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
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?
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
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
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
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
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
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
N
N
N
C
[INC/+] button to increase
P
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
<PRO EDIT>
.
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
holding
down th
own th
HIFT] bu
HIFT] bu
to
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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