Roland Musical Instrument V Synth User Guide

to “Registering a Favorite Patch (Patch Palette)” (p . 3 5).

fig.02-02.e

Patch number

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

cursor buttons or by touching the patch number display.

3 . Turn the VALUE dial, or press [INC/+][DEC/-] to select a

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

touch screen.

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Pla y in g in Pa tch Mo d e

4 . 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.

Se le ctin g Fa vo rite Pa tch e s (Pa tch

Pa le tte )

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.

5 . Touch <OK>.

The patch is selected and the PATCH List window closes.

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

Tra n sp o sin g th e Ke y b o a rd in

Se m ito n e Ste p s (Tra n sp o se )

Transpose changes keyboard pitch in units of semitones.

This function is useful when you play transposed instruments such

as trumpet or clarinet following a printed score.

2 . Press NUMBER [1]–[8] to select a patch.

fig.02-03

1 . Press [TRANSPOSE] to light indicator.

This turns Transpose on.

2 . While holding down [TRANSPOSE], press [+OCT] or [-OCT]

to transpose the keyboard.

3 . To switch the patch palette bank, hold down [BANK] and

press NUMBER [1]–[8].

Pressing [+OCT] once while holding down [TRANSPOSE] will

raise the keyboard one semitone.

When you press [BANK], the indicator of the currently selected

bank button (NUMBER [1]–[8]) will blink.

Pressing [-OCT] once while holding down [TRANSPOSE] will

lower the keyboard one semitone.

If you continue pressing [PATCH ASSIGN] or [BANK], the

PATCH PALETTE window will appear. In this window you can

view the patches that are registered in the currently selected

bank.

The specified Transpose setting will be shown in the “Trans”

indication of PATCH PLAY screen.

fig.02-06

Se le ctin g Pa tch e s fro m th e List

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

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

The PATCH List window appears.

fig.02-04_50

Alternatively, you can move the cursor to “Trans” in the PATCH

PLAY screen and turn the VALUE dial or use [INC/ +] [DEC/ -]

to make the setting. You can also do this by dragging on the

touch screen.

3 . To turn off Transpose, press [TRANSPOSE] once again so

that its indicator goes off.

The Transpose setting you make will be maintained.

3 . Select a patch from the list.

There is a single Transpose setting (Setup parameter) for the

entire V-Synth. The changed setting will be remembered even if

you switch patches.

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 keyboard, the

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

sound of a patch.

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Pla y in g in Pa tch Mo d e

Tra n sp o sin g th e Ke y b o a rd in

O cta ve Un its (O cta ve Sh ift)

Pla y in g Sin g le N o te s (Mo n o )

When using a patch for a naturally monophonic instrument such as

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

The Octave Shift function transposes the pitch of the keyboard in 1

octave units (-3– +3 octaves).

1 . Access the PATCH Edit Com General screen (p. 21).

For playing a bass part more easily using your right hand, transpose

the keyboard down by 1 or 2 octaves.

2 . At the bottom of the screen, touch <Common>.

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

1 . Press [+OCT] or [-OCT] and its indicator will light.

Pressing [+OCT] once will raise the keyboard 1 octave.

Pressing [-OCT] once will lower the keyboard 1 octave.

The specified Octave Shift setting will be shown in the “Oct”

The Patch Edit Com General screen appears.

fig.02-07_50

indication of PATCH PLAY screen.

fig.02-05

4 . In the “Mono/Poly” field, touch <

Now you can play in mono mode.

Cre a tin g Sm o o th Pitch Ch a n g e s

(Po rta m e n to )

Alternatively, you can move the cursor to “Oct” in the PATCH

PLAY screen and turn the VALUE dial or use [INC/ +] [DEC/ -]

to make the setting. You can also do this by dragging on the

touch screen.

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.

There is a single Octave Shift setting (Setup parameter) for the

entire V-Synth. The changed setting will be remembered even if

you switch patches.

fig.02-07_50

2 . To turn off the Octave Shift function, press the other button

[+OCT] or [-OCT] of that pressed in step 1. The indicator will

go off.

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

“ON.”

You’re ready to play portamento.

3 . When you want to change the portamento setting, edit the

following parameters in the screen of step 2.

Mode (Portamento Mode), Type (Portamento Type), Time

(Portamento Time), Time Velo Sens (Portamento Time Velocity

Sens)

See (p . 3 7) for each parameter ’s f u n c tions.

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Pla y in g in Pa tch Mo d e

Usin g a n Ex te rn a l MIDI Ke y b o a rd

to Pla y Arp e g g io s

Pla y in g Arp e g g io s

(Arp e g g ia to r)

You can also use the keyboard of an external MIDI instrument to

The V-Synth comes with an arpeggiator that can play arpeggios

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

will automatically be played as an arpeggio.

play arpeggios.

1 . Use a MIDI cable to connect the V-Synth’s MIDI IN connector

to the MIDI OUT connector of your external MIDI keyboard.

2 . Access the PATCH PLAY screen (p. 21).

2 . Press ARPEGGIO [ON/OFF] to make the indicator light.

3 . Touch <■> in the upper right of the screen.

The arpeggiator is turned on.

A pulldown menu appears.

fig.01-05_50

3 . Play the keyboard.

The V-Synth arpeggiates what you’ve played.

4 . To adjust the tempo of the arpeggio, turn ARPEGGIO

[TEMPO].

Turning the knob toward the right will speed up the tempo, and

turning it toward the left will slow down the tempo.

5 . To finish playing arpeggios, press ARPEGGIO [ON/OFF]

again so the indicator turns off.

Ho ld in g a n Arp e g g io

By using the following procedure, you can produce arpeggios even

4 . In the pulldown menu, touch <System>.

without continuing to press the keyboard.

5 . At the bottom of the screen, touch <Controller>.

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

1 . Press ARPEGGIO [ON/OFF] to turn the Arpeggiator on.

2 . Press ARPEGGIO [HOLD] to make the indicator light.

3 . Play the keyboard.

The SYSTEM Ctrl KBD screen appears.

fig.02-08_50

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

being held, the arpeggio will change accordingly.

5 . To cancel Arpeggio Hold, press ARPEGGIO [HOLD] again.

W h e n Usin g a Ho ld Pe d a l

If you play an arpeggio while pressing the hold pedal, the arpeggio

will continue to be played even if you release the keyboard.

1 . Connect an optional pedal switch (DP series) to the HOLD

PEDAL jack.

7 . In the “Remote KBD Sw” field, touch the on/off switch to

2 . Press ARPEGGIO [ON/OFF] to turn the Arpeggiator on.

turn it “ON.”

3 . Play the keyboard while pressing the hold pedal.

8 . Play your external MIDI keyboard.

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

you play the next chord.

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Pla y in g in Pa tch Mo d e

Ma k in g Arp e g g ia to r Se ttin g s

1 . Access the PATCH Edit Com Arpeggio screen (p. 25).

Cre a tin g a n O rig in a l Arp e g g io

Pa tte rn (Pa tte rn Ed it)

2 . At the bottom of the screen, touch <Common>.

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

You can create your own arpeggio pattern that specifies how an

arpeggio will be sounded. This gives you even more interesting

ways to use arpeggios.

The PATCH Edit Com Arpeggio screen appears.

fig.02-09_50

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 (or vice versa).

Ab o u t th e Pa tte rn Ed it W in d o w

2 . Touch <Pattern Edit>.

In this screen you can set the following arpeggiator parameters.

Arpeggio Switch: Switches the Arpeggiator on/ off.

Hold: Switch between Hold On/ Hold Off for the Arpeggiator

performance.

The Pattern Edit window will appear.

fig.02-09a.e

Pattern input area

Patch Tempo: Specify the tempo of an arpeggio.

Octave Range: Specify the range of the arpeggio performance,

in octave units.

KBD Velo: Specify the note strength of the keys you play.

Accent Rate: Vary the strength and note length of the accents to

modify the rhythmic feel (groove) of the performance.

Motif: Specifies how the arpeggio will be sounded.

Shuffle Duration: Create shuffle rhythms by modifying the

timing at which notes are sounded.

Shuffle Resolution: Specify the timing of the notes in terms of

note value.

Cursor

Sta te

For details regarding each parameter, refer to “Arpeggio” (p .

Specifies the status of each line.

NOTE: Note pitch

40).

CTRL: Control change

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.

N o te / CC (N o te / Co n tro l Ch a n g e )

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).

Pa tte rn In p u t Are a

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

symbols have the following meaning:

●: Note

=: Tie

●: Control change

Va lu e

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

selected in the pattern input area.

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Pla y in g in Pa tch Mo d e

0 , 3 2 , 6 4 , 9 6 , 1 2 7 , Tie / Clr

Cre a tin g a Pa tte rn b y Pla y in g in Re a l

Tim e (Re a l Re c)

When inputting notes: When you touch one of these buttons, a note

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.

This method lets you create a pattern in a way similar to realtime

recording on a sequencer. Your playing on the V-Synth’s keyboard

and your controller operations will be recorded “as is.”

When inputting control changes: A control change with the value

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.

1 . 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.

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.

2 . Touch <Real Rec>.

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

metronome will sound a guide rhythm.

fig.02-09c_50

You can also input the note velocity or control change value by

using the VALUE dial or [INC/ +][DEC/ -].

Co n tro lle r

When you operate the Time Trip pad (TTPadX/ Y), D Beam

controller (DBeamL/ R), or assignable controllers (Ctrl_1/ 2), the

value is shown here.

Grid

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

3 . If you want to adjust the tempo, turn ARPEGGIO [TEMPO].

Turn the knob toward the right to make the tempo faster, or

toward the left to make it slower.

arpeggio pattern.

fig.02-09b.e

(Quarter note),

(Eighth note),

(Dotted eighth note),

(Thirty-second note)

(Sixteenth note),

(Dotted sixteenth note),

4 . In time with the guide rhythm sounded by the metronome,

play the V-Synth’s 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.

En d Po in t

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

Cle a r

Erases the pattern data (p. 27).

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.

Re a l Re c (Re a ltim e Re co rd in g )

Use realtime recording to create a pattern (p. 26).

Ste p Re c (Ste p Re co rd in g )

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

Use step recording to create a pattern (p. 27).

The metronome guide will stop sounding.

6 . Press ARPEGGIO [ON/OFF] to turn on the arpeggiator, and

play the keyboard to hear your realtime-recorded pattern.

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Pla y in g in Pa tch Mo d e

Cre a tin g a Pa tte rn b y In p u ttin g O n e

Ste p a t a Tim e (Ste p Re c)

Era sin g a Pa tte rn (Cle a r)

Here’s how to erase data from the pattern. You can erase a specific

line or the entire pattern.

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.

1 . To specify a line that you want to erase, move the cursor to

that line.

1 . Specify the End Point of the arpeggio pattern that you want

2 . Touch <Clear>.

to create.

A window like the following will appear.

Move the cursor to the End Point value box and make the

setting.

fig.02-09e_50

2 . Touch <Step Rec>.

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

fig.02-09d_50

3 . 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>.

3 . Play the V-Synth’s 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.

•

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.

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

5 . Press ARPEGGIO [ON/OFF] to turn on the arpeggiator, and

play the keyboard to hear your step-recorded pattern.

2 7

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Pla y in g in Pa tch Mo d e

[TIME TRIP]: Apply the Time Trip effect.

Ap p ly in g Va rio u s Effe cts to th e

So u n d

[ASSIGNABLE]: Apply the effect that is specified by each patch.

If [ASSIGNABLE] is on, the effect is applied via matrix control.

This means that matrix control settings must be made separately.

Set the matrix control Source to “PAD-X” or “PAD-Y,” and

specify the parameter to be controlled in Destination. For details

on these settings, refer to “Matrix Ctrl” (p . 3 8).

The V-Synth provides numerous ways in which you can make your

performance more expressive, such as the Time Trip pad, D Beam

controller, and assignable controllers.

By setting matrix control Source to “TRIP-R,” you can apply the

Time Trip effect and the matrix control effect simultaneously. In

this case, turn [TIME TRIP] on.

Ap p ly in g a n Effe ct b y To u ch in g

Yo u r Fin g e r to th e Pa d (Tim e Trip

Pa d )

3 . While you play the keyboard to produce sound, place your

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

following way.

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’s panel.

If [TIME TRIP] is on

The effect will be applied when you move your finger in a circle

W h a t is th e Tim e Trip fu n ctio n ?

on the Time Trip pad.

fig.02-11

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.

You can use the D Beam controller to produce similar results.

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

2 . 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

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Pla y in g in Pa tch Mo d e

If [ASSIGNABLE] is on

[TIME TRIP]: Apply the Time Trip effect.

The effect will be applied when you move your finger up/

down/ left/ right on the Time Trip pad.

[TIME]: Apply the time control effect.

[PITCH]: Apply the pitch control effect.

fig.02-13

[ASSIGNABLE]: Apply the effect that is specified by each patch.

By turning [ASSIGNABLE] on, you can apply the effect that is

specified by each patch. In this case, however, unlike the other

three functions, simply pressing the button to turn it on will not

apply an effect. You will also need to make matrix control

settings. Set the matrix control Source to “BEAM-L” or “BEAM-

R,” and specify the parameter to be controlled in Destination.

For details on these settings, refer to “Matrix Ctrl” (p . 3 8).

3 . While playing the keyboard to produce sound, place your

hand over the D Beam, and slowly move it up and down.

Effects will be applied to the sound according to the button you

pressed in step 2.

4 . To turn off the D Beam controller, once again press the

button that you pressed in step 2, so its indicator goes out.

•

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.

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.

•

The D Beam controller settings are saved with each patch. This

means that you can create patches that contain D Beam settings

you like.

By assigning a MIDI controller number to the D Beam controller,

you can use the D Beam to control an external MIDI device that

is connected. For details, refer to “Beam” (p . 7 9).

Ap p ly in g a n Effe ct b y Pa ssin g Yo u r

Ha n d O ve r th e D Be a m (D Be a m

Co n tro lle r)

Th e u sa b le ra n g e o f th e D Be a m co n tro lle r

The D Beam controller can be used simply by waving your hand

over it. It can be used to apply various effects, depending on the

function that is assigned to it. You can also create effects in which the

sound changes instantaneously, in a way that would not be possible

by operating a knob or the bender lever.

The following diagram shows the

usable range of the D Beam controller.

Waving your hand outside this range

will produce no effect.

The D BEAM indicator will light when

the D Beam controller is responding.

The D BEAM indicator will not light if

you are outside the valid range of the

D Beam controller.

2 . Choose the function that you want to control from the D

Beam controller, and press the D BEAM button for that

function to turn on the D Beam controller.

fig.02-14

The usable range of the D Beam controller will become

extremely small when used under strong direct sunlight.

Please be aware of this when using the D Beam controller

outside.

2 9

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Pla y in g in Pa tch Mo d e

Ap p ly in g a n Effe ct b y Tu rn in g a

Kn o b (Assig n a b le Co n tro lle r)

Sy n ch ro n izin g Mu sic a n d

Vid e o W h ile Yo u Pla y th e V-

Sy n th (V-LIN K)

You can turn the ASSIGNABLE CONTROL knobs to modify the

sound in real time.

The V-Synth lets you use the pitch bend/ modulation lever, Time

Trip pad, D Beam controller, and C1/ C2 knobs to control an

externally connected video device that supports V-LINK. This means

that your performance on the V-Synth can control not only sound

but also images, producing sound and video effects that are linked to

The assignable controllers use matrix control to apply effects to the

sound. This means that you will need to make matrix control settings

separately. Set the matrix control Source to “KNOB1” or “KNOB2,”

and specify the parameter to be controlled in Destination. For

details on this setting, refer to “Matrix Ctrl” (p . 3 8).

your playing.

fig.02-17.e

whose settings you wish to modify (p. 21).

2 . While playing the keyboard to produce sound, turn the

ASSIGNABLE CONTROL knobs ([C1], [C2]).

The sound will change according to the function assigned to

each knob.

fig.02-16

•

The assignable controller settings are saved with each patch.

This means that you can create patches that contain assignable

controller settings you like.

V-Synth Controller Section

By assigning MIDI controller numbers to the assignable

controllers, you can turn [C1] or [C2] to control an external MIDI

device that is connected. For details, refer to “TT Pad/Knob” (p .

80).

Video

Sound

Generator

V-LINK (

) is a function that provides for the

play of music and visual material. By using V-LINK function,

visual effects can be easily linked to, and made part of the

expressive elements of a performance.

3 0

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Pla y in g in Pa tch Mo d e

Ex a m p le Co n n e ctio n s

fig.02-18.e

V-LIN K Fu n ctio n s th a t th e V-Sy n th

Ca n Co n tro l a n d MIDI Me ssa g e s

Edirol DV-7PR

You can assign the following functions to the V-Synth’s controllers

to control a V-LINK compatible video device.

Projector

V-LINK function

Transmitted MIDI message

REMOTE

Playback Speed

CC 10 (Panpot)

Dissolve Time (amount time the CC 5 (Portamento Time)

video clips overlap)

Audio (Volume of audio play-

back)

CC 7 (Volume)

Color Cb (color-difference sig-

nal)

CC 72 (Release)

Edirol UM-1

Display

Color Cr (color-difference signal) CC 71 (Resonance)

Brightness

CC 74 (Cutoff)

CC 1 (Modulation)

CC 91 (Reverb)

CC 94 (Celeste)

CC 95 (Phaser)

CC 73 (Attack)

CC 11 (Expression)

CC 64 (Hold 1)

VFX1 (Visual Effects 1)

VFX2 (Visual Effects 2)

VFX3 (Visual Effects 3)

VFX4 (Visual Effects 4)

Output Fade

MIDI OUT

T Bar

Dual Stream

Time Trip

CC 92 (Tremolo)

CC 93 (Chorus)

Palette1–8 (Selecting a palette)

Clip1–8 (Selecting a video clip)

CC 0 (Bank Select): 00H–07H

Program Change: 00H–07H

V-Synth

En te r V-LIN K Mo d e

1 . Press [V-LINK] so the indicator lights.

