances produced b

y

the vocal tract (i.e., changes in the shape

and structure o

f

the throat and movements o

f

the mouth) and time-varying

sounds known as “sibilants

,

” “

f

ricatives

,

” and “nasals.” The e



ect o

f

the wave-

f

orm produced by the vocal cords is relatively small

.

A voco

d

er ana

ly

zes t

h

ese time-variant c

h

anges in t

h

e soun

d

, e

l

ectrica

lly

s

y

n-

thesizes the changes in the shape of the throat and mouth (formant move

-

m

ents), and produces sound b

y

using these formants to modulate a signal from a musical instru

-

m

ent (the carrier) instead o

f

the signal

f

rom the vocal cords. “Voices” produced b

y

a vocoder in this

way are typically closer to a robot in a science



ction movie than to any actual human voice.

What is Vocal Designer?

01

Vocal cords (carrier)

Resonances (formants)

resulting from the vocal

tract (shape and structure

of the throat) and

movements of the mouth

11

Overview

Basic operationPlaying soundsCreating soundsIndex

What is VariPhrase?

01

“

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

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

f

ormants (vocal charac

-

ter) o

f

the sampled sound in realtime.

VariPhrase

On conventional samplers, changing the pitch would also change the time (pla

y

back speed) and

the formants (the vocal or tonal character)

.

However when using VariPhrase,

y

ou can change just the pitch while leaving the time and

f

or

-

m

ants unaltered.

O

f

course, you can also change just the “time” or just the “

f

ormants” to trans

f

orm the bark o

f

a

large dog into the bark o

f

a small dog.

In this wa

y

, the VariPhrase that’s at the core of the V-S

y

nth GT gives

y

ou a range of control that was

n

ot

p

ossi

bl

e on conventiona

l

sam

pl

ers

.

12

What is COSM?

01

COSM (Composite O

b

ject Soun

d

Mo

d

e

l

ing) is proprietary Ro

l

an

d

tec

h

no

l

ogy t

h

at uses DSP

technolog

y

to model ph

y

sical characteristics such as the structure of an object, materials, electric

-

it

y

, electronic circuits, and magnetism in order to calculate the e ect the

y

have on the sound that

r

eaches the human ear as vibrations in the air

.

T

he V-Synth GT provides two COSM units as extensions o

f

a conventional analog synthesizer’s



lters.

In addition to the



lters o

f

a conventional synthesizer, these provide unique



lters

f

ound only on the

V-S

y

nt

h

, suc

h

as

S

BF

(

Side Band Filter) and TB  lter. You can also appl

y

various modeling t

y

pes such as

amp, speaker, or acoustic guitar bod

y

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

COSM types provided by the V

-

Synth GT

COSM

types

provided

by

the

V Synth

GT

When

y

ou pla

y

a chord, the e



ect produced b

y

a conventional e



ect processor will appl

y

to the combined sound o

f

all notes o

f

the chord. However the V-Synth GT’s COSM e



ects

are applied individually to each note within the chord

.

✍

O

verdrive/Distortion

T

his simulates the sound of overdrive

p

ro

d

uce

d

b

y vacuum tu

b

es, an

d

t

h

e in

-

t

ense distortion sounds of a

g

uitar amp

.

Wave S

h

apin

g

Th

is a

ll

ows you to create a

d

istinctive

d

i

sto

r

t

i

o

n

t

h

at

i

s

e

v

e

n m

o

r

e

in

te

n

se

t

h

a

n

O

verdrive or Distortion

.

Amp

Simulator

This simulates a guitar amp to add natural

-

Speaker

Simulator

This simulates a speaker. It does not

s.

a

l

a

w

s

e

sounds to

p

revent distortion.

between the fundamental and the over-

tones, allowing

y

ou to create unusual

o

v

e

r

to

n

e

st

r

uctu

r

es.

Lo

-

Fi

Processor

Th

is

l

ets you

l

ower t

h

e

b

it-

d

ept

h

or

samp

l

e rate

.