A PATCH PLAY screen like the one shown below appears, and

the V-Synth will enter V-LINK mode.

fig.02-19_50

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)” (p . 8 0).

2 . To exit V-LINK mode, press [V-LINK] once again so the

indicator goes out.

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Cre a tin g a Pa tch

With the V-Synth, you have total control over a wide variety of

settings. Each item that can be set is known as a parameter. When

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.

1 . Access the PATCH PLAY screen, and select the patch

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. 33).

2 . 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.

Ho w to Ma k e th e Pa tch

Se ttin g s

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. When

editing a patch, you need to be aware of how each section affects the

overall sound.

In the PATCH PLAY screen, you can touch the display area for

each section to jump to the setting screen for that section.

3 . Touch one of the tabs in the left of the screen to select the

Fo u r Tip s fo r Ed itin g Pa tch e s

desired editing screen.

■ Select a patch that is similar to the sound you wish to

create.

For details on how the parameters are grouped, refer to “Patch

Parameters” (p . 1 02).

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.

4 . In each editing screen, touch the touch screen to set the

parameters.

■ Check the Structure setting.

For details on how to use the touch screen, refer to “Basic

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.

Touch Screen Operation” (p . 1 9).

5 . 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.

■ 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). You can also use the on/ off buttons located in

the STRUCTURE section of the V-Synth’s panel.

■ Turn Effects off.

6 . Repeat steps 2–5 to complete a patch.

7 . If you wish to save the changes you’ve made, perform the

Save operation (p. 34). 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.

Since the V-Synth 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.

If you turn off the power or select a different patch while the

display indicates “EDITED,” your edited patch will be lost.

3 2

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Cre a tin g a Pa tch

2 . Touch <■> in the upper right of the screen.

A pulldown menu appears.

In itia lizin g Pa tch Se ttin g s (PATCH

In it)

fig.01-05_50

“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’s settings to their factory values,

perform a Factory Reset (p. 98).

1 . Access the PATCH PLAY screen, and select the patch that

you wish to initialize (p. 21).

3 . In the pulldown menu, touch <PATCH Copy>.

2 . Touch <■> in the upper right of the screen.

The PATCH Copy window appears.

fig.03-02_50

A pulldown menu appears.

fig.01-05_50

4 . Touch a button in the left side of the screen to select the

object you want to copy.

3 . In the pulldown menu, touch <PATCH Init>.

A window like the following appears.

fig.03-01_50

<NAME>: Copy only the patch name.

<ZONE>: Copy patch settings for one zone.

<OSC>: Copy oscillator parameter settings. Specify the copy-

source (Source) and copy-destination (Destination) oscillator

(OSC1/ OSC2).

<COSM>: Copy COSM parameter settings. Specify the copy-

source (Source) and copy-destination (Destination) COSM

section (COSM1/ COSM2).

<TVA>: Copy TVA parameter settings.

<MFX>: Copy MFX settings.

<CHO>: Copy chorus settings.

<REV>: Copy reverb settings.

4 . Touch <EXECUTE>.

<ARP>: Copy arpeggiator settings.

The initialization will be carried out, and you’ll be returned to

the Patch Edit screen.

5 . 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.

Co p y in g Pa tch Se ttin g s (PATCH

Co p y )

6 . Move the cursor to “Src Patch” and select the copy-source

patch number.

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.

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.”

1 . Access the PATCH PLAY screen, and select the copy-

destination patch (Dest Patch) (p. 21).

7 . Touch <Execute> to execute the copy operation.

3 3

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Cre a tin g a Pa tch

N a m in g a Pa tch (PATCH

N a m e )

Sa vin g Pa tch e s (PATCH W rite )

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).

Before you save the patch, here’s how to give it a new name.

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

2 . Touch <■> in the upper right of the screen.

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.

A pulldown menu appears.

fig.03-02a_50

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 . 9 8).

1 . Make sure that the patch you wish to save is selected.

2 . Touch <■> in the upper right of the screen.

A pulldown menu appears.

fig.03-03a_50

3 . In the pulldown menu, touch <PATCH Name>.

The PATCH Name window appears.

fig.03-03_50

3 . In the pulldown menu, touch <PATCH Write>.

The PATCH Write window appears.

fig.03-04_50

4 . 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.

<←><→>: Move the cursor in the text box to the desired input

location.

<SHIFT>: Turn this on when you want to input uppercase letters

or symbols.

<Insert>: Turn this on when you want to insert a character at the

cursor location.

<Clear>: Erases all characters in the text box.

<Delete>: Deletes the character at the cursor location.

<Back>: Deletes the character that precedes the cursor location.

4 . Turn the VALUE dial to specify the save-destination patch.

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.

]

5 . When you have finished inputting, touch <OK> to finalize the

patch name.

3 4

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Cre a tin g a Pa tch

Re g iste rin g a Fa vo rite Pa tch (Pa tch

Pa le tte )

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. You can register a total of 64 sounds (8 sounds x 8

banks) as favorite sounds.

•

By touching <Compare> you can check the save-destination

patch (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

For details on how to select patches that are registered in the

patch palette, refer to “Selecting Favorite Patches (Patch

Palette)” (p . 2 2).

1 . Access the PATCH PLAY screen, and select the patch that

you wish to register (p. 21).

2 . Hold down [BANK] and press a NUMBER [1]–[8] to select the

bank in which you wish to register the sound.

When you press [BANK], the indicator of the currently selected

bank button (NUMBER [1]–[8]) will blink.

5 . Touch <Execute> to execute the Save operation.

Au d itio n in g th e Sa ve -De stin a tio n

Pa tch (Co m p a re )

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.

If you continue pressing [PATCH ASSIGN] or [BANK], the

PATCH PALETTE window will appear. In this window you can

view the patches that are registered in the currently selected

bank.

3 . Hold down [PATCH ASSIGN] and press a NUMBER [1]–[8] to

select the button at which you wish to register the sound.

When the display indicates “Completed!,” registration has been

completed.

1 . Follow the procedure in “Saving Patches (PATCH Write)”

through step 4 to select the save destination.

2 . Touch <Compare> to turn it on.

Now you can play the patch that is in the currently selected save

destination.

fig.03-06_50

3 . Play the keyboard to sound the save destination patch, then

check whether you really want to overwrite it.

The patch auditioned using the Compare function may sound

slightly different than when it is played normally.

4 . If you wish to change the save destination, re-specify the

save-destination patch by using the VALUE dial.

5 . Touch <Execute> to execute the Save operation.

3 5

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Cre a tin g a Pa tch

De le tin g Pa tch e s (PATCH

De le te )

Fu n ctio n s o f Pa tch Pa ra m e te rs

This section explains the functions the different patch parameters

have, as well as the composition of these parameters.

Delete unneeded patches from the internal memory.

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

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.

38). Parameters marked by “▼” can be controlled by panel

buttons or knobs.

A pulldown menu appears.

fig.01-05_50

Se ttin g s Co m m o n to th e En tire Pa tch

(Co m m o n )

Ge n e ra l

fig.03-07_50

2 . In the pulldown menu, touch <PATCH Delete>.

The PATCH Delete List window appears.

fig.03-06a_50

Stru ctu re Ty p e ▼

Specifies how the various sound-creating elements will be combined.

Value

3 . 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.

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.

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.

4 . Touch <Execute>.

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.

The selected patch will be deleted.

5 . If you want to continue deleting other patches, repeat steps

3 and 4.

6 . Press [EXIT].

Po rta m e n to (Po rta m e n to Sw itch )

The PATCH Delete List window closes.

Specifies whether the portamento effect will be applied (ON) or not

(OFF).

Value: OFF, ON

3 6

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Cre a tin g a Pa tch

Le g a to (Le g a to Sw itch )

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).

Po rta m e n to

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.

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.

Mo d e (Po rta m e n to Mo d e )

Specifies the performance conditions for which portamento will be

applied.

Value

D Be a m / Be n d e r

fig.03-08_50

NORMAL: Portamento will always be applied.

LEGATO: Portamento will be applied only when you play legato

(i.e., when you press the next key before releasing the previous key).

Ty p e (Po rta m e n to Ty p e )

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.

Tim e (Po rta m e n to Tim e )

O cta ve Sh ift

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.

Adjusts the pitch of the patch’s sound up or down in units of an

octave (+/ -3 octaves).

Value: -3– +3

Value: 0–127

D Be a m (D Be a m Ty p e ) ▼

Tim e Ve lo Se n s (Po rta m e n to Tim e Ve lo city

Se n sitivity )

Specifies the effect that will be controlled by the D Beam controller.

Value

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.

OFF: The D Beam controller will not be used.

Time Trip: The D Beam controller will control the Time Trip effect.

Time: The D Beam controller will control the Time Control effect.

Pitch: The D Beam controller will control the Pitch Control effect.

Assignable: The D Beam controller will control the effect specified

for each patch.

Value: -63– +63

Mo n o / Po ly

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

For details on how to specify the effect that will be controlled

when “Assignable” is selected, refer to “Matrix Ctrl” (p . 3 8).

: Only the last-played note will sound.

The level meters at both sides of “D Beam” in the screen show

the state of response as you move your hand closer to the D

Beam controller.

: Two or more notes can be played simultaneously.

Be n d Ra n g e Up (Pitch Be n d Ra n g e Up )

Specifies the degree of pitch change in semitones when the Pitch

Bend lever 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

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Cre a tin g a Pa tch

Be n d Ra n g e Do w n (Pitch Be n d Ra n g e Do w n )

Ma trix Ctrl

Specifies the degree of pitch change in semitones when the Pitch

Bend lever 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.

fig.03-10_50

Value: 0–48

TT Pa d

fig.03-09_50

Ma trix Co n tro l

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. However, System Exclusive messages tend to be

complicated, and the amount of data that needs to be

transmitted can get quite large.

Mo d e (Tim e Trip Pa d Mo d e )

For that reason, a number of the more typical of the V-Synth’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.

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.

Ho ld (Tim e Trip Pa d Ho ld Sw itch ) ■

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).

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

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.

For details on settings for the Time Trip effect, refer to “Matrix

Ctrl” (p . 3 8) and “TT Pad/Knob” (p . 8 0).

So u rce (Ma trix Co n tro l So u rce )

In the screen, “X-Y” and “Time Trip” indicate the effect that is

assigned and the location of the pad that your finger touched.

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: Controller numbers 1–31, 33–95

For more information about Control Change messages, please

play. This is suitable for playing a drum patch (p. 53).

BEND: Pitch Bend

AFT: Aftertouch

+PAD-X: Time Trip pad (horizontal direction from the center)

+PAD-Y: Time Trip pad (vertical direction from the center)

PAD-X: Time Trip pad (horizontal direction)

PAD-Y: Time Trip pad (vertical direction)

TRIP-R: Time Trip pad (center from the circumference)

3 8

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Cre a tin g a Pa tch

BEAM-L: D Beam controller (left)

BEAM-R: D Beam controller (right)

KNOB1: Assignable Controller ([C1])

KNOB2: Assignable Controller ([C2])

VELO: Velocity (pressure you press a key with)

KEYF: Note Number

CSM1/2-ENV1-ATK: COSM Envelope Attack Time (p. 48)

CSM1/2-ENV1-DCY: COSM Envelope Decay Time (p. 48)

CSM1/2-ENV1-REL: COSM Envelope Release Time (p. 48)

CSM1/2-ENV2-ATK: COSM Envelope Attack Time (p. 48)

CSM1/2-ENV2-DCY: COSM Envelope Decay Time (p. 48)

CSM1/2-ENV2-REL: COSM Envelope Release Time (p. 48)

CSM1/2-LFO-RATE: COSM LFO Rate (p. 49)

CSM1/2-LFO-PRM1: (p . 1 11)

Se n s (Ma trix Co n tro l Se n s)

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.

CSM1/2-LFO-PRM2: (p . 1 11)

TVA-LVL: Level (p. 47)

TVA-ENV-ATK: TVA Envelope Attack Time (p. 48)

TVA-ENV-DCY: TVA Envelope Decay Time (p. 48)

TVA-ENV-REL: TVA Envelope Release Time (p. 48)

TVA-LFO-RATE: TVA LFO Rate (p. 49)

TVA-LFO-LVL: Level LFO Depth (p. 47)

TVA-LFO-PAN: Pan LFO Depth (p. 47)

MFX-SEND: MFX Send Level (p. 50)

Value: -63– +63

CHO-SEND: Chorus S end Level (p. 50)

REV-SEND: Reverb Send Level (p. 50)

MFX1–3: (p . 1 16)

De stin a tio n 1 , 2 (Ma trix Co n tro l De stin a tio n 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

TVA-PAN: Pan (p. 47)

When you touch <List>, the Destination List window will

appear, allowing you to select the Matrix Control Destination

from the list.

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 “H.”

OSC1/2-PITCH: Oscillator Pitch (p. 43)

OSC1/2-TIME/PW: Ti m e/ Pulse Width (p. 44)

OSC1/2-FORMA/FAT: Formant/ Fat (p. 44, p. 45)

OSC1/2-LVL: Level (p. 45)

OSC1/2-PENV-ATK: Pitch Envelope Attack Time (p. 48)

OSC1/2-PENV-DCY: Pitch Envelope Decay Time (p. 48)

OSC1/2-PENV-REL: Pitch Envelope Release Time (p. 48)

OSC1/2-TENV-ATK: Ti m e E nvelope Attack Time (p. 48)

OSC1/2-TENV-DCY: Ti m e E nvelope Decay Time (p. 48)

OSC1/2-TENV-REL: Ti m e E nvelope Release Time (p. 48)

OSC1/2-FENV-ATK: Formant Envelope Attack Time (p. 48)

OSC1/2-FENV-DCY: Formant Envelope Decay Time (p. 48)

OSC1/2-FENV-REL: Formant Envelope Release Time (p. 48)

OSC1/2-AENV-ATK: Oscillator TVA Envelope Attack Time (p. 48)

OSC1/2-AENV-DCY: Oscillator TVA Envelope Decay Time (p. 48)

OSC1/2-AENV-REL: Oscillator TVA Envelope Release Time (p. 48)

OSC1/2-LFO-RATE: Oscillator LFO Rate (p. 49)

OSC1/2-LFO-PCH: Oscillator Pitch LFO Depth (p. 43)

OSC1/2-LFO-TM/PW: Ti m e/ Pulse Width LFO Depth (p. 44, p. 44)

OSC1/2-LFO-FR/FT: Formant/ Fat LFO Depth (p. 44, p. 45)

OSC1/2-LFO-LVL: Oscillator Level LFO Depth (p. 45)

CSM1/2-PRM1: (p . 1 11)

CSM1/2-PRM2: (p . 1 11)

3 9

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Cre a tin g a Pa tch

Mo tif (Arp e g g io Mo tif)

Arp e g g io

fig.03-11_50

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: Notes you press will be sounded, from low to high, and

then back down from high to low.

RANDOM: Notes you press will be sounded, in random order.

NOTE ORDER: Notes you press will be sounded in the order in

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: Unlike a conventional arpeggio, the notes that you

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

PHRASE: Pressing a single key will sound the phrase based on the

pitch of that key. If multiple keys are pressed, the last-pressed key

will be valid.

Arp e g g io Sw itch ◆

Switches the Arpeggiator on/ off.

Value: OFF, ON

Pa tch Te m p o ◆

S p ecify the tempo of an arpeggio. When Clock Source parameter (p.

75) is set to “INTERNAL,” this setting value is effective.

Value: 20.0–250.0

AUTO: The timing at which the keys are sounded is assigned

automatically, starting at the lowest key that you pressed.

Ho ld (Arp e g g io Ho ld Sw itch ) ◆

Sh u ffle Ra te (Arp e g g io Sh u ffle Ra te )

Switch between Hold On/ Hold Off for the Arpeggiator

performance.

This setting lets you modify the note timing to create shuffle

Value: OFF, ON

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.

O cta ve Ra n g e (Arp e g g io O cta ve Ra n g e )

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

Value: 0–100%

fig.Shuffle Rate

Shuffle Rate = 50%

Shuffle Rate = 90%

Sh u ffle Re so lu tio n (Arp e g g io Sh u ffle

Re so lu tio n )

Pa tte rn Ed it

Press this when you want to create an original arpeggio pattern.

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.

For details on creating an arpeggio pattern, refer to “Creating an

Value:

Original Arpeggio Pattern (Pattern Edit)” (p . 2 5).

KBD Ve lo (Arp e g g io Ke y b o a rd Ve lo city )

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

Du ra tio n (Arp e g g io Du ra tio n )

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%

4 0

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Cre a tin g a Pa tch

Tu n e

fig.03-12_50

Eq u a l Te m p e ra m e n t

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 employs equal temperament when the

Scale Tune Switch is set to “OFF.”

Ju st Te m p e ra m e n t (To n ic o f 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.

Ara b ia n Sca le

Pa tch Co a rse Tu n e

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, you can use Arabian

temperament in the three keys of G, C and F.

Adjusts the pitch of the patch’s sound up or down in semitone steps

(+/ -4 octaves).

Value: -48– +48

Pa tch Fin e Tu n e

Adjusts the pitch of the patch’s sound up or down in 1-cent steps (+/

-50 cents).

Value: -50– +50

Note

name

Equal tem-

perament

Just Tempera- Arabian Scale

ment (tonic C)

-6

+45

-2

One cent is 1/ 100th of a semitone.

-8

Sca le Tu n e (Sca le Tu n e Sw itch )

+16

-14

-2

-12

-51

-8

Turn this on when you wish to use a tuning scale other than equal

temperament.

Value: OFF, ON

-10

+43

-4

The V-Synth 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.

+14

-16

+14

-12

+47

-10

-49

•

One-cent is 1/ 100th of a semitone.

The selected scale applies to MIDI messages received from an

external MIDI device.

Sca le Tu n e C–B

Make scale tune settings.

Value: -100– +100

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Cre a tin g a Pa tch

W a ve fo rm (An a lo g O scilla to r W a ve fo rm )

Mo d ify in g W a ve fo rm s (O SC1 /

O SC2 )

Selects the wave upon which the sound is to be based when using an

analog oscillator.

O scilla to r Sw itch ■

Value

Switches the oscillator on/ off.

Waveform

PulseWidth Fat (p. 44)

(p. 44)

Value: OFF, ON

SAW: Sawtooth wave

SQR: Square wave

O SC Ty p e

TRI: Triangle wave

Analog Oscillator

SINE: Sine wave

RAMP: Ramp wave

JUNO: Modulated sawtooth wave

HQ-SAW: High quality sawtooth wave

HQ-SQR: High quality square wave

NOISE: Noise wave

O: effective X: ineffective

Im p a ct (An a lo g O scilla to r Im p a ct)

Specifies the sharpness of the attack of the analog oscillator. Higher

settings will produce a sharper attack.

Value: 0.0–4.0

PCM Oscillator

Tim e Trip Sw (Tim e Trip Sw itch )

Selects whether Time Trip will operate (ON) or not (OFF).

Value: OFF, ON

Be a t Ke e p (Tim e Trip Be a t Ke e p )

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

O scilla to r Ty p e

W a ve fo rm (PCM O scilla to r W a ve fo rm )

Selects the type of oscillator.

Selects the wave upon which the sound is to be based when using a

PCM oscillator.

By selecting “EXT IN,” the signal that is input through the rear panel

INPUT jack can be used as an oscillator. This lets you play the

externally input signal from the keyboard.

Value

Value: 1–999 (wave number)

When you touch <List>, the Wave List window will appear,

allowing you to select the wave from the list.

ANALOG: Analog Oscillator

PCM: PCM Oscillator

EXT IN: External Input Oscillator

When you select a wave, the wave name, encoding type, and

stereo/ mono will also be displayed.

W a ve Ga in

Sets the gain (amplification) of the waveform.

Va ri Sw (PCM O scilla to r Va ri Sw itch )

Value: -12– +12 dB

Switches whether the sound will be produced using Vari Phrase

(ON) or linearly (OFF).

Value: OFF, ON

Sta rt O ffse t (PCM O scilla to r Sta rt O ffse t)

Specifies the starting address of the wave.

Value: 0–**

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Cre a tin g a Pa tch

Pla y b a ck Mo d e (PCM O scilla to r Pla y b a ck

Mo d e )

Pitch KF (O scilla to r Pitch Ke y Fo llo w )

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.

Specifies how the wave will be assigned to each key.

Value

RETRIGGER: The sample will play back from the beginning each

time you play a key.

LEGATO: When you play legato, the playback point will be

synchronized with the currently playing sound.

STEP: Each time you play a key, the sample will play back to the

next event (p. 71) and then stop.

Value: -200– +200

fig.Pitch KF.e

Pitch

EVENT: The sample will be divided at each event and assigned to

separate keys. Each time you press a key, the sample will play from

the beginning of the corresponding event.

+200

+100

+50

Lo o p (PCM O scilla to r Lo o p Sw itch )

Specifies whether the wave will be played as a loop (ON) or not

(OFF).

-50

Value: OFF, ON

Ro b o t Vo ice (PCM O scilla to r Ro b o t Vo ice

Sw itch )

-200

-100

Key

Specifies whether the pitch of the wave will be held steady (ON) or

not (OFF).

Co a rse (O scilla to r Co a rse Tu n e )

Value: OFF, ON

Adjusts the pitch of the oscillator up or down in semitone steps (+/ -4

Te m p o Sy n c (PCM O scilla to r Te m p o Sy n c

Sw itch )

octaves).

Value: -48– +48

Specifies whether the wave will be sounded in sync with the tempo

clock (ON) or not (OFF).

Fin e (O scilla to r Fin e Tu n e )

Value: OFF, ON

Adjusts the pitch of the oscillator up or down in 1-cent steps (+/ -50

cents).

Value: -50– +50

Pitch

fig.03-14_50

One cent is 1/ 100th of a semitone.

Ra n d o m (O scilla to r Ra n d o m Pitch De p th )

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 (O scilla to r Pitch LFO De p th ) ■■

Pitch (O scilla to r Pitch ) ■■

Specifies how deeply the LFO will affect pitch.

Adjusts the pitch of the oscillator.

Value: -63– +63

In this screen you can make settings for the envelope that affects

the pitch. For details on envelope settings, refer to “Making

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Cre a tin g a Pa tch

Fa t LFO De p th ■■

Pu lse W id th (AN ALO G)

fig.03-15_50

Specifies how deeply the LFO will affect fat.

Value: -63– +63

In this screen you can make settings for the envelope that affects

the fat. For details on envelope settings, refer to “Making

“Making Envelope Settings” (p . 4 8).

Tim e (PCM)

fig.03-17_50

Pu lse W id th ■■

Specifies the amount by which the wave shape will be modified.

Value: -63– +63

PW KF (Pu lse W id th Ke y Fo llo w )

Specifies the amount by which the pulse width value will be affected

by the key you play.

Value: -200– +200

Tim e ■■

PW LFO De p th (Pu lse W id th LFO De p th ) ■■

This sets the range of change in playback speed (time).

Value: -63– +63

Specifies how deeply the LFO will affect pulse width.

Value: -63– +63

Time

-40

-20

In this screen you can make settings for the envelope that affects

the pulse width. For details on envelope settings, refer to

FWD

Reverse

playback

Stop

Normal

speed

2x speed 4x speed

ZERO

BWD

-2x speed Reverse

playback

Stop

Normal

speed

2x speed

4x speed -2x speed Reverse

playback

Stop

Normal

speed

Fa t (AN ALO G)

fig.03-16_50

Tim e KF (Tim e Ke y Fo llo w )

Specifies the amount by which the time value will be affected by the

key you play.

Value: -200– +200

Tim e O ffse t

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.

Fa t ■■

Emphasizes the low-frequency region of the sound.

Tim e LFO De p th ■■

Value: 0–127

Specifies how deeply the LFO will affect time.

Value: -63– +63

Fa t KF (Fa t Ke y Fo llo w )

Specifies the amount by which the fat value will be affected by the

In this screen you can make settings for the envelope that affects

the time. For details on envelope settings, refer to “Making

(p . 4 2) is off and when the Encode Type (p. 70) is “B A CKING” or

key you play.

Value: -200– +200

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Cre a tin g a Pa tch

Fo rm a n t (PCM)

O SC TVA

fig.03-18_50

fig.03-19_50

Le ve l ■■

The parameters of this screen are ignored when the Vari switch

“ENSEMBLE.”

Specifies the volume of the oscillator.

Value: 0–127

Le ve l KF (Le ve l Ke y Fo llo w )

Fo rm a n t ■■

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.

This sets the range of change in vocal quality (formant).

Value: -63– +63

Fo rm a n t KF (Fo rm a n t Ke y Fo llo w )

Specifies the amount by which the formant value will be affected by

the key you play.

Value: -200– +200

Le ve l LFO Dp (Le ve l LFO De p th ) ■

En e rg y

Specifies how deeply the LFO will affect the volume of the oscillator.

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: -63– +63

In this screen you can make settings for the envelope that affects

the sub TVA. For details on envelope settings, refer to “Making

Value: OFF, 1–127

Fm t LFO De p th (Fo rm a n t LFO De p th ) ■■

Specifies how deeply the LFO will affect formant.

LFO

Value: -63– +63

fig.03-20_50

In this screen you can make settings for the envelope that affects

the formant. For details on envelope settings, refer to “Making

“Making LFO Settings” (p . 4 9).

In this screen you can make settings for the LFO that affects the

oscillator. For details on LFO settings, refer to “Making LFO

Settings” (p . 4 9).

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Cre a tin g a Pa tch

Mix in g / Mo d u la tin g Tw o So u n d s

(Mo d )

Ap p ly in g Va rio u s Effe cts to Ea ch

N o te Yo u Pla y (CO SM1 / CO SM2 )

Mo d u la to r Sw itch ■

CO SM Sw itch ■

Switches the modulator on/ off.

Switches the COSM on/ off.

Value: OFF, ON

Mo d Ty p e

CO SM Ty p e

fig.03-21_50

fig.03-22_50

Mo d u la to r Ty p e

CO SM Ty p e

Selects the type of modulator.

Use this parameter to select from among the 15 available COSMs.

For details on COSM parameters, refer to “COSM Parameters” (p .

111).

Value

MIX: Add OSC1 and OSC2.

Value: THRU, OD/ DS, W-SHAPE, AMP, SPEAKER, RESONATOR,

SBF1/ 2, COMB, DUAL, TVF, DYN-TVF, COMP, LIMITER, F-SHIFT,

LO-FI

RING: Use OSC2 to apply ring modulation to OSC1.

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

ENV RING: Use the envelope of OSC2 to control the volume of

OSC1.

LFO

fig.03-23_50

OSC SYNC: Synchronize the output waveform of OSC1 to the

output waveform of OSC2.

OSC SYNC is valid only when OSC2 is an analog oscillator.

O rig in a l Le ve l (Mo d u la to r O rig in a l Le ve l)

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.”

Atta ck (Mo d u la to r Atta ck Tim e )

Specifies the attack time of the OSC2 envelope.

For some COSM selections that you choose in COSM Type, you

can make LFO settings. For details on LFO settings, refer to

Value: 0–127

This can be set if Modulator Type is set to “ENV RING.”

Re le a se (Mo d u la to r Re le a se Tim e )

Specifies the release time of the OSC2 envelope.

Value: 0–127

This can be set if Modulator Type is set to “ENV RING.”

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Cre a tin g a Pa tch

Pa n KF (Pa n Ke y Fo llo w )

Ad ju stin g th e Vo lu m e a n d Pa n

(TVA)

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.

TVA Sw itch ■

Switches the TVA on/ off.

Value: OFF, ON

Value: -200– +200

fig.Pan KF.e

TVA

Pan

fig.03-24_50

+100

+50

-50

-100

Key

Le ve l ■

Pa n LFO Dp (Pa n LFO De p th ) ■

Specifies the volume of the patch.

Specifies how deeply the LFO will affect the pan.

Value: 0–127

Value: -63– +63

Le ve l KF (Le ve l Ke y Fo llo w )

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.

In this screen you can make settings for the envelope that affects

the TVA. For details on envelope settings, refer to “Making

whose settings you wish to modify (p. 21).

LFO

fig.03-25_50

Value: -200– +200

Lvl LFO Dp (Le ve l LFO De p th ) ■

Specifies how deeply the LFO will affect the volume of the patch.

Value: -63– +63

Pa n

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 “Making LFO

Settings” (p . 4 9).

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Cre a tin g a Pa tch

ADSR Atta ck (En ve lo p e Atta ck Tim e ) ★★

Ma k in g En ve lo p e Se ttin g s

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

This section explains the envelope setting screens.

fig.03-26_50

ADSR De ca y (En ve lo p e De ca y Tim e ) ★★

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).

Ve lo city Cu rve (En ve lo p e Ve lo city Cu rve )

Value: 0–127, Note

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”.

ADSR Su sta in (En ve lo p e Su sta in Le ve l) ★

Specifies the sustain level of the envelope (the level at which the

envelope remains constant).

Value: 0–127

Value: 0–7

fig.Curve-7

ADSR Re le a se (En ve lo p e Re le a se Tim e ) ★★

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.

Ve lo city Se n s (En ve lo p e Ve lo city Se n sitivity )

En v De p th (En ve lo p e De p th )

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.

Specifies the depth of the envelope. Higher settings will cause the

envelope to produce greater change. Negative (-) settings will invert

the shape of the envelope.

Value: -63– +63

En v Tim e KF (En ve lo p e Tim e Ke y Fo llo w )

Ve lo city A-Se n s (En ve lo p e Atta ck Tim e Ve lo city

Se n sitivity )

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.

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

Value: -200– +200

fig.Time KF.e

Ve lo city D-Se n s (En ve lo p e De ca y Tim e Ve lo city

Se n sitivity )

Time

+100

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

+50

Ve lo city R-Se n s (En ve lo p e Re le a se Tim e

Ve lo city Se n sitivity )

-50

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.

-100

Key

Value: -63– +63

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Cre a tin g a Pa tch

Ra te (LFO Ra te ) ■■

Ma k in g LFO Se ttin g s

Adjusts the modulation rate, or speed, of the LFO.

Value: 0–127, Note

This section explains the LFO setting screens.

fig.03-27_50

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)

Delay time

1 second (60 / 60 =1 (second))

0.5 seconds (60 / 120= 0.5 (seconds))

0.25 seconds (60 / 240= 0.25 (seconds))

(quarter note)

(eighth note)

W a ve fo rm (LFO W a ve fo rm )

Selects the waveform of the LFO.

Value

SIN: Sine wave

This setting will be ignored if the Waveform parameter is set to

“CHAOS.”

TRI: Triangle wave

SAW: Sawtooth wave

SQR: Square wave

“LFO” in the lower right of the screen shows a diagram of the

wave cycle that corresponds to the current settings.

RND: Random wave

TRP: Trapezoidal wave

S&H: Sample & Hold wave (one time per cycle, LFO value is

changed)

Fa d e Mo d e (LFO Fa d e Mo d e )

Specifies how the LFO will be applied.

CHAOS: Chaos wave

Value: ON <<, ON >>, OFF <<, OFF >>

“LFO” in the lower right of the screen shows a wave graphic that

corresponds to the current settings.

After referring to “How to Apply the LFO” (p . 4 9), change the

setting until the desired effect is achieved.

O ffse t (LFO O ffse t)

Fa d e Tim e (LFO Fa d e Tim e )

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.

Specifies the time over which the LFO amplitude will reach the

maximum (minimum).

Value: 0–127

After referring to “How to Apply the LFO” (p . 4 9), change the

Value: -100, -50, 0, +50, +100

setting until the desired effect is achieved.

Ke y Sy n c (LFO Ke y Sy n c Sw itch )

Ho w to Ap p ly th e LFO

This specifies whether the LFO cycle will be synchronized to begin

when the key is pressed (ON) or not (OFF).

Value: OFF, ON

■ Ap p ly th e LFO g ra d u a lly a fte r th e k e y is

p re sse d

fig.LFO-1.e

De la y Tim e (LFO De la y Tim e )

Delay

Time

high (more)

Fade Time

Delay Time (LFO Delay Time) specifies the time elapsed before the

Pitch

Cutoff Frequency

Level

LFO effect is applied (the effect continues) after the key is pressed (or

Depth

released).

Pan

Note on

Value: 0–127

low (less)

After referring to “How to Apply the LFO” (p . 4 9), change the

Fade Mode: ON <

setting until the desired effect is achieved.

Fade Time: 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.

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Cre a tin g a Pa tch

■ Ap p ly th e LFO im m e d ia te ly w h e n th e k e y is

p re sse d , a n d th e n g ra d u a lly b e g in to

d e cre a se th e e ffe ct

Se ttin g Effe cts fo r a Pa tch (Effe ct)

Ro u tin g

fig.03-28_50

fig.LFO-2.e

high (more)

Delay Time

Fade Time

Pitch

Cutoff Frequency

Level

Depth

Pan

Note on

low (less)

Fade Mode: ON >>

Fade Time: 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.

MFX Se n d (MFX Se n d Le ve l) ■

■ Ap p ly th e LFO g ra d u a lly a fte r th e k e y is

Sets the level of the signal sent to tMFX.

re le a se d

Value: 0–127

fig.LFO-3.e

Delay

Time

high (more)

Fade Time

CHO Se n d (Ch o ru s Se n d Le ve l) ■

Pitch

Cutoff Frequency

Sets the level of the signal sent to chorus.

Depth

Level

Pan

Value: 0–127

Note

off

REV Se n d (Re ve rb Se n d Le ve l) ■

low (less)

Sets the level of the signal sent to reverb.

Fade Mode: OFF <<

Value: 0–127

Fade Time: The time over which the LFO amplitude will reach the

maximum after the Delay Time has elapsed.

O u tp u t Assig n

Delay Time: The time from when the keyboard is released until the

LFO begins to be applied.

Sets the direct sound’s output method.

Value

■ Ap p ly th e LFO fro m w h e n th e k e y is p re sse d

u n til it is re le a se d , a n d g ra d u a lly b e g in to

d e cre a se th e e ffe ct w h e n th e k e y is re le a se d

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.

fig.LFO-4.e

Delay

Time

DIR: Output to the DIRECT OUTjacks in stereo without passing

through MFX. Make this setting when you want to use external

effects.

high (more)

Fade Time

Pitch

Cutoff Frequency

Level

Depth

Pan

MFX (MFX O n / O ff Sw itch ) ■

low (less)

Note on

Note off

Switches MFX on and off.

Fade Mode: OFF >>

Value:

(OFF),

(ON)

Fade Time: 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 released.

MFX Ty p e

Use this parameter to select from among the 41 available MFX. For

details on MFX parameters, refer to “MFX Parameters” (p . 1 16).

Value: 00 (Thru)–41

MFX Ma ste r Le ve l

Adjusts the volume of the sound that has passed through the MFX.

Value: 0–127

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Cre a tin g a Pa tch

MFX To CHO (MFX Ch o ru s Se n d Le ve l)

MFX

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

fig.03-29_50

MFX To REV (MFX Re ve rb Se n d Le ve l)

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 (Ch o ru s O n / O ff Sw itch ) ■

Switches chorus on and off.

Value:

(OFF),

(ON)

MFX Ty p e

Use this parameter to select from among the 41 available MFX. For

details on MFX parameters, refer to “MFX Parameters” (p . 1 16).

Value: 00 (Thru)–41

CHO Ty p e (Ch o ru s Ty p e )

Use this parameter to select from among the 8 available chorus. For

details on chorus parameters, refer to “Chorus Parameters” (p .

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 “MFX Parameters” (p . 1 16).

138).

Value: 00 (Off)–08

CHO Ma ste r Le ve l (Ch o ru s Ma ste r Le ve l)

When you touch <List>, the MFX List window will appear,

allowing you to select the MFX from the list.

Adjusts the volume of the sound that has passed through chorus.

Value: 0–127

CHO To REV (Ch o ru s Re ve rb Se n d Le ve l)

CHO

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

fig.03-30_50

REV (Re ve rb O n / O ff Sw itch ) ■

Switches reverb on and off.