TB

Filter

T

his is based on an analysis o

f

the



lter o

f

t

h

e

R

o

l

a

n

d

TB-

303.

a

r

13

02

Basic operation

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

14

02

About the panel

Performance controller area

Performance

controller

area

In this area you’ll



nd the controllers that you can operate to modi

f

y the sound while you play.

The result that each controller has will de

p

end on the

p

atch

.

1

.

T

h

e V-S

y

nt

h

GT’s pane

l

contains numerous

b

uttons an

d

k

no

b

s,

b

ut we can

b

roa

dly

group t

h

ese

in

to

t

hr

ee

a

r

eas.

W

e

’ll

desc

ri

be

eac

h

of

t

h

ese

be

l

o

w

.

For details on what each control actuall

y

does, refer to the “Owner’s Manual.

”

3

D

isplay area

2

E

d

i

t

a

r

ea

1

Pe

rf

o

rm

a

n

ce

co

n

t

r

o

ll

e

r

a

r

ea

1

ft. (a

pp

rox.)

D B

eam

B

y moving your

h

an

d

a

b

ove

t

h

e D Beam you can app

l

y various

e



ects

to

t

h

e

sou

n

d.

F

or details, refer to “Usin

g

controllers

to modify the sound” (p. 26).

T

ime Trip pa

d

By rubbing your  ngertip on the

surface of this pad you can ap-

p

ly various e ects to the sound.

For details, refer to “Usin

g

controllers to modify the sound”

(

p. 26)

.

Co

n

t

r

ol

k

n

obs

By

turning these knobs

y

ou can appl

y

various

e



ects

to

t

h

e

sou

n

d.

When the [LEVEL] or [PAN] buttons

a

re

l

it, you can use t

h

e C1

k

no

b

to

c

ontrol the level or

p

an o

f

the lower

t

one, an

d

t

h

e C2

k

no

b

to contro

l

t

he level or

p

an o

f

the u

pp

er tone.

1

5

Overview

Basic operationPlaying soundsCreating soundsIndex

Edit area

Edit

area

Y

ou’

ll

use t

h

is area main

l

y to e

d

it tones

.

Parameters of the selected tone can also be directl

y

selected from the panel

.

2

.

S

TR

UC

T

U

R

E

Y

ou can c

h

ange t

h

e way in w

h

ic

h

t

h

e

V-Synt

h

GT soun

d

generator’s e

l

ements

(

sections) are connecte

d

. T

h

e way in w

h

ic

h

the

sect

i

o

n

s

a

r

e

co

nn

ected

i

s

called

the

“structure,” and you can choose one o

f



ve

st

r

uctu

r

es.

S

ection on

/

o buttons

H

ere you can directly turn on/o



each sec-

tion in t

h

e structure. W

h

i

l

e you’re e

d

iting,

t

h

is gives you a convenient way to

h

ear

w

h

at eac

h

section is actua

ll

y

d

oing.

KEY M

O

D

E

Here you can turn t

h

e

l

ower tone an

d

upper tone

on

/

o .

If the [SELECT] button is lit, these

b

uttons wi

ll

operate as t

h

e se

l

ect

butto

n

s

f

o

r

t

h

e

l

o

w

e

r

to

n

e

a

n

d

u

pper tone

.

In

the

i

llust

r

at

i

o

n

sho

wn

at

left, the upper tone is selected,

m

eaning t

h

at you can use t

h

e

butto

n

s

a

n

d

kn

obs

of

t

h

e

ed

i

t

area to e

d

it t

h

e upper tone.

E

NV

(

envelo

p

e

)

H

ere you can contro

l

t

h

e TVA section

.

I

f the SCREEN indicator is lit, you can edit

t

h

e enve

l

ope

d

irect

l

y in t

h

e screen.

16

Display area

Display

area

T

h

is area groups t

h

e

b

uttons an

d

k

no

b

s t

h

at are re

l

ate

d

to operations in t

h

e

d

isp

l

ay.

3

.

Cu

r

so

r

butto

n

s

Use t

h

ese to move t

h

e cursor

in the displa

y

.