Value:

(OFF),

(ON)

REV Ty p e (Re ve rb Ty p e )

Use this parameter to select from among the 10 available reverb. For

details on reverb parameters, refer to “Reverb Parameters” (p . 1 38).

Value: 00 (Off)–10

CHO Ty p e (Ch o ru s Ty p e )

Use this parameter to select from among the 8 available chorus. For

details on chorus parameters, refer to “Chorus Parameters” (p .

138).

REV Ma ste r Le ve l (Re ve rb Ma ste r Le ve l)

Adjusts the volume of the sound that has passed through reverb.

Value: 0–127

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 . 1 38).

When you touch <List>, the Chorus List window will appear,

allowing you to select the chorus from the list.

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Cre a tin g a Pa tch

REV

fig.03-31_50

Zo n e Se ttin g s (Zo n e )

V-Synth lets you divide the keyboard into as many as sixteen zones,

with each zone playing a different sound.

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

Sp littin g th e Ke y b o a rd to Pla y

Diffe re n t So u n d s (Sp lit)

REV Ty p e (Re ve rb Ty p e )

A patch that contains settings to play different patches in each

keyboard zone is called a split patch. Here’s how to create a split

patch.

Use this parameter to select from among the 10 available reverb. For

details on reverb parameters, refer to “Reverb Parameters” (p . 1 38).

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 . 1 38).

1 . Access the PATCH PLAY screen, and select the patch

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. 33).

When you touch <List>, the Reverb List window will appear,

allowing you to select the reverb from the list.

2 . Touch <■> in the upper right of the screen.

A pulldown menu appears.

fig.01-05_50

3 . In the pulldown menu, touch <Zone>.

The PATCH Zone window appears.

fig.03-32_50

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Cre a tin g a Pa tch

4 . In the lower part of the screen, touch <Split>.

Cre a tin g a Dru m Pa tch (Dru m )

A window like the following appears.

By dividing the keyboard into sixteen zones and assigning a

percussion instrument sound to each zone, you can create a patch

that lets you play drums. Such a patch is called a drum patch.

You can think of a drum patch as a group containing various

percussion instrument sounds. Since percussion instrument sounds

are not usually used to play melodies, you do not need to be able to

use the keyboard to play a scale.

fig.03-33_50

1 . Access the PATCH PLAY screen, and select the patch

whose settings you wish to modify (p. 21).

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. 33).

5 . Touch <01>.

Zone 01 will be selected, and the top note number of zone 01 will

be displayed in the upper right of the screen.

2 . Touch <■> in the upper right of the screen.

6 . Specify the split point between zones 01 and 02. Either turn

the VALUE dial or use [INC/+][DEC/-] to specify the note

number. You can also specify the note number by dragging

to left or right on the keyboard graphic in the touch screen.

A pulldown menu appears.

fig.01-05_50

If you want to divide the keyboard into three zones, lower the

top note of zone 02, and specify the split point between zones 02

and 03. By lowering the top note of the highest zone in this way,

you can add more zones. You can specify a maximum of sixteen

zones.

7 . Touch <OK>.

The zones will be established, and you will return to the PATCH

PLAY screen.

3 . In the pulldown menu, touch <Zone>.

The PATCH Zone window appears.

8 . In this state, zone 01 is selected. Specify the sound that you

fig.03-32_50

want to play in zone 01.

9 . After you have specified the sound that you want to play in

zone 01, next specify the sound for zone 02. Perform steps 2

and 3 once again to access the PATCH Zone window.

1 0 . Touch <02>, and then touch <OK>.

Zone 02 will be selected, and you will return to the PATCH

PLAY screen.

1 1 . Since zone 02 is now selected, specify the sound that you

want to play in zone 02.

In this way you can create a patch that plays different sounds on

either side of the split point you specified in step 6.

1 2 . To save the patch you created, perform the Write operation

(p. 34).

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Cre a tin g a Pa tch

4 . In the lower part of the screen, touch <Drum>.

A window like the following appears.

fig.03-34_50

5 . To change the split point of each zone, refer to the

procedure described in the preceding section, “Splitting the

Keyboard to Play Different Sounds (Split).”

6 . Specify the sounds (percussion instrument sounds) that

you want to play in each zone. For the procedure, refer to the

procedure described in the preceding section, “Splitting the

Keyboard to Play Different Sounds (Split).”

In this way you can create a patch that plays various percussion

instrument sounds when you press different notes of the

keyboard.

7 . To save the patch you created, perform the Write operation

(p. 34).

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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )

In this chapter, we will explain the procedures for:

Ap p lica tio n s o f Ea ch Te m p la te

•

Sa m pling (p. 55)

The preset templates cover different input settings and pre-effect

types.

E d i ting samples (p. 64)

Converting samples so the VariPhrase function can be used

(Encoding) (p. 69)

Mic

Sample in mono from a mic. Connect a mic to the rear

panel INPUT jack, and set GAIN switch to “MIC.”

For details on loading samples, refer to (p. 85).

Line

Sample in stereo from a CD. Connect your CD player to

the rear panel INPUT jacks, and set GAIN switch to

“LINE.”

Optical

Sample a digital signal. Connect your audio device to

the rear panel OPTICAL IN connector.

Sa m p lin g

Resampl Play a sample on the V-Synth and sample the result.

This is called “resampling.” For details on resampling,

refer to p. 60.

Se ttin g s Be fo re Yo u Sa m p le (W h a t

Is a Te m p la te ? )

A sampling template is something that holds a collection of settings

for sampling (the setup settings, pre-effect settings, and metronome

settings described below).

Comp

Use the compressor pre-effect. The sample will be re-

corded from the rear panel INPUT jacks.

Limiter

Use the limiter pre-effect. The sample will be recorded

from the rear panel INPUT jacks.

Noise-

Sup

Use the noise suppressor pre-effect. The sample will be

recorded from the rear panel INPUT jacks.

You can store eight different sampling templates. When you sample,

you will always select one of these eight templates.

MIDI

Start sampling when a sequencer start (system realtime

message: FA) is received. The sample will be recorded

from the rear panel INPUT jacks.

With the factory settings, eight sampling templates are preset.

For details on modifying the settings, refer to “Sampling

Fa cto ry Se ttin g s o f Ea ch Te m p la te

Procedure” (p . 5 6).

Setup

Mic

Line

Optical

Resampl

Sampling templates are system settings (with the exception of

some metronome parameters). They are remembered even when

you turn off the power. If you wish to restore all eight sampling

templates to the factory settings, perform the Factory Reset

operation (p. 98).

SamplingType 1 (MIX)

0 (Stereo)

InputSource

0 (Analog) 0 (Analog) 1 (Optical) 3 (Resam-

pling)

TriggerMode

TriggerLevel

PreTrigger

0 (Manual) 2 (Level)

2 (Level)

3 (Note)

-12 (dB)

-24 (dB)

-12 (dB)

0 (0msec)

PreGain

0 (0dB)

PreFxType

0 (off)

PreFxCS-Sus

PreFxCS-Atk

PreFxCS-Tone

PreFxCS-Lvl

PreFxLM-Thr -48

-48

PreFxLM-Rel

PreFxLM-Rati

PreFxLM-Tone

PreFxLM-Lvl

PreFxNS-Thr

PreFxNS-Rel

CountIN

-60

1 (1MES)

1 (REC)

0 (0MES)

1 (REC)

0 (0MES)

1 (REC)

1 (1MES)

1 (REC)

MetroType

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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )

When sampling, you must make sure that the following two items

are set correctly. If these two settings are incorrect, the sample will

not be recorded as you intend.

Setup

Comp

Limiter

NoiseSup MIDI

0 (Stereo) 0 (Stereo)

SamplingType 0 (Stereo)

0 (Stereo)

InputSource

TriggerMode

TriggerLevel

PreTrigger

0 (Analog) 0 (Analog) 0 (Analog) 0 (Analog)

0 (Manual) 0 (Manual) 0 (Manual) 1 (MIDI)

•

What type of sample are you recording? (stereo or mono)

→ In the SAMPLING General screen, set Sampling Type.

Which input are you sampling from? (select the input jack)

→ In the SAMPLING General screen, set Input Source.

-12 (dB)

0 (0msec)

0 (0dB)

-12 (dB)

0 (0msec)

0 (0dB)

-12 (dB)

0 (0msec)

0 (0dB)

-12 (dB)

•

0 (0msec)

PreGain

0 (0dB)

PreFxType

1 (COMP) 2 (LIMIT) 3 (NS)

0 (off)

PreFxCS-Sus

PreFxCS-Atk

PreFxCS-Tone

PreFxCS-Lvl

If you have set the metronome (p. 62), the metronome sound will

be output from the DIRECT OUT jack during sampling.

However, the sound that is assigned to the DIRECT OUT j a ck (p.

50) w i ll not be output.

PreFxLM-Thr -48

-36

-48

1 . Press [MODE].

PreFxLM-Rel

PreFxLM-Rati

PreFxLM-Tone

PreFxLM-Lvl

PreFxNS-Thr

PreFxNS-Rel

CountIN

The V-SYNTH MODE MENU window appears.

fig.MODE_50

-60

-30

-60

1 (1MES)

1 (REC)

1 (1MES)

1 (REC)

1 (1MES)

1 (REC)

0 (0MES)

1 (REC)

MetroType

Sa m p lin g Pro ce d u re

Here’s how to input a sound from the input jacks and sample it. For

resampling, refer to the following section.

The V-Synth has the following input jacks.

2 . Touch <SAMPLE>.

•

INPUT L, R (GAIN: MIC/ LINE)

DIGITAL AUDIO INTERFACE

OPTICAL IN

The SAMPLE Top screen appears.

fig.04-01_50

COAXIAL IN

Use the input jack that is appropriate for your situation.

•

Monaural sampling from a mic → INPUT L, R (GAIN: MIC)

Sampling from an analog source → INPUT L, R (GAIN: LINE)

Sampling from a digital source → OPTICAL IN or COAXIAL IN

Howling could be produced depending on the location of

microphones relative to speakers. This can be remedied by:

1. Changing the orientation of the microphone(s).

2. Relocating microphone(s) at a greater distance from speakers.

3. Lowering volume levels.

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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )

3 . Select the location (sample number) that you wish to

sample.

8 . To set the value of a parameter, move the cursor to the value

box of the parameter that you want to edit. Then adjust the

value by turning the VALUE dial or by using [INC/+] [DEC/-].

You can also adjust the value by dragging on the touch

screen.

Move the cursor to the desired sample. Normally, you will select

a sample that has no wave; i.e., a sample number whose name is

“NO SAMPLE.”

In this screen you can use the following functions.

9 . Adjust the sampling level.

•

Select a sample by directly touching it.

Adjust the volume of the device that is producing the sound.

When sampling from the INPUT jacks, adjust the level by

turning the front panel INPUT knob or setting the rear panel

GAIN switch.

Change the number in steps of eight by pressing [

][

Change the number in steps of one by touching <■><■>

located beside the sample list, by pressing [

+][DEC/ -], or by turning the VALUE dial.

][

][INC/

If you are sampling from the DIGITAL AUDIO INTERFACE IN

connector, use the setup Pre-gain (p. 61) or the pre-effect Output

Level (p. 62) settings to adjust the level.

•

Scroll the sample list by dragging the scroll bar located beside

the sample list up or down.

•

Move to the number 001 sample by touching <Top>.

Move to the number 999 sample by touching <End>.

Display information on the currently selected sample by

touching <Info> (p. 63). However, this information will not be

displayed for the factory-set waves.

1 0 . Touch <START> to start sampling.

The way in which sampling will start depends on the Trigger

Mode setting in the SAMPLING General screen, as follows.

If “MANUAL” is selected, sampling will start after a count of the

number of measures specified by the metronome Count-In

setting.

•

Audition the currently selected sample by touching <Prevw>.

When you touch <Search Empty>, you will jump to the “NO

SAMPLE” sample number that follows the current sample

number.

If “MIDI” is selected, sampling will wait for the sequencer to

start (system realtime message: FA). Sampling will begin when

the sequencer start message is received.

4 . Touch <Sampling>.

If “LEVEL” is selected, sampling will wait for an input signal.

Sampling will begin when the input signal exceeds the level

specified by Trigger Level (p. 61).

The SAMPLING Template screen appears.

fig.04-02_50

If “NOTE” is selected, Sampling will begin when you play the

keyboard or note message is received.

If you have selected “MIDI” or “LEVEL,” you can touch

<START> once again to begin sampling without waiting for the

sequencer to start or the input signal to be received.

In the SAMPLING window, “Remain Time” indicates the

remaining time (in seconds) available for sampling.

5 . Touch <TMPL 1>–<TMPL 8> to select a sampling template.

If you want to modify the settings of the selected sampling

template, perform the following steps 6–8.

If memory becomes full, sampling will be halted. If this occurs,

delete unneeded samples from memory (p. 60).

6 . Touch one of the tabs displayed at the bottom of the screen

to access the corresponding setting screen.

<General>: Setup settings (p. 60)

1 1 . When you are finished sampling, touch <STOP>.

The display will indicate “COMPLETED!” Touch <PREVIEW>

to hear the sound that you sampled, and check whether the

sample was recorded as you wish.

<Pre-Effect>: Pre-effect settings (p. 61)

<Metronome>: Metronome settings (p. 62)

1 2 . Operations from this point will depend on what you want to

do.

For details on each parameter, refer to the page references given.

<Cancel>: Discard the sample that you just recorded, and return

to the SAMPLING Template screen.

7 . In each setting screen, touch the touch panel to set the

parameters.

<Decide>: Finalize the sample that you just recorded, and

<RETRY>: Discard the sample that you just recorded, and

sample once again.

For details on operations in the touch panel, refer to “Basic

Touch Screen Operation” (p . 1 9).

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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )

N a m in g a Sa m p le (SAMPLE N a m e )

Co p y in g a Sa m p le (SAMPLE Co p y )

you want to name (p. 56).

Assign a new name to the sample. You can assign a name consisting

of up to twelve characters.

2 . Touch <■> in the upper right of the screen.

1 . Access the SAMPLE Top screen, and select the sample that

A pulldown menu appears.

fig.04-03_50

2 . Touch <■> in the upper right of the screen.

A pulldown menu appears.

fig.04-03_50

3 . In the pulldown menu, touch <SAMPLE Copy>.

The SAMPLE Copy window appears.

fig.04-04a_50

3 . In the pulldown menu, touch <SAMPLE Name>.

The SAMPLE Name window appears.

fig.04-04_50

4 . Move the cursor to “Source” and select the copy-source

sample.

5 . Move the cursor to “Destination” and select the copy-

4 . Touch the on-screen alphabetic or numeric keys to enter the

new name in the text box.

destination sample.

The on-screen keys have the following functions.

<←><→>: Move the cursor in the text box to the desired input

location.

When you touch <List>, the Sample List window will appear,

allowing you to select the sample from the list.

6 . Touch <Execute> to execute the copy operation.

<SHIFT>: Turn this on when you want to input uppercase letters

or symbols.

7 . Press [EXIT].

<Insert>: Turn this on when you want to insert a character at the

cursor location.

The SAMPLE Copy window closes.

<Clear>: Erases all characters in the text box.

<Delete>: Deletes the character at the cursor location.

<Back>: Deletes the character that precedes the cursor location.

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.

]

5 . When you have finished inputting, touch <OK> to finalize the

sample name.

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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )

Mo vin g a Sa m p le (SAMPLE Mo ve )

Ex ch a n g in g a Sa m p le (SAMPLE

Ex ch a n g e )

2 . Touch <■> in the upper right of the screen.

A pulldown menu appears.

2 . Touch <■> in the upper right of the screen.

fig.04-03_50

A pulldown menu appears.

fig.04-03_50

3 . In the pulldown menu, touch <SAMPLE Move>.

The SAMPLE Move window appears.

3 . In the pulldown menu, touch <SAMPLE Exchange>.

fig.04-04b_50

The SAMPLE Exchange window appears.

fig.04-04c_50

4 . Move the cursor to “Source” and select the move-source

sample.

4 . Move the cursor to “Source” and select the exchange-

source sample.

5 . Move the cursor to “Destination” and select the move-

destination sample.

5 . Move the cursor to “Destination” and select the exchange-

destination sample.

When you touch <List>, the Sample List window will appear,

allowing you to select the sample from the list.

When you touch <List>, the Sample List window will appear,

allowing you to select the sample from the list.

6 . Touch <Execute> to execute the move operation.

6 . Touch <Execute> to execute the exchange operation.

7 . Press [EXIT].

The SAMPLE Move window closes.

7 . Press [EXIT].

The SAMPLE Exchange window closes.

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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )

De le tin g a Sa m p le (SAMPLE De le te )

To ad j u st the sampling level, ad j u st the setup Pre-gain (p. 61)

Re sa m p lin g

The V-Synth is able to resample samples from its internal memory.

This is called resampling. In actuality, the sounds that are output

from the rear panel MAIN OUT L(MONO), R jacks are sampled.

For example, you could sample multiple samples played

2 . Touch <■> in the upper right of the screen.

A pulldown menu appears.

fig.04-03_50

simultaneously, and record them as a single sample. You can

conserve voices in this way.

fig.04-05.e

Pre Gain

INPUT

Sampling

OUTPUT

Pre-FX

Sound

Effect

Generator

Before you enter Resampling mode, make settings so that you can

play the sample(s) you wish to resample.

3 . In the pulldown menu, touch <SAMPLE Delete>.

The resampling procedure is essentially the same as the “Sampling

Procedure” described in the preceding section. However, please be

aware of the following points.

The SAMPLE Delete List window appears.

fig.04-04d_50

•

You must set the Input Source in the SAMPLING General screen

to “RESAMPL.”

•

and the pre-effect Output Level (p. 61).

Se tu p Se ttin g s

SAMPLIN G Ge n e ra l

fig.04-06_50

4 . From the list, select the sample 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 SAMPLE Delete List window shows a group

of 16 samples. To view other samples, touch <017-032>–<241-

256>, located at either side of the screen. To view higher-

numbered samples, touch <257-512>–<769-999>, located at the

bottom of the screen.

5 . Touch <Execute>.

The selected sample will be deleted.

Sa m p lin g Ty p e

Select the type of sampling.

6 . If you want to continue deleting other samples, repeat steps

Value

4 and 5.

STEREO L R: Sample in stereo.

7 . Press [EXIT].

MONORAL MIX: Mix the signals input to L and R, and sample in

monaural.

The SAMPLE Delete List window closes.

MONORAL L: Sample the L input signal in monaural.

MONORAL R: Sample the R input signal in monaural.

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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )

In p u t So u rce

Pre -Effe ct Se ttin g s

Select the input from which the sound will be sampled.

Value

SAMPLIN G Pre -Effe ct

ANALOG: INPUT jacks

fig.04-07_50

OPTICAL: OPTICAL IN connector

COAXIAL: COAXIAL IN connector

RESAMPL: Select this when you wish to resample. The sound that is

output to MAIN OUT L(MONO) and R will be sampled.

Trig g e r Mo d e

Specifies how sampling will be started.

Value

MANUAL: Sampling will begin when you touch <START>.

MIDI: Sampling will begin when an external sequencer start message

(system realtime message: FA) is received.

LEVEL: Sampling will start when the input signal exceeds the level

specified by the Trigger Level setting.

There are three pre-effects: compressor, limiter, and noise

suppressor. By using these you can adjust the level of the sound

being sampled.

NOTE: Sampling will begin when you play the keyboard or note

message is received.

Compressor:

By reducing high levels and raising low levels, this effect smoothes

out unevenness in volume.

Trig g e r Le ve l

Limiter:

Specifies the input level at which sampling will begin when the

Trigger Mode is set to “LEVEL.” The trigger level is shown by the

By compressing sounds that exceed a specified volume level, this

effect prevents the sound from distorting.

Noise suppressor:

“

” and “ ” in the level meter located at the right of the screen.

Value: -∞–00 dB

This effect leaves the original sound untouched, but mutes the noise

that is heard during periods of silence.

If Trigger Mode is set to other than “LEVEL,” this parameter has

no effect.

Ty p e (Pre -Effe ct Ty p e )

Value

Pre Trig g e r

OFF: No pre-effect will be used.

COMP+NS: Compressor and noise suppressor settings can be made.

LMT+NS: Limiter and noise suppressor settings can be made.

NS: Noise suppressor settings can be made.

After the selected trigger to start sampling has been received,

previously received data for the length of time specified here will be

included in the sampled data. When the Trigger Mode is set to

“LEVEL” and the early portion of the sample is being lost, you can

use this setting to include the early portion.

■ Co m p re sso r

Value: 0–1000 msec

Su sta in

Specifies the time over which a low-level signal is raised until it

Pre Ga in

reaches a fixed volume.

Adjusts the input gain. This will apply to the sound that is received

from all input jacks. It will also be applied to the sound being

resampled. With positive (+) values, the gain will be higher than

originally, and with negative (-) values the gain will be lower than

originally.

Value: 0–127

Atta ck (Atta ck Tim e )

Specifies the attack time of the input sound.

Value: 0–127

Value: -12– +36 dB

To n e

Adjusts the tone quality of the compressor.

Value: -50– +50

Le ve l (O u tp u t Le ve l)

Adjusts the output volume.

Value: 0– +24 dB

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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )

■ Lim ite r

Me tro n o m e Se ttin g s

Th re s (Th re sh o ld Le ve l)

Me tro n o m e

fig.04-08_50

Specifies the level (threshold level) at which the limiter will begin to

function.

Value: -60–0 dB

Re le a se (Re le a se Tim e )

Specifies the time from when the input level drops below the

threshold level until the limiter turns off.

Value: 0–127

To n e

Adjusts the tonal quality of the limiter.

Value: -50– +50

Me tro Ty p e (Me tro n o m e Ty p e )

Le ve l (O u tp u t Le ve l)

Specifies when you want the metronome to sound.

Value

Adjusts the output volume.

Value: 0– +24 dB

OFF: The metronome will not sound.

REC: The metronome will sound only during sampling.

ALWAYS: The metronome will sound whenever you sample

(including while you are making settings in preparation for

sampling).

Ra tio

Specifies the compression ratio.

Value: 1.5:1, 2:1, 4:1, 100:1

■ N o ise Su p p re sso r

Le ve l (Me tro n o m e Le ve l)

Th re sh o ld (Th re sh o ld Le ve l)

Specifies the volume of the metronome.

Specifies the level at which the noise suppressor will begin to

Value: 0–127

operate. When the signal falls below the specified level, it will be

Co u n t In

muted.

Value: -60–0 dB

Specifies the number of measures for the count-in that will occur

before sampling.

Re le a se (Re le a se Tim e )

Value

Specifies the time from when the noise suppressor begins to operate

until the volume reaches 0.

OFF: A count will not be sounded.

1MEASURE: A one-measure count will be sounded.

2MEASURE: A two-measure count will be sounded.

Value: 0–127

If Trigger Mode is set to other than “MANUAL,” this parameter

has no effect.

Te m p o

Specifies the tempo of the metronome.

Value: 20.0–250.0

Be a t

Specifies the time signature of the metronome.

Value

Numerator: 1–31

Denominator: 2, 4, 8, 16, 32

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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )

N a m in g a Te m p la te (Te m p la te N a m e )

Ch e ck in g Sa m p le In fo rm a tio n

A template can be given a name of up to eight characters.

you want to name (p. 56).

1 . Access the SAMPLE Top screen, and select the sample that

2 . Touch <Info>.

The SAMPLE Information screen appears.

2 . Touch <■> in the upper right of the screen.

fig.04-10a_50

A pulldown menu appears.

fig.04-09_50

In the SAMPLE Information screen you can check the following

information for the sample.

3 . In the pulldown menu, touch <Template Name>.

•

Encode type (p. 70)

The SAMPLING Template Name window appears.

fig.04-10_50

Sa m pling type (p. 60)

Loop point location (Loop Start, Loop End) (p. 68)

Ti m e signature (p. 69)

Original tempo (p. 69)

Original pitch

Original fine tune

Original Tempo, Original Pitch, and Original Fine Tune can be

modified in this screen.

If you want to set an accurate original tempo, make settings in

the sample editing screen (p. 69).

4 . Touch the on-screen alphabetic or numeric keys to enter the

new name in the text box.

O rig in a l Pitch

The on-screen keys have the following functions.

<←><→>: Move the cursor in the text box to the desired input

location.

Specifies the key that will play the sample at the pitch at which it

was sampled.

<SHIFT>: Turn this on when you want to input uppercase letters

or symbols.

Value: C-1 (0)-G9 (127)

O rig in a l Fin e Tu n e

<Insert>: Turn this on when you want to insert a character at the

cursor location.

Adjusts the current pitch in one-cent steps (1/ 100 of a semitone) over

a range of 1/ 2 semitone upward or downward.

Value: -50-+50

<Clear>: Erases all characters in the text box.

<Delete>: Deletes the character at the cursor location.

<Back>: Deletes the character that precedes the cursor location.

3 . When you have finished viewing the information, touch

<OK> to close the window.

You can also move the input location cursor by pressing the

LO O P MO DE

[

][

] cursor buttons. Pressing [

] will change the

One Shot: The sample will not loop, regardless of the Loop Switch

(p . 4 3) setting of the patch.

character at the cursor location to uppercase, and pressing [

will change it to lowercase.

]

One Way: If the Loop Switch (p. 43) of the patch is on, the sample

will loop in the forward direction between “LOOP START” and

“LOOP END.”

5 . When you have finished inputting, touch <OK> to finalize the

template name.

Alternate: If the Loop Switch (p. 43) of the patch is on, the sample

will loop alternately backward and forward between the “LOOP

START” and “LOOP END.”

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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )

Im p o rtin g a Sa m p le

Ed itin g a Sa m p le

To import samples you will use the Disk Save Project screen of Disk

mode.

When you have finished sampling, you can edit the sample data.

Y o u can also edit samples that you loaded (p. 85).

When editing a sample, touching <PREVIEW> will play the sample

so you can check whether it was edited as you expect.

must encode the data once again (p. 69).

2 . Touch<Import>.

Jump to the DISK Import Files screen in the Disk mode.

fig.06-09_50

•

When the editing screens are displayed, playing the keyboard

will not produce sound.

•

It is not possible to edit two or more samples simultaneously.

With some exceptions, editing a sample that has been encoded

will cause the encoding data to be discarded. In this case, you

•

The factory-set waves (preset waves) cannot be edited.

Co m m o n Pro ce d u re fo r Ed itin g

Disp la y in g th e Sa m p le Ed it Scre e n

1 . Press [MODE].

For details on operations in this screen, refer to “Importing

The V-SYNTH MODE MENU window appears.

Individual Patch or Wave Files (Import Files)” (p . 8 5).

fig.MODE_50

2 . Touch <SAMPLE>.

The SAMPLE Top screen appears.

fig.04-01_50

3 . Select the sample that you wish to edit.

For details on making this selection, refer to “Sampling

Procedure” (p . 5 6).

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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )

4 . Touch <Edit>.

(LEN GTH LO CK)

The SAMPLE Loop FWD screen appears.

fig.04-11_50

This locks the length of the region between the start point (Start) and

end point (End) of the sample. It is convenient to use this when you

already know the length of the sample that you need, and want to

find the right region to use.

After the length has been locked, you can turn the VALUE dial, use

[INC/ +] [DEC/ -], or drag your finger over the sample in the screen

to adjust the Start and End locations while maintaining the distance

between these two points.

Y o u can also use Ad j u st (p. 65) or Zero Cross Search (p. 66) while

the length of the sample is locked.

5 . Touch one of the tabs in the left side of the screen to access

the desired editing screen.

(LO O P)

<Edit>: Edit the sample of the specified region (p. 66)

This switches loop playback on/ off. Turn this on if you want the

loop region specified in the Loop FWD/ BWD screen to play

repeatedly.

<Loop FWD>: Specify the loop region for forward playback (p.

68)

<Loop BWD>: Specify the loop region for backward playback (p.

68)

(PREVIEW )

For details on each editing operation, refer to the corresponding

page.

This plays the sample. During playback, you can touch this once

again to stop playback.

6 . When you have finished making settings, press [EXIT] to

return to the SAMPLE Top screen.

(Ad ju st)

In the Loop FWD/ BWD screen, the Adjust function moves the Loop

Start, Loop End, or Current locations to the nearest of the following

locations 1–5.

Fu n ctio n s Co m m o n to All Ed itin g

Scre e n s

In edit screens, the Adjust function moves the Edit Start, Edit End, or

Current locations to the nearest of the following locations 1–7.

“ Sta rt,” “ En d ,” a n d “ Cu rre n t” Se ttin g s

The V-Synth uses seven terms to indicate locations within a sample.

Sample Start: Beginning of the sample

Sample Start location

Sample End location

Loop Start location

Loop End location

Current location

Sample End: End of the sample

Loop Start, Loop End: When the Loop Play is ON, the region

between these two points will be played repeatedly.

Edit Start, Edit End: Editing will affect the region between these

two points.

Edit Start location

Edit End location

Current: This is the currently selected location of the sample.

Move the cursor to “Start,” “End,” or “Current” to select the point

that you want to specify. Then specify the location by turning the

VALUE dial, by using [INC/ +][DEC/ -], or by dragging your finger

over the sample in the screen.

Move the cursor to the point that you want to adjust (“Start,” “End,”

or “Current”), and touch or

Touching will move the point toward the left, and touching

will move it toward the right.

In the SAMPLE Encode screen (p. 69), this will move the Current

location to the closest event.

•

The region of the sample between Edit Start and Edit End is

displayed with the color inverted.

When Current = Loop/ Edit Start, moving Loop/ Edit Start will

cause Current to change as well.

For example, if you wish to touch <PREVIEW> to check whether

the results of your editing were satisfactory, you can jump the

current location.

It is not possible to move Loop/ Edit Start to the right of Loop/

Edit End.

In some cases nothing may happen, due to the relation between

points or the Length Lock setting.

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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )

Ed itin g th e Sp e cifie d Re g io n o f th e

Sa m p le

(Ze ro Cro ss Se a rch )

This function searches for locations where the sample has a value of

zero. When setting loop points or when cutting the sample, you

should search for locations where the sample value is zero so that

noise is not heard when you play the sample.

You can specify a region of the sample, and edit the region by

cutting or copying.

Ba sic O p e ra tio n

Move the cursor to the point (“Start,” “End,” or “Current”) for which

you want to find a zero-cross point, and then touch

Touching will search toward the left, and touching

search toward the right.

1 . Access the SAMPLE Edit screen (p. 64).

will

2 . Specify the region that you want to edit (Edit Start–Edit End),

or the Current location (p. 65).

3 . Touch <■> in the upper right of the screen.

(Zo o m )

A pulldown menu appears.

This expands or shrinks the displayed sample.

fig.04-16_50

In any screen that displays the sample, you can touch the following

buttons to expand or shrink the displayed sample.

: Shrink vertically

: Expand vertically

: Shrink horizontally

: Expand horizontally

fig.04-12.e

Zoom bar

4 . In the pulldown menu, touch the editing function that you

want to execute.

A window appears, asking you to confirm the operation.

fig.04-17_50

Zoom bar

Actual length of wave

The vertical zoom bar indicates the magnification of the sample in

the vertical direction. The horizontal zoom bar indicates the

magnification of the sample in the horizontal direction, and shows

the current location. As the display is magnified, the zoom bar will

become narrower.

Some editing functions require you to input a numerical value.

For details, refer to the following explanations of each editing

function.

5 . Touch <OK> to execute the editing function.

•

If you want to cancel without executing, touch <Cancel>.

By touching “Undo” in the pulldown menu, you can return to

the state prior to executing the operation (Undo). Depending on

the type of edit function you execute, or on the state of the work

area, there may be cases in which the Undo function cannot be

executed. In such cases, you will not be able to select <Undo>.

6 . If you want to save the edited result, perform the Save

operation (p. 72).

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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )

Ze ro In se rt

Sa m p le Ed itin g Fu n ctio n s

fig.04-18

This operation inserts silent space at the current location. It can also

be used to lengthen a sample to a precise number of measures and

beats.

In the SAMPLE Edit Zero Insert window, specify the length of the

silent region that you want to insert. This setting is made in terms of

a number of samples. Data in the V-Synth is handled as 44.1 kHz

data, meaning that one second contains 44,100 data samples.

For example, if you wish to insert one second of silence, you

would specify “44100” and execute Zero Insert.

If the amount of remaining memory is small, it may not be

possible to execute Copy, Paste, Insert, or Zero Insert. In such

cases, delete unneeded samples from memory (p. 60).

LR-Mix

The stereo sample will be mixed to L, converting it into a monaural

sample. If this is set to monaural, less wave memory will be used.

This will also decrease the number of voices.

Cu t

The region of the sample between Edit Start and Edit End will be cut.

Trim (Trim m in g )

If the beginning and end of the sample are values other than zero,

noise will be heard when you play the sample. Trim sets the values

at the beginning and end of the sample to zero.

Tru n ca te

The region of the sample between Edit Start and Edit End will be

kept, and the remainder of the sample will be deleted.

In the SAMPLE Edit Trim window, specify the length that you want

to trim. This setting is made in terms of a number of samples. Data in

the V-Synth is handled as 44.1 kHz data, meaning that one second

contains 44,100 data samples.

Co p y

The sample between Edit Start and Edit End will be copied.

Cle a r

The sample between Edit Start and Edit End will be set to values of

zero.

For example, trimming at 100 samples. This will connect the first

data sample and the one hundredth data sample by a smooth

line of one hundred points. Similarly, the last data sample and

the data sample one hundred samples before it will be connected

by a smooth line of one hundred points.

Pa ste

The copied data will be overwritten, beginning at the current

location.

N o rm a lize

The Normalize operation is used to uniformly increase or decrease

the level of the entire sample without allowing it to distort. This is

used when you wish to make the volume consistent with other

samples.

If there is any sample data following the current location, it will

be lost as far as the pasted portion extends.

In se rt

In the SAMPLE Edit Normalize window, specify the degree of

normalization that you want to use. The value is specified in terms of

a percentage.

The copied data will be inserted at the current location.

You can cut, paste, and insert between different samples. After

copying, press [EXIT] to return to the SAMPLE Top screen.

Select a different sample, access the SAMPLE Edit screen, and

then paste or insert.

For example, let’s suppose that 100 is the maximum volume at

which the volume does not distort. Executing the Normal

operation at a setting of 90% will make the maximum value of

the sample be 90.

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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )

Lo o p Re g io n Se ttin g s

When the loop switch (p. 65) is ON, you can specify the region that

will be played back as a loop. The region of the sample between

Loop Start and Loop End will be played back repeatedly.

If you normalize at a low setting and then normalize at a high

setting, the audio quality will deteriorate. This means that if you

intend to normalize several times, you should start from the

higher value and work downward.

In the SAMPLE Loop FWD screen that appears when you touch

<Loop FWD>, specify the loop region for forward playback. In the

SAMPLE Loop BWD screen that appears when you touch <Loop

Re ve rse

The sample will be reversed between Edit Start and Edit End. If you

want the sample to play backwards, execute Reverse to reverse the

sample from the beginning.

BWD>, specify the loop region for backward playback.

fig.04-13_50

Re g io n

The region of the sample between Edit Start and Edit End can be

stored in internal memory as a separate sample. The original sample

will remain unchanged.

Perform the following procedure.

1 . Select the region that you want to extract as a separate

sample, and execute Region.

2 . In the SAMPLE Edit Region window, select the sample

number to which you want to paste the extracted region of

the sample, and touch <OK>.

Immediately after sampling or loading a sample, Loop Start will be

set to the beginning of the sample and Loop End to the end of the

sample.

3 . Assign a name to the new sample, and touch <OK>.

If you set Loop Start and Loop End to locations within the sample,

the sample will play back from the beginning, and then the region

between Loop Start and Loop End will play back repeatedly.

fig.04-14.e

If in step 2 you select a sample number that already has a

sample, the sample data between Edit Start and Edit End will be

added to the end of the selected sample.