VAL

U

E

d

i

al

Use

t

hi

s

to

ed

i

t

h

e

v

a

l

ue

of

th

e item (parameter) you’ve

se

l

ecte

d.

[

SHIFT

]

b

utto

n

You

ca

n

access

co

nv

e

ni

e

n

t

s

h

ortcuts

b

y using t

h

is in

con

j

unction wit

h

various

ot

h

er

b

uttons.

Touc

h

pane

l

You can

p

er

f

orm various o

p-

e

rations b

y

directl

y

touching

the buttons or knobs shown

i

n t

h

e

d

isp

l

a

y

. For

d

etai

l

s,

refer to “Basic touch panel

o

perations” (p. 18).

/+] [DEC/-] buttons

N

C

[INC/+] button to increase

P

t

he value of the selected item

(

parameter), or press [DEC/-]

E1–E8

k

no

bs

W

hen the Patch Pla

y

screen or the SOUND SHAPER II

s

creen are shown,

y

ou can use these knobs to directl

y

c

ontrol the

p

arameters shown in the bottom of the

d

ispla

y.

I

n t

h

e Pro E

d

it screen, t

h

ese

k

no

b

s

d

irect

l

y contro

l

the

p

arameters numbered 1–8.

17

Overview

Basic operationPlaying soundsCreating soundsIndex

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

touching the displa

y

. There are man

y

screens, but here we’ll introduce some basic rules

.

02

About the display

Sc

r

ee

n n

a

m

e

T

hi

s

in

d

i

cates

t

h

e

n

a

m

e

o

f

t

h

e

cu

rr

e

n

t

sc

r

ee

n

.

H

el

p

If

this icon is lit

g

reen,

y

ou can touch

i

t to open a He

l

p

w

in

d

ow.

MENU

Touch this icon to

op

en the

p

ulldown

men

u

.

S

earch

Th

is o

p

ens a

l

ist

w

indow of items

(

such as a

p

atch list)

y

ou can current

l

y

choose from

.

ON/OFF

T

his turns a func

-

t

ion on/o

.

EXIT

This takes

y

ou back to

t

h

e Patc

h

P

l

a

y

screen

.

MA

P

T

his indicates which part

y

ou’re

current

ly

e

d

iting.

s

T

he

k

n

obs

sho

wn in

the

lo

w

e

r

part of the screen can be directly

c

ontro

ll

e

d

b

y t

h

e

E

1–E8

k

no

b

s.

If

y

ou’ve lost track o

f

the screen

y

ou’re in,

y

ou can touch <EXIT> to return to the Patch Pla

y

sc

r

ee

n

.

✍

18

The V-Synth GT uses a touch panel. You can perform a variety of operations simply by touching the

d

isplay. Here we’ll try actually switching between screens, and editing the value o

f

a parameter

.

T

he touch panel will operate when you simply touch it lightly with your  nger. Pressing it

strongly or with a hard object may damage the panel. Use only your



nger to operate the

p

anel, and don’t use excessive

f

orce

.

T

ext enclosed in [ ] indicates a button on the panel. Text enclosed in < > indicates a button

o

r kn

ob

s

h

o

wn in

t

h

e

sc

r

ee

n

.

Switching screens

Switching

screens

Access t

h

e Patc

h

P

l

ay screen.

I

f the Patch Pla

y

screen is not displa

y

ed, press the [PATCH] button located at the left of the touch panel

.

T

ouc

h

.

When you touch <PRO EDIT>

f

or the upper

t

one, the Pro Edit window

f

or the u

pp

er tone

w

ill a

pp

ear.

Y

ou

ca

n

a

l

so

s

wi

tc

h

to

t

h

e

Pr

o

E

d

i

t

win

do

w

by pressing the [PRO EDIT] button o

f

the

p

anel.

T

ouc

h

<TVA>

.

When you touch <TVA>, the Pro Edit TVA

s

creen will appear

.