Wave

Start

Loop

Start

Loop

End

Wave

End

The data in the V-Synth is handled as 44.1 kHz data, which

means there are 44,100 data samples per second. The shortest

possible loop that can be set is 16 data samples.

Loop range settings are ignored when the Playback Mode (p. 43)

is set to “STEP” or “EVENT.”

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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )

O rig in a l Te m p o Se ttin g

The Original Tempo is the reference tempo of the sample used when

Co n ve rtin g th e Sa m p le to V-

Sy n th Da ta (En co d e )

synchronizing it to the master tempo.

After you have finished editing the sample, you should encode it. By

using the encoding that is appropriate for the sample, you’ll be able

to maintain a higher quality of audio while controlling the pitch,

time, and formant.

Example: A sample whose original tempo is 100

If the master tempo is set to 200 and the sample is synchronized, the

sample will play back at double the speed at which it was recorded.

If you set the master tempo to 50 and synchronize the sample, it will

play back at half the speed at which it was

fig.04-15_50

The factory-set waves (preset waves) cannot be encoded.

Disp la y in g th e En co d e Scre e n

The exact original tempo can be calculated from the time signature,

number of measures, and number of beats for the sample length

between Loop Start and Loop End. This means that you must first

specify the loop region, and then set the original tempo.

Samples whose wave is too short (0.1 sec or less) cannot be

encoded, and the SAMPLE Encode screen cannot be accessed for

such samples.

If you wish to play back a loop while simultaneously

synchronizing another sample, you must specify the correct

original tempo. If you fail to do this, the sounds will drift out of

synchronization.

1 . Press [MODE].

The V-SYNTH MODE MENU window appears.

fig.MODE_50

1 . Move the cursor to the item that you wish to set.

2 . Either turn the VALUE dial or press [INC/+][DEC/-] to set the

“Sign” (time signature), “Meas” (measure), and Beat values.

3 . Touch

The precise tempo will be displayed at the right of the “->.” The

tempo displayed here is the original tempo.

You can also move the cursor to the original tempo, and set it by

rotating the VALUE dial or by using [INC/ +][DEC/ -].

2 . Touch <SAMPLE>.

The SAMPLE Top screen appears.

fig.04-01_50

3 . Select the sample number that you wish to encode.

For details on how to select a sample, refer to “Sampling

Procedure” (p . 5 6).

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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )

4 . Touch <Encode>.

Se le ctin g th e En co d in g Ty p e

You can choose from the following four types of encoding. Touch the

The SAMPLE Encode screen appears.

fig.04-20_50

appropriate button to select a type.

fig.04-21

LITE

This is the simplest encoding type. When you sample on the V-

Synth, this type is selected by default. This type can be used with a

variety of sounds, but to obtain the highest quality we recommend

that you encode using one of the other types.

SO LO

This is suitable for monophonic vocals or monophonic wind

instruments (such as sax, trumpet, or flute). If you encode the sample

using this type, you will be able to control the formant (p. 45) and

use the robot voice function (p. 43). Even if you encode using SOLO,

you can still play the sample polyphonically.

To Ex e cu te th e En co d e O p e ra tio n

In the SAMPLE Encode screen, select the encode type, set the encode

depth, and delete or add events. Then touch <Execute>.

If you wish to stop the encode during the operation, touch <Abort>.

When encoding is completed, you will return to the SAMPLE Top

screen.

BACKIN G

This is suitable for decay-type instruments. It is particularly suitable

for phrases that include instruments with a clear attack (such as

drums, percussion, and guitar chords).

For details on these settings, refer to the following sections.

The amount of time required by the encoding process will

depend on the sample. You may need to wait a certain amount

of time for encoding to be completed.

EN SEMBLE

This is suitable for sustain-type instruments. It is particularly

suitable when there are smooth changes in tone (such as choir or

strings).

•

If the data is encoded using “BACKING” or “ENSEMBLE,” it

will not be possible to use the formant control or robot voice

functions.

Once a sample has been encoded, editing that sample (except for

some operations) will cause the encoded data to be discarded. If

you then access the SAMPLE Encode screen in this state, “LITE”

will always be selected as the encoding type. Select the

appropriate encoding type, and then re-encode the sample.

Depending on the sample, encoding with “SOLO” may cause the

sound to be different than you expect, such as changes in pitch

being incorrect by one octave. If this occurs, re-encode the

sample using “BACKING” or “ENSEMBLE.”

•

If a sample that contains large amounts of reverb or delay is

encoded using “SOLO,” it may not sound as you expect. If this

occurs, re-encode the sample using “BACKING” or

“ENSEMBLE.”

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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )

Au to m a tica lly De te ctin g Eve n ts

De le tin g a n d Ad d in g Eve n ts

By specifying the Depth, you can automatically detect and “■”mark

Setting the Encode Depth and automatically detecting events does

not guarantee that the events will be added at the locations that you

expect. If necessary, you can delete or add events as you like.

In the SAMPLE Encode screen, you can touch <PREVIEW> to play

the sample from the current location until the next event. By

touching <PREVIEW>, you can play the sample to see whether

events have been assigned to the locations that you expect.

locations where there is a strong attack (i.e., locations where the

volume changes abruptly). Such marked locations are called events.

fig.04-22

•

Be aware that if you change the encode depth after deleting or

adding events, the events that were modified manually will be

discarded, and the events that were detected by depth will be

displayed.

If you modify the location of events after encoding, you must re-

encode. The modified location of the events will take effect when

you encode.

De p th (En co d e De p th )

In the SAMPLE Encode screen, move the cursor to “Depth” and set

the value. The higher the value you set, the more events will be

De le tin g a n Eve n t

assigned.

fig.04-23_50

1 . Move the cursor to “Current.”

2 . By turning the VALUE dial, pressing [INC/+][DEC/-], or

dragging your finger over the sample in the screen, set

Current to the location of the event that you want to delete.

Value: 0–127

3 . Touch either

The Current location will move to the location of the next event

toward the left or right.

If the Playback Mode (p. 43) is “STEP,” the sample will play to

the next event, and then stop each time you play the key. When

the Playback Mode is set to “EVENT,” the sample will be

divided at event locations, and assigned to each key.

4 . Repeat step 3 to move Current to the location of the event

that you wish to delete.

5 . Touch

to delete the event.

•

If you set Depth to a high value, a large number of events may

be detected. If you encode in such a state, the interval between

events will be too short, and the expected result will not be

obtained when you play back in event units.

The events at the beginning and end of a sample cannot be

deleted.

If you change the location of an event after encoding, you must

re-encode the sample. When you encode, the newly detected

event locations will take effect.

Ad d in g a n Eve n t

1 . Move the cursor to “Current.”

2 . By turning the VALUE dial, pressing [INC/+][DEC/-], or

dragging your finger over the sample in the screen, move

Current to the location at which you want to add the event.

3 . Touch

to add the event.

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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )

Sa vin g a Sa m p le

Samples that you sample or encode will be lost when you turn off

the power. If you want to keep these samples, use the Disk Save

Project screen in the Disk mode.

on Disk (Save Project)” (p . 8 5).

2 . Touch <Save>.

Jump to the DISK Save Project screen in the Disk mode.

fig.06-06_50

For details on operations in this screen, refer to “Saving Project

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Se ttin g s Co m m o n to All Mo d e s (Sy ste m Mo d e )

Settings that affect the entire operating environment of the V-Synth,

such as tuning and MIDI message reception, are referred to as

system functions. This section explains how to make settings for

the System functions and describes the functions of the different

System parameters.

6 . 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.

7 . Repeat steps 3–6 to make the settings for the System

function.

Ho w to Ma k e th e Sy ste m

Fu n ctio n Se ttin g s

Sa vin g th e Sy ste m Se ttin g s (W rite )

1 . Press [MODE].

Changes you make to the System function settings are only

temporary—they will be discarded as soon as the power is turned

off. If you want to keep any changes you’ve made in the system

settings, you must save them in internal memory.

The V-SYNTH MODE MENU window appears.

fig.MODE_50

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 Initialization

procedure.

1 . After you have edited the settings of the System function,

touch <Write>, located in the lower right of the screen.

2 . Touch <SYSTEM>.

In itia lizin g th e Sy ste m Se ttin g s (In it)

The current settings of the system functions can be restored to a set

The SYSTEM Com Master screen appears.

fig.05-01_50

of standard settings, or to the factory settings.

1 . Access the System Edit screen (p. 73).

2 . Touch <Init>, located in the lower right of the screen.

If you want the factory settings to be in effect the next time the

V-Synth is powered up, touch <Write> to save the settings.

3 . 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.

4 . 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 “System

Parameters” (p . 1 08).

5 . In each editing screen, touch the touch screen to set the

parameters.

For details on how to use the touch screen, refer to “Basic

Touch Screen Operation” (p . 1 9).

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Se ttin g s Co m m o n to All Mo d e s (Sy ste m Mo d e )

Po w e ru p Mo d e

Fu n ctio n s o f Sy ste m

Pa ra m e te rs

Specifies the condition that the V-Synth will be in when the power is

turned on.

This section explains what the different System parameters do, and

also how these parameters are organized.

Value

LAST SET: Reinstates the patch selected at the time the V-Synth was

last turned off.

DEFAULT: The V-Synth will be ready to play Patch “001.”

Se ttin g s Co m m o n to th e En tire

Sy ste m (Co m m o n )

fig.05-01a_50

Ma ste r

fig.05-01_50

Ex te rn a l In p u t Ty p e

Selects the type of external input used when Oscillator Type (p. 42) is

set to “EXT IN.”

Ma ste r Tu n e

Adjusts the overall tuning of the V-Synth. The display shows the

frequency of the A4 note (center A).

Value

STEREO L R: Input in stereo.

Value: 415.3–466.2 Hz

MONORAL MIX: Mix the L and R input signals and input in

monaural.

Ma ste r Ke y Sh ift

MONORAL L: Input the L signal in monaural.

MONORAL R: Input the R signal in monaural.

Shifts the overall pitch of the V-Synth in semitone steps.

Value: -24– +24

Mix / Pa ra lle l

Ma ste r Le ve l

Specifies how the sound of the entire V-Synth will be output.

Value

Adjusts the volume of the entire V-Synth.

Value: 0–127

MIX: Set this to have the collective output of all sounds output from

the OUTPUT A (MIX) jacks. When you want to check the final

overall sound being output, set to MIX.

Pa tch Re m a in (Pa tch Re m a in Sw itch )

Specifies whether currently sounding notes will continue sounding

when another patch is selected (ON), or not (OFF).

Also, when this is “ON,” changes produced by incoming MIDI

messages such as Volume (CC 7) or Pan (CC 10), as well as tonal

quality and volume changes produced by the various controllers will

be inherited.

Sounds output from the PHONES jack are the same as those

output from the MIX OUT jacks. Therefore, any sounds set with

Output Assign to be output from the DIRECT OUT jacks is not

output from the PHONES jack. Be sure to have any sound you

want to hear through the headphones set to “MIX.”

Value: OFF, ON

PARALLEL: Output according to each Output Assign settings.

Effects settings change as soon as you switch to a new patch,

without being influenced by the Patch Remain setting. Because

of this, certain effects settings can cause notes that were until

then sounding to no longer be heard, even though Patch Remain

has been set to on.

O u tp u t Ga in

This adjusts the output gain from the V-Synth’s Analog Out and

Digital Out. When, for example, there are relatively few voices being

sounded, boosting the output gain can let you attain the most

suitable output level for recording and other purposes.

Value: -12–+12 dB

Dig ita l O u tp u t Fre q (Dig ita l O u tp u t Fre q u e n cy )

Sets the sampling frequency of the digital output.

Value: 44.1, 48, 96 KHz

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MID 2 Ga in

fig.05-02_50

Adjusts the gain of the middle range 1. Positive (+) settings will

emphasize the middle range 2.

Value: -15–+15 dB

Hig h Fre q (Hig h Fre q u e n cy )

Selects the frequency of the high range.

Value: 2000, 4000, 5000, 6300, 8000, 10000, 12500, 16000, 20000 Hz

HIGH Ga in

Adjusts the gain of the high frequency. Positive (+) settings will

emphasize the high-frequency range.

Value: -15– +15 dB

4 Ba n d EQ (4 -Ba n d Eq u a lize r Sw itch )

TO TAL Ga in

Switch the 4-Band equalizer on/ off.

Adjusts the total gain.

Value: OFF, ON

Value: -15– +15 dB

LO W Fre q (Lo w Fre q u e n cy )

Selects the frequency of the low range.

MIDI/ USB

fig.05-03_50

Value: 50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500, 630, 800, 1000,

1250, 1600, 2000, 2500, 3150, 4000 Hz

LO W Ga in

Adjusts the gain of the low frequency. Positive (+) settings will

emphasize the low-frequency range.

Value: -15– +15 dB

MID 1 Q

Adjusts the width of the middle range 1. Set a higher value for Q to

narrow the range to be affected.

Value: 0.5, 0.7, 1.0, 2.0, 4.0, 8.0

De vice ID (De vice ID N u m b e r)

MID 1 Fre q (Mid 1 Fre q u e n cy )

When you want to transmit or receive System Exclusive messages,

Selects the frequency of the middle range 1.

Value: 50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500, 630, 800, 1000,

1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, 10000, 12500,

16000, 20000 Hz

set this parameter to match the Device ID number of the other MIDI

device.

Value: 17–32

Clo ck So u rce

MID 1 Ga in

The LFO cycle or multi-effects changes can be synchronized to a

clock (tempo). When this is used by the patch, this Clock Source

setting determines the clock which will be used.

Value

Adjusts the gain of the middle range 1. Positive (+) settings will

emphasize the middle range 1.

Value: -15–+15 dB

INTERNAL: The Patch Tempo will be used.

MID 2 Q

EXTERNAL: Synchronize to the clock of an external sequencer.

Adjusts the width of the middle range 2. Set a higher value for Q to

narrow the range to be affected.

Rx PC (Re ce ive Pro g ra m Ch a n g e Sw itch )

Value: 0.5, 0.7, 1.0, 2.0, 4.0, 8.0

Specifies whether Program Change messages will be received (ON)

or not (OFF).

MID 2 Fre q (Mid 2 Fre q u e n cy )

Value: OFF, ON

Selects the frequency of the middle range 2.

Value: 50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500, 630, 800, 1000,

1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, 10000, 12500,

16000, 20000 Hz

Rx Ba n k (Re ce ive Ba n k Se le ct Sw itch )

Specifies whether Bank Select messages will be received (ON) or not

(OFF).

Value: OFF, ON

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Rx Sy s-Ex (Re ce ive Sy ste m Ex clu sive Sw itch )

USB-MIDI Th ru Sw (USB-MIDI Th ru Sw itch )

Specifies whether System Exclusive messages will be received (ON)

When USB Mode is set to “MIDI,” this switch specifies whether

MIDI messages received at the MIDI connector will be re-

transmitted from the MIDI OUT connector (ON) or not (OFF).

or not (OFF).

Value: OFF, ON

Tx Ed it (Tra n sm it Ed it Da ta Sw itch )

fig.05-03b.e

Specify whether changes you make in the settings of a patch will be

MIDI OUT

MIDI IN

USB OUT

USB IN

transmitted as system exclusive messages (ON), or will not be

transmitted (OFF).

Value: OFF, ON

Clo ck O u t

Specifies whether MIDI clock will be transmitted (ON) or not (OFF).

Sound

Generator

Section

Value: OFF, ON

USB Se tu p

Touch <USB Setup>, and a window like the following will appear.

Controller Section

fig.05-03a_50

Local Switch

V-Synth

USB-MIDI Thru Sw=OFF

MIDI OUT

MIDI IN

USB OUT

USB IN

Touch <OK> to apply the settings of this window, or touch <Cancel>

to cancel and close the window.

Sound

Generator

Section

USB Mo d e

Selects the mode in which the USB connector will be used.

Available Settings

Storage: Storage mode. Select this if you want to transfer files.

MIDI: MIDI mode. Select this if you want to exchange MIDI

messages with a sequencer or other program.

Controller Section

Local Switch

V-Synth

You must switch the USB Mode before you connect the V-Synth

to your computer via the USB cable. If you change this setting

while the V-Synth is connected, the computer may fail to

recognize it correctly.

USB-MIDI Thru Sw=ON

For details on connections to your computer in each USB Mode,

refer to “Connecting Your Computer Via USB (USB Mode).”

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Se ttin g s Co m m o n to All Mo d e s (Sy ste m Mo d e )

Pa rt MIDI

fig.05-04_50

Co n tro lle r Se ttin g s (Co n tro lle r)

fig.05-05_50

Pa rt1 –1 6 Rx Sw (Pa rt 1 –1 6 Re ce ive Sw itch )

For each part, specify whether MIDI messages will be received (ON),

Pa tch Tx Ch (Pa tch Tra n sm it Ch a n n e l)

or not (OFF).

If this is “ON,” you can play that part from an external MIDI device.

Normally, you will select “ON” only for part 1 which you play from

the keyboard.

Specifies the transmit channel of MIDI messages in Patch mode. If

you do not want to transmit MIDI messages to external MIDI

devices, turn this parameter “OFF.” If you want the transmit channel

to always match the Patch Receive Channel, set this parameter to

“RX CH.”

Value: OFF, ON

Pa rt 1 –1 6 Rx Ch (Pa rt 1 –1 6 Re ce ive Ch a n n e l)

Value: 1–16, RX CH, OFF

Specifies the MIDI receive channel for each part.

Tx PC (Tra n sm it Pro g ra m Ch a n g e Sw itch )

Value: 1–16

Specifies whether Program Change messages will be transmitted

(ON) or not (OFF).

Performance data directed to the V-Synth itself will be

transmitted on the channel you specified for part 1.

Value: OFF, ON

Tx Ba n k (Tra n sm it Ba n k Se le ct Sw itch )

Specifies whether Bank Select messages will be transmitted (ON) or

not (OFF).

Value: OFF, ON

Tx Active Se n s (Tra n sm it Active Se n sin g

Sw itch )

Specifies whether Active Sensing messages will be transmitted (ON)

or not (OFF).

Value: OFF, ON

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Se ttin g s Co m m o n to All Mo d e s (Sy ste m Mo d e )

KBD

TT Pa d / Kn o b

fig.05-06_50

fig.05-07_50

KBD Se n s (Ke y b o a rd Se n sitivity )

X Assig n -XY

Adjusts the keyboard’s touch.

Value

Specifies the MIDI controller number that will be transmitted by

movements in the ‘X’ (horizontal) direction when the Time Trip pad

is in XY mode.

LIGHT: Light weight synthesizer keyboard like

MEDIUM: Standard

Value

OFF: No message will be transmitted.

CC01–31, 33–95: Controller numbers 1–31, 33–95

HEAVY: Acoustic piano simulation

KBD Ve lo city (Ke y b o a rd Ve lo city )

Y Assig n -XY

Specifies the velocity value that will be transmitted when you play

the keyboard. If you want actual keyboard velocity to be

transmitted, set this to “REAL.” If you want a fixed velocity value to

be transmitted regardless of how you play, specify the desired value

(1–127).

Specifies the MIDI controller number that will be transmitted by

movements in the ‘Y’ (vertical) direction when the Time Trip pad is

in XY mode.

Value

Value: REAL, 1–127

OFF: No message will be transmitted.

CC01–31, 33–95: Controller numbers 1–31, 33–95

Afte r Se n s (Afte rto u ch Se n sitivity )

X Assig n -TT (X Assig n -Tim e Trip )

Specifies the Aftertouch sensitivity. Higher values will allow

Aftertouch to be applied more easily. Normally you will leave this at

Specifies the MIDI controller number that will be transmitted by

movements in the ‘X’ (horizontal) direction when the Time Trip pad

is in Time Trip mode.

“100.”

Value: 0–200

Value

Lo ca l Sw (Lo ca l Sw itch )

OFF: No message will be transmitted.

CC01–31, 33–95: Controller numbers 1–31, 33–95

The Local Switch determines whether the internal sound generator is

disconnected (OFF) from the controller section (keyboard, pitch

bend/ modulation lever, knobs, buttons, Time Trip Pad, D Beam

controller, pedal, and so on); or not disconnected (ON). Normally

this is left “ON,” but if you wish to use the V-Synth’s keyboard and

controllers to control only external sound modules, set it to “OFF.”

Value: OFF, ON

Y Assig n -TT (Y Assig n -Tim e Trip )

Specifies the MIDI controller number that will be transmitted by

movements in the ‘Y’ (vertical) direction when the Time Trip pad is

in Time Trip mode.

Value

OFF: No message will be transmitted.

CC01–31, 33–95: Controller numbers 1–31, 33–95

Re m o te KBD Sw (Re m o te Ke y b o a rd Sw itch )

Set this parameter “ON” when you want to use an external MIDI

keyboard instead of the V-Synth’s keyboard. In this case, the MIDI

transmit channel of the external MIDI keyboard can be set to any

channel. Normally you will leave this parameter “OFF.”

For details on control change messages, refer to “MIDI

Implementation” (p . 1 53).

Turn this “ON” when you want to control the V-Synth from an

external MIDI device when performing with the Arpeggiator (p.

24).

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Kn o b 1 , 2 Assig n

Pe d a l

Specifies the MIDI controller number that will be transmitted by

movements in the ASSIGNABLE CONTROL knob.

Value

fig.05-09_50

OFF: No message will be transmitted.

CC01–31, 33–95: Controller numbers 1–31, 33–95

For more information about Control Change messages, please

Be a m

fig.05-08_50

Ho ld Po la rity (Ho ld Pe d a l Po la rity )

Select the polarity of the Hold pedal. On some pedals, the electrical

signal output by the pedal when it is pressed or released is the

opposite of other pedals. If your pedal has an effect opposite of what

you expect, set this parameter to “REVERSE.” If you are using a

Roland pedal (that has no polarity switch), set this parameter to

“STANDARD.”

Value: STANDARD, REVERSE

Pe d a l 1 , 2 Assig n

This specifies the function of each pedal connected to the CTRL 1,

CTLR 2 PEDAL jacks.

D Be a m Se n s L, R (D Be a m Se n sitivity L, R)

This sets the D Beam Controller’s sensitivity. Sens L is the left side.

The higher the value set, the more readily the D Beam Controller

goes into effect. Normally you will leave this at “100.”

Value: 0–200

Value

OFF: The control pedal will not be used.

CC01–31, 33–95: Controller numbers 1–31, 33–95

For more information about Control Change messages, please

BEND UP: Pitch bend (positive direction)

BEND DOWN: Pitch bend (negative direction)

AFT: Aftertouch

D Be a m 1 –4 Assig n L, R

Specifies the MIDI controller number that will be transmitted by

movements in the D Beam Controller. Assign L is the left side, and

Assign R is the right side.

Value

OFF: No message will be transmitted.

CC01–31, 33–95: Controller numbers 1–31, 33–95

Pe d a l 1 , 2 Po la rity

Selects the polarity of the pedal. On some pedals, the electrical signal

output by the pedal when it is pressed or released is the opposite of

other pedals. If your pedal has an effect opposite of what you expect,

set this parameter to “REVERSE.” If you are using a Roland pedal

(that has no polarity switch), set this parameter to “STANDARD.”

Value: STANDARD, REVERSE

For more information about Control Change messages, please

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X Assig n -XY (V-LIN K X Assig n -XY)

V-LIN K Se ttin g s (V-LIN K)

Specify the V-Link function that will be controlled when you operate

the Time Trip pad in the X (horizontal) direction in XY mode.

Value

fig.05-10_50

OFF: The time trip pad will not be used.

PLAYBACK-SPEED: Playback speed

DISSOLVE-TIME: Dissolve time (time over which the image

switches)

AUDIO LEVEL: Volume during audio playback

COLOR-CB: Color Cb (color-difference signal)

COLOR-CR: Color Cr (color-difference signal)

BRIGHTNESS: Brightness

VFX1: Visual effects 1

VFX2: Visual effects 2

VFX3: Visual effects 3

MIDI Ch a n n e l (V-LIN K MIDI Ch a n n e l)

VFX4: Visual effects 4

Specifies the channel used to transmit MIDI messages for V-LINK

OUTPUT-FADE: Output fade

control.

T-BAR: T bar

Value: 1–16

Y Assig n -XY (Lin k Y Assig n -XY)

Au d io (V-LIN K Au d io Sw itch )

Specify the V-Link function that will be controlled when you operate

the Time Trip pad in the Y (vertical) direction in XY mode.

Value

Specifies whether sound from the externally connected video device

will be played (ON) or not played (OFF).

Value: OFF, ON

OFF: The time trip pad will not be used.

PLAYBACK-SPEED: Playback speed

DISSOLVE-TIME: Dissolve time (time over which the image

switches)

KBD O u tp u t (V-LIN K Ke y b o a rd O u tp u t Fa d e

Sw itch )

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.

AUDIO LEVEL: Volume during audio playback

COLOR-CB: Color Cb (color-difference signal)

COLOR-CR: Color Cr (color-difference signal)

BRIGHTNESS: Brightness

Value: OFF, ON

Pa le tte Lo ca l Sw (V-LIN K Pa tch Pa le tte Lo ca l

Sw itch )

VFX1: Visual effects 1

VFX2: Visual effects 2

Specify whether you will press PATCH PALETTE NUMBER [1]–[8]

in V-Link mode to switch patches (ON) or not (OFF)

Value: OFF, ON

VFX3: Visual effects 3

VFX4: Visual effects 4

OUTPUT-FADE: Output fade

T-BAR: T bar

TT Pa d / Kn o b

Assig n -TT (V-LIN K Assig n -Tim e Trip )

fig.05-11_50

Specify the V-Link function that will be controlled when you operate

the Time Trip pad in Time Trip mode.

Value

OFF: The time trip pad will not be used.

TIME-TRIP: Time trip

Kn o b 1 , 2 Lo ca l Sw (V-LIN K Kn o b 1 , 2 Lo ca l

Sw itch )

Specify whether the assignable controller knobs 1 or 2 will be

disconnected from the internal sound generator in V-Link mode

(OFF) or not disconnected (ON).

TT Pa d Lo ca l Sw (V-LIN K Tim e Trip Pa d Lo ca l

Sw itch )

Value: OFF, ON

Specify whether the Time Trip pad and the internal sound generator

will be disconnected in V-Link mode (OFF) or not disconnected (ON).

Value: OFF, ON

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VFX4: Visual effects 4

Kn o b 1 , 2 Assig n (V-LIN K Kn o b 1 , 2 Assig n )

OUTPUT-FADE: Output fade

Specify the V-Link function that will be controlled when you turn

the ASSIGNABLE CONTROL knob.

Value

Le ve r

OFF: The assignable controller will not be used.

PLAYBACK-SPEED: Playback speed

DISSOLVE-TIME: Dissolve time (time over which the image

switches)

fig.05-13_50

AUDIO LEVEL: Volume during audio playback

COLOR-CB: Color Cb (color-difference signal)

COLOR-CR: Color Cr (color-difference signal)

BRIGHTNESS: Brightness

VFX1: Visual effects 1

VFX2: Visual effects 2

VFX3: Visual effects 3

VFX4: Visual effects 4

Mo d Lo ca l Sw (V-LIN K Mo d u la tio n Lo ca l

Sw itch )

OUTPUT-FADE: Output fade

Specify whether the modulation lever will be disconnected from the

Be a m

internal sound generator in V-Link mode (OFF) or not disconnected

fig.05-12_50

(ON).

Value: OFF, ON

Mo d Assig n (V-LIN K Mo d u la tio n Assig n )

Specify the V-Link function that will be controlled when you operate

the modulation lever.

Value

OFF: The modulation lever will not be used.

PLAYBACK-SPEED: Playback speed

DISSOLVE-TIME: Dissolve time (time over which the image

switches)

AUDIO LEVEL: Volume during audio playback

COLOR-CB: Color Cb (color-difference signal)

COLOR-CR: Color Cr (color-difference signal)

BRIGHTNESS: Brightness

Be a m Lo ca l Sw (V-LIN K D Be a m Lo ca l Sw itch )

Specify whether the D Beam controller will be disconnected from the

internal sound generator in V-Link mode (OFF) or not disconnected

(ON).

VFX1: Visual effects 1

Value: OFF, ON

VFX2: Visual effects 2

VFX3: Visual effects 3

D Be a m 1 –4 Assig n L, R (V-LIN K D Be a m 1 –4

Assig n L, R)

VFX4: Visual effects 4

OUTPUT-FADE: Output fade

Specify the V-Link function that will be controlled when you operate

the D Beam controller. Assign L is the left side, and Assign R is the

right side.

Be n d Lo ca l Sw (V-LIN K Pitch Be n d Lo ca l

Sw itch )

Value

Specify whether the pitch bend lever will be disconnected from the

OFF: The D Beam controller will not be used.

PLAYBACK-SPEED: Playback speed

DISSOLVE-TIME: Dissolve time (time over which the image

switches)

internal sound generator in V-Link mode (OFF) or not disconnected

(ON).

Value: OFF, ON

AUDIO LEVEL: Volume during audio playback

COLOR-CB: Color Cb (color-difference signal)

COLOR-CR: Color Cr (color-difference signal)

BRIGHTNESS: Brightness

VFX1: Visual effects 1

VFX2: Visual effects 2

VFX3: Visual effects 3

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Be n d Assig n (V-LIN K Pitch Be n d Assig n )

Specify the V-Link function that will be controlled when you operate

the pitch bend lever.

Value

OFF: The pitch bend lever will not be used.

PLAYBACK-SPEED: Playback speed

DISSOLVE-TIME: Dissolve time (time over which the image

switches)

AUDIO LEVEL: Volume during audio playback

COLOR-CB: Color Cb (color-difference signal)

COLOR-CR: Color Cr (color-difference signal)

BRIGHTNESS: Brightness

VFX1: Visual effects 1

VFX2: Visual effects 2

VFX3: Visual effects 3

VFX4: Visual effects 4

OUTPUT-FADE: Output fade

Afte r Lo ca l Sw (V-LIN K Afte rto u ch Lo ca l

Sw itch )

Specify whether keyboard aftertouch will be disconnected from the

internal sound generator in V-Link Mode (OFF) or will not be

disconnected (ON).

Value: OFF, ON

Afte r Assig n (V-LIN K Afte rto u ch Assig n )

Specify the V-Link function that will be controlled by keyboard

aftertouch.

Value

OFF: The aftertouch will not be used.

PLAYBACK-SPEED: Playback speed

DISSOLVE-TIME: Dissolve time (time over which the image

switches)

AUDIO LEVEL: Volume during audio playback

COLOR-CB: Color Cb (color-difference signal)

COLOR-CR: Color Cr (color-difference signal)

BRIGHTNESS: Brightness

VFX1: Visual effects 1

VFX2: Visual effects 2

VFX3: Visual effects 3

VFX4: Visual effects 4

OUTPUT-FADE: Output fade

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Disk -Re la te d Fu n ctio n s (Disk Mo d e )

Here you can load a project from disk into the internal work area

Ba sic Disk Utility O p e ra tio n s

(Load), or save the project that is in the work area (Save). You can

also format a disk, or copy files and folders.

1 . If you are using a PC card, insert the appropriate PC card

into the PC CARD slot.

In this chapter, we will collectively refer to internal memory and

PC cards as “disks.”

2 . Press [MODE] to access the V-SYNTH MODE MENU window.

3 . Touch <Disk>.

The DISK UTILITY MENU screen appears.

fig.06-01_50

Ab o u t Disk Utility

Disk Utility contains the following functions. In the DISK UTILITY

MENU screen, you can select the desired function and execute it.

Lo a d Pro je ct

This function loads project data from disk into the V-Synth’s work

area. → (p . 8 4)

Sa ve Pro je ct

This function saves project data to disk. → (p . 8 5)

4 . Touch the button for the function that you want to execute.

Cle a n Pro je ct

The screen for the function you intend to execute appears.

fig.06-02.e

Clean up a disk by deleting unwanted files. → (p . 8 5)

Path of the selected file/folder

Disk free space

Im p o rt File s

Import individual patch or wave files. → (p . 8 5)

Fo rm a t

Initialize (format) a disk. → (p . 8 6)

To o ls

List of files stored

on the disk

Copy or move a file or folder. → (p . 8 7)

Path of the current project

Disk to which the function to be executed will apply

For details on operations in the Disk Utility screens, refer to the

explanations on the following pages.

5 . Verify the contents of the screen, and touch <OK> to

execute.

When the operation is completed, the display will briefly

indicate “COMPLETED!.”

To cancel the operation, touch <Cancel>.

6 . Press [EXIT] to exit Disk mode.

Never turn off the power of the V-Synth while performing an

operation in Disk mode. Doing so may destroy the files.

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Disk -Re la te d Fu n ctio n s (Disk Mo d e )

So rtin g th e File s Disp la y e d in th e

File List

Lo a d in g a Pro je ct fro m Disk

in to th e V-Sy n th (Lo a d Pro je ct)

In each Disk Utility screen, you can change the order of the files

This function loads a project on disk into the V-Synth’s work area.

displayed in the file list.

1 . In the upper right of the disk utility screen, touch <■>.

When a project is loaded, work area will be rewritten. If work

area contains important data, you must save it to disk before you

load other data.

A pulldown menu like the following appears.

fig.06-03_50

2 . Touch <Load Project>.

The Disk Load Project screen appears.

fig.06-04_50

2 . Choose the desired sorting order from the pull-down menu.

<Sort By Name ■>: Sort in alphabetical order of file name.

<Sort By Name ■>: Sort in reverse alphabetical order of file

name.

<Sort By Size ■>: Sort in ascending order of file size.

<Sort By Size ■: Sort in descending order of file size.

3 . To load from internal memory, touch <Int>. To load from a

PC card, touch <Card>. Then select the project that you want

to load.

4 . Touch <OK>.

A WARNING window like the following appears.

fig.06-05_50

If you want to cancel the procedure at this point, touch

<CANCEL>.

5 . Touch <EXECUTE> to execute the operation.

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Disk -Re la te d Fu n ctio n s (Disk Mo d e )

Sa vin g Pro je ct o n Disk (Sa ve

Pro je ct)

De le te Un n e e d e d File s (Cle a n

Pro je ct)

Save the project in the work area to disk.

2 . Touch <Save Project>.

This lets you clean up the contents of the disk by deleting files that

cannot be used by the V-Synth or waves that are not used by

patches. Executing this operation can increase the free space

available on the disk. If there are any unused patch/ wave numbers,

subsequent patches/ waves will be automatically renumbered

forward.

The Disk Save Project screen appears.

fig.06-06_50

2 . Touch <Clean Project>.

The DISK Clean Project screen appears.

fig.06-08_50

3 . To save to internal memory, touch <Int>. To save to PC card,

touch <Card>. Then select the save-destination project.

If you want to save the data as a new project, touch <New

Project>. The PROJECT Name window will appear. Assign a

name to the new project.

If you want to cancel the procedure at this point, touch

<CANCEL>.

4 . Touch <OK>.

A WARNING window like the following appears.

fig.06-07_50

3 . Touch <EXECUTE> to execute the operation.

Im p o rtin g In d ivid u a l Pa tch o r

W a ve File s (Im p o rt File s)

You can import individual patch or wave files or folders into the

work area of the V-Synth.

The data will be imported into unused patch/ wave numbers.

Importing is not possible if there are no empty patches or waves.

If you want to cancel the procedure at this point, touch

<CANCEL>.

2 . Touch <Import Files>.

The Disk Import Files screen appears.

fig.06-09_50

5 . Touch <EXECUTE> to execute the operation.

3 . Touch <Patch> if you want to import a patch, or touch

<Wave> if you want to import a wave.

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Disk -Re la te d Fu n ctio n s (Disk Mo d e )

4 . Touch <Preset> if you want to import from preset memory,

touch <Int> if you want to import from internal memory, or

touch <Card> if you want to import from a PC card.