Y

ou can switc

h

screens

b

y touc

h

ing t

h

e touc

h

pane

l

in t

h

is way.

*

1.

2

.

*

3.

Basic touch panel operations

02

1

9

Overview

Basic operationPlaying soundsCreating soundsIndex

Editing the value of a parameter

Editing

the

value

of

a

parameter

Touc

h

t

h

e

<L

e

v

e

l> kn

ob.

When

y

ou touch the <Level> knob, the

numerica

l

area wi

ll

turn

bl

ue, an

d

t

h

e cursor

w

ill move to Level. Continue touchin

g

the

<Level> knob, and drag

y

our



nger up/down

o

r left/right. Dragging

y

our  nger up or to the

ri

g

ht will increase the value, and dra

gg

in

g

it

d

own or to the le

f

t will decrease the value

.

You can a

l

so use t

h

e

p

ane

l

VALUE

d

ia

l

or t

h

e

[

INC/+][DEC/-] buttons to edit the value o

f

t

he parameter selected by the cursor

.

In t

h

is wa

y

,

y

ou can e

d

it parameter va

l

ues simp

ly

by

touc

h

ing t

h

e screen.

T

ouc

h

<EXIT>

.

When you touch <EXIT> you will return to

th

e Patc

h

P

l

a

y

screen

.

You can a

l

so press t

h

e pane

l

[EXIT]

b

utton

t

o return to the Patch Play screen

.

4.

*

5.

*

20

Sho

r

tcuts

B

y

pressing a button in conjunction with the panel [SHIFT] button,

y

ou can use a variet

y

of short

-

cut

fu

n

ct

i

o

n

s.

Shortcuts to screens

Shortcuts

to

screens

Y

ou can switc

h

b

etween screens

by

operating t

h

e touc

h

pane

l

,

b

ut

y

ou can a

l

so use a s

h

ortcut to

switch screens.

Shortcut Operation

[

SHIFT

]

+

[

STRUCTURE 1–5

]

Moves to t

h

e Structure setting screen

.

[

SHIFT] +[AP-S

y

nt

h

esis

]

Moves to t

h

e AP-S

y

nt

h

esis setting screen.

[

SHIFT] +[Vocal Designer

]

Moves to the Vocal Designer setting screen.

[

SHIFT] +[OSC1] Moves to the OSC1 setting screen.

[

SHIFT] +[OSC2] Moves to the OSC2 settin

g

screen.

[

SHIFT] +[COSM1] Moves to the COSM1 settin

g

screen.

[

SHIFT

]

+

[

COSM2

]

Moves to t

h

e COSM2 settin

g

screen.

[

SHIFT

]

+

[

MOD

]

Moves to t

h

e MOD settin

g

screen.

[

SHIFT

]

+

[

TVA

]

Moves to t

h

e TVA setting screen.

[

SHIFT

]

+

[

CHORUS

]

Moves to t

h

e C

h

orus setting screen.

[

SHIFT

]

+

[

REVERB

]

Moves to the Reverb setting screen

.

[

SHIFT] +[TONE FX

]

Moves to the Tone FX setting screen

.

[

SHIFT] +[ARPEGGIO ON/OFF

]

Moves to the Arpe

gg

io settin

g

screen

.

[

SHIFT] +[ARPEGGIO HOLD

]

Moves to the Ar

p

e

gg

io

p

attern editin

g

screen

.

pgg p g

Shortcuts when editing a value

Shortcuts

when

editing

a

value

02

Convenient functions

SHIFT] butto

tton while holding down the

s a bu

s

ss

on while

n while

holding

down th

own th

HIFT] bu

to

ss

Pres

n while

wh

own th

wn

HIFT] bu

FT]

holding

ldin

to

n

If

y

ou hold down the [SHIFT] button

a

nd turn the VALUE dial

,

the value at

the cursor in the screen will change in

s

te

p

s o

f

ten

.

This is convenient when

y

ou want to

c

hange a value b

y

a large amount

.

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Roland V-Synth GT Owner's manual

Roland V-Synth GT Owner's manual

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