In itia lizin g a Disk (Fo rm a t)

You can initialize (format) a disk, erasing all data from it.

2 . Touch <Format>.

5 . From the file list, select the file/folder that you want to

import.

Here you can use the following functions. Touch the appropriate

button to execute.

The Disk Format screen appears.

fig.06-11_50

Prevw: Preview (audition) the selected file (.w00/ .wav/ .aif).

Info: View information for the selected file.

Mark All: Mark all files/ folders in the file list.

Mark: Mark the selected file/ folder in the file list.

Open: Open the selected folder.

Close: Move to the next higher folder.

If you have selected a patch whose oscillator type is “PCM,” the

wave used by that patch will also be imported.

6 . Touch <OK>.

3 . If you want to format the internal memory, touch <Int>. If you

want to format a PC card, touch <Card>.

Here you can use the following functions. Touch the appropriate

button to execute.

A WARNING window like the following appears.

fig.06-10_50

Prevw: Preview (audition) the selected file (.w00/ .wav/ .aif).

Info: View information for the selected file.

Mark All: Mark all files/ folders in the file list.

Mark: Mark the selected file/ folder in the file list.

Open: Open the selected folder.

Close: Move to the next higher folder.

4 . When you format a PC card, the VOLUME Name window will

appear, allowing you to assign a new volume name.

5 . Touch <OK>.

If you want to cancel the procedure at this point, touch

<CANCEL>.

A WARNING window like the following appears.

fig.06-12_50

7 . Touch <EXECUTE> to execute the operation.

If you want to cancel the procedure at this point, touch

<CANCEL>.

6 . Touch <EXECUTE> to execute the operation.

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Disk -Re la te d Fu n ctio n s (Disk Mo d e )

8 . In the file list, select the copy-destination file or folder.

Here you can use the following functions. Touch the appropriate

button to execute.

Fu n ctio n s Re la te d to File s a n d

Fo ld e rs (To o ls)

Prevw: Preview (audition) the selected file (.w00/ .wav/ .aif).

Info: View information for the selected file.

Open: Open the selected folder.

You can manage files or folders by copying or moving them.

Co p y in g File s/ Fo ld e rs (Co p y )

2 . Touch <Tools>.

Close: Move to the next higher folder.

9 . Touch <OK>.

A WARNING window like the following appears.

fig.06-15_50

The Disk Tools screen appears.

fig.06-13_50

3 . Touch <Copy>.

If you want to cancel the procedure at this point, touch

<CANCEL>.

4 . If you want to copy from internal memory, touch <Int>. If you

want to copy from a PC card, touch <Card>.

1 0 . Touch <EXECUTE> to execute the operation.

5 . In the file list, select the file or folder that you want to copy.

Here you can use the following functions. Touch the appropriate

button to execute.

Mo vin g File s/ Fo ld e rs (Mo ve )

2 . Touch <Tools>.

Prevw: Preview (audition) the selected file (.w00/ .wav/ .aif).

Info: View information for the selected file.

Mark All: Mark all files/ folders in the file list.

Mark: Mark the selected file/ folder in the file list.

Open: Open the selected folder.

The Disk Tools screen appears.

fig.06-13_50

Close: Move to the next higher folder.

6 . Touch <OK>.

The Disk Tools Copy Destination screen appears.

fig.06-14_50

3 . Touch <Move>.

4 . If you want to move a file or folder from internal memory,

touch <Int>. If you want to move it to a PC card, touch

<Card>.

7 . If you want to copy to internal memory, touch <Int>. If you

want to copy to a PC card, touch <Card>.

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Disk -Re la te d Fu n ctio n s (Disk Mo d e )

5 . In the file list, select the file or folder that you want to move.

Here you can use the following functions. Touch the appropriate

button to execute.

De le tin g File s/ Fo ld e rs (De le te )

2 . Touch <Tools>.

Prevw: Preview (audition) the selected file (.w00/ .wav/ .aif).

Info: View information for the selected file.

Mark All: Mark all files/ folders in the file list.

Mark: Mark the selected file/ folder in the file list.

Open: Open the selected folder.

The Disk Tools screen appears.

fig.06-13_50

Close: Move to the next higher folder.

6 . Touch <OK>.

The Disk Tools Move Destination screen appears.

fig.06-16_50

3 . Touch <Delete>.

4 . If you want to delete a file or folder from internal memory,

touch <Int>. If you want to delete it from a PC card, touch

<Card>.

5 . In the file list, select the file or folder that you want to delete.

Here you can use the following functions. Touch the appropriate

button to execute.

7 . If you want to move the file or folder to internal memory,

touch <Int>. If you want to move it to a PC card, touch

<Card>.

Prevw: Preview (audition) the selected file (.w00/ .wav/ .aif).

Info: View information for the selected file.

Mark All: Mark all files/ folders in the file list.

Mark: Mark the selected file/ folder in the file list.

Open: Open the selected folder.

8 . In the file list, select the move-destination file or folder.

Here you can use the following functions. Touch the appropriate

button to execute.

Close: Move to the next higher folder.

Prevw: Preview (audition) the selected file (.w00/ .wav/ .aif).

Info: View information for the selected file.

Open: Open the selected folder.

6 . Touch <OK>.

A WARNING window like the following appears.

fig.06-18_50

Close: Move to the next higher folder.

9 . Touch <OK>.

A WARNING window like the following appears.

fig.06-17_50

If you want to cancel the procedure at this point, touch

<CANCEL>.

7 . Touch <EXECUTE> to execute the operation.

If you want to cancel the procedure at this point, touch

<CANCEL>.

1 0 . Touch <EXECUTE> to execute the operation.

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Disk -Re la te d Fu n ctio n s (Disk Mo d e )

7 . Touch the on-screen alphabetic or numeric keys to enter the

new name in the text box.

Re n a m in g a File s/ Fo ld e rs

(Re n a m e )

The on-screen keys have the following functions.

<←><→>: Move the cursor in the text box to the desired input

location.

If the USB Mode (p. 76) is set to “MIDI,” you will be unable to

2 . Touch <Tools>.

<SHIFT>: Turn this on when you want to input uppercase letters

or symbols.

The Disk Tools screen appears.

fig.06-13_50

<Insert>: Turn this on when you want to insert a character at the

cursor location.

<Clear>: Erases all characters in the text box.

<Delete>: Deletes the character at the cursor location.

<Back>: Deletes the character that precedes the cursor location.

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.

]

3 . Touch <Rename>.

8 . When you have finished inputting, touch <OK> to execute

the operation.

4 . If you want to rename a file or folder in internal memory,

touch <Int>. If you want to rename a file or folder in a PC

card, touch <Card>.

5 . In the file list, select the file or folder that you want to

rename.

Here you can use the following functions. Touch the appropriate

button to execute.

Prevw: Preview (audition) the selected file (.w00/ .wav/ .aif).

Info: View information for the selected file.

Open: Open the selected folder.

Close: Move to the next higher folder.

6 . Touch <OK>.

The Rename window appears.

fig.06-19_50

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Co n n e ctin g to Yo u r Co m p u te r via USB (USB Mo d e )

Se le ctin g USB Sto ra g e Mo d e

Ab o u t USB Fu n ctio n s

You must switch the V-Synth to USB Storage mode before you

The V-Synth has two modes of USB functionality: storage mode for

connect the V-Synth and your computer with a USB cable.

transferring files, and MIDI mode for sending and receiving MIDI

messages. You must switch between these two modes on the V-

With the factory settings, the V-Synth is set to USB Storage

mode.

Synth; they cannot be used simultaneously.

1 . Press [MODE] to access the V-SYNTH MODE MENU window.

Each mode can be used with the following operating systems.

•

Windows 98 or later

Mac OS 9.04 or later

2 . Touch <SYSTEM>.

The SYSTEM Com Master screen appears.

fig.05-01_50

The USB mode (file transfer/ MIDI communication) must be

switched before you connect the V-Synth with your computer.

For the procedure, refer to “USB Setup” (p. 76).

T r a n sfe rrin g F ile s to o r fro m

Yo u r Co m p u te r (Sto ra g e Mo d e )

By connecting the V-Synth with your computer via a USB cable, you

can transfer files such as projects, patches, and wave data from

internal memory or a PC card to and from the hard disk or other

media of your computer, in order to back up your data.

You can use software on your computer to edit wave data you’ve

created on the V-Synth. Conversely, wave data that you’ve created

on your computer can be used on the V-Synth.

3 . In the left side of the screen, touch the <MIDI USB> tab.

The SYSTEM Com MIDI/ USB screen appears.

fig.05-03_50

In this way, USB Storage mode lets you transfer files such as patch

and waves to or from a connected computer.

Never connect or disconnect the USB cable or turn off the power

while in USB mode or while data is being transferred.

4 . Touch <USB Setup>.

The SYSTEM Com USB Setting window appears.

fig.05-03a_50

5 . Touch USB Mode <Storage>.

USB Storage mode will be selected.

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Co n n e ctin g to Yo u r Co m p u te r via USB (USB Mo d e )

6 . Touch <OK>.

Co n n e ctin g th e V-Sy n th to Yo u r

Co m p u te r

7 . If a WARNING window like the following appears, touch

<ACCEPT> to close the window.

fig.07-01_50

1 . Make sure that the power of the V-Synth is turned off.

2 . Start up your computer.

3 . Connect the V-Synth and your computer using a USB cable.

fig.07-02.e

USB Connector

8 . In the lower right of the SYSTEM Com MIDI/USB screen,

Computer

USB cable

touch <Write> to save the system settings.

For the rest of the procedure, read either “Windows Me/ 2000/

XP users” or “Macintosh users” as appropriate.

Windows users: Continue reading from this page.

Macintosh users: Read from page 93.

USB

W in d o w s Use rs

● W in d o w s 9 8 / 9 8 SE Use rs

V-Synth

You must install the driver from the included CD-ROM into your

computer. Be sure to read the Readme file on the CD-ROM before

installation.

4 . Turn on the power of V-Synth.

5 . If you are using a PC card, insert that PC card into the PC

→ \Storage\Wn98\Readme_e.htm

CARD slot.

6 . Press [MODE] to access the V-SYNTH MODE MENU window.

● W in d o w s XP/ 2 0 0 0 / Me o r la te r Use rs

7 . Touch <USB>.

Installation is completely automatic.

The USB Storage screen appears.

fig.07-03_50

If the USB Mode (p. 76) is set to “MIDI,” you will be unable to

select <USB> in the V-SYNTH MODE MENU window. Set the

USB Mode to “Storage.”

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Co n n e ctin g to Yo u r Co m p u te r via USB (USB Mo d e )

8 . Touch <Internal> or <PC Card> to establish the connection

with your computer.

Clo sin g th e USB Sto ra g e Scre e n

1 . In the V-Synth’s USB Storage screen, make sure that

<Internal>: Mounts the internal memory as an external drive on

your computer.

“Access” (the access indicator) is not blinking.

2 . In My Computer, right-click the “Removable Disk” icon and

<PC Card>: Mounts the PC card as an external drive on your

computer.

execute “Eject.”

3 . Press [EXIT].

The USB Storage screen will close.

You cannot select “PC Card” unless a PC card is inserted in the

PC CARD slot.

If you press [EXIT] without performing the “Eject” operation on

your computer, a WARNING window like the following will

9 . When the USB connection is established, the driver

installation will begin. A dialog box of “Found new

hardware” will appear near the Windows task tray.

Installation is completely automatic. Please wait for it to be

completed.

appear.

fig.07-04_50

1 0 . When installation is completed, open My Computer and you

will see a new drive icon.

In Windows Me/ 2000/ 98/ 98SE, a drive icon named

“Removable Disk” will appear. In Windows XP, the drive icon

will be named “V-SYNTH” if you selected “Internal.” If you

selected “PC Card,” it will show the volume label that you

assigned when formatting the card. If you formatted the card on

the V-Synth, the volume label will be “PC CARD.”

1 1 . Once the V-Synth is connected, you can transfer files by

Touch <EXECUTE> to close this window only if you are unable to

perform the “Eject” operation on your computer.

operating your computer.

Do not perform the following actions while “Access” (the access

indicator) in the USB Storage screen is blinking. Doing so may

cause your computer to freeze, and may also damage the files in

the drive.

Ca n ce lin g th e USB Co n n e ctio n

Once you have connected the V-Synth and your computer in Storage

mode, you must cancel the USB connection on your computer before

you do either of the following actions:

•

Do not disconnect the USB cable

•

Disconnect the USB cable

Do not remove the PC card while it is being accessed

Do not suspend (standby), hibernate, restart, or shut down

your computer

Turn off the V-Synth’s power while the USB cable is connected

1 . Use “Eject hardware” (displayed in the task bar in the lower

right of the screen) to cancel the connection with the V-

Synth.

•

Do not turn off the power of V-Synth.

The “Removable Disk” drive icon will disappear from My

Computer, and the USB connection will be cancelled.

Sw itch in g th e Co n n e cte d Drive

When USB-connected, here’s how to switch between “Internal” (the

V-Synth’s internal memory) and “PC Card” (the PC card inserted in

the V-Synth).

1 . In the V-Synth’s USB Storage screen, make sure that

“Access” (the access indicator) is not blinking.

2 . In My Computer, right-click the “Removable Disk” icon and

execute “Eject.”

3 . In the V-Synth’s USB Storage screen, touch <Internal> or

<PC Card> to change drives.

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Co n n e ctin g to Yo u r Co m p u te r via USB (USB Mo d e )

8 . Touch <Internal> or <PC Card> to establish the connection

with your computer.

Ma cin to sh Use rs

<Internal>: Mounts the internal memory as an external drive on

your computer.

Co n n e ctin g th e V-Sy n th to Yo u r

Co m p u te r

<PC Card>: Mounts the PC card as an external drive on your

computer.

1 . Make sure that the power of the V-Synth is turned off.

2 . Start up your computer.

You cannot select “PC Card” unless a PC card is inserted in the

PC CARD slot.

3 . Connect the V-Synth and your computer using a USB cable.

fig.07-05.e

9 . When the USB connection is established, a new drive icon

will appear on your desktop.

If you have selected “Internal,” a drive icon named “V-SYNTH”

will appear. If you selected “PC Card,” it will show the volume

label that you assigned when formatting the card. If you

formatted the card on the V-Synth, the volume label will be “PC

CARD.”

USB port

Computer

USB cable

1 0 . Once the V-Synth is connected, you can transfer files by

operating your computer.

Do not perform the following actions while “Access” (the access

indicator) in the USB Storage screen is blinking. Doing so may

cause your computer to freeze, and may also damage the files in

the drive.

USB

•

Do not disconnect the USB cable

Do not remove the PC card while it is being accessed

Do not sleep, restart, or shut down your computer

Do not turn off the power of V-Synth.

V-Synth

Sw itch in g th e Co n n e cte d Drive

4 . Turn on the power of V-Synth.

When USB-connected, here’s how to switch between “Internal” (the

V-Synth’s internal memory) and “PC Card” (the PC card inserted in

the V-Synth).

5 . If you are using a PC card, insert that PC card into the PC

CARD slot.

6 . Press [MODE] to access the V-SYNTH MODE MENU window.

1 . In the V-Synth’s USB Storage screen, make sure that

7 . Touch <USB>.

“Access” (the access indicator) is not blinking.

The USB Storage screen appears.

fig.07-03_50

2 . Select the V-Synth drive icon on your desktop, and either

choose “Eject” from the “Special” menu, or drag the icon

into the trash.

3 . In the V-Synth’s USB Storage screen, touch <Internal> or

<PC Card> to change drives.

select <USB> in the V-SYNTH MODE MENU window. Set the

USB Mode to “Storage.”

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Co n n e ctin g to Yo u r Co m p u te r via USB (USB Mo d e )

Clo sin g th e USB Sto ra g e Scre e n

Ex a m p le s o f Usin g Sto ra g e Mo d e

1 . In the V-Synth’s USB Storage screen, make sure that

Ba ck in g Up Pa tch a n d W a ve Da ta

(Pro je ct) fro m th e V-Sy n th

“Access” (the access indicator) is not blinking.

2 . Select the V-Synth drive icon on your desktop, and either

choose “Eject” from the “Special” menu, or drag the icon

into the trash.

When using USB in Storage mode, the data within the V-Synth may

be damaged if you operate your computer incorrectly or if your

computer crashes. As a precaution against such occurrences, we

recommend that you create a backup as described below.

3 . Press [EXIT].

The USB Storage screen will close.

Ba ck in g Up th e V-Sy n th ’s In te rn a l Da ta o n to

Yo u r Co m p u te r

If you press [EXIT] without performing the “Eject” operation on

your computer, a WARNING window like the following will

1 . Use a USB cable to connect the V-Synth to your computer as

described in “Connecting the V-Synth to your computer” (p.

91, p. 93).

appear.

fig.07-04_50

2 . Using your computer, copy the V-Synth’s *****.prj folder onto

a drive (e.g., hard disk) of your computer.

3 . Cancel the USB connection (p. 92, p. 94).

Lo a d in g Ba ck u p Da ta fro m Yo u r Co m p u te r

in to th e V-Sy n th

1 . Use a USB cable to connect the V-Synth to your computer as

described in “Connecting the V-Synth to your computer” (p.

91, p. 93).

2 . Using your computer, copy the *****.prj folder that you

previously saved on your computer to the *****.prj folder

(overwriting it) within the V-Synth.

Touch <EXECUTE> to close this window only if you are unable to

perform the “Eject” operation on your computer.

3 . Cancel the USB connection (p. 92, p. 94).

Ca n ce lin g th e USB Co n n e ctio n

Once you have connected the V-Synth and your computer in Storage

mode, you must cancel the USB connection on your computer before

you do either of the following actions:

•

Disconnect the USB cable

Turn off the V-Synth’s power while the USB cable is connected

1 . Select the V-Synth drive icon on your desktop, and either

choose “Eject” from the “Special” menu, or drag the icon

into the trash.

The V-Synth drive icon will disappear from the desktop, and the

USB connection will be cancelled.

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Co n n e ctin g to Yo u r Co m p u te r via USB (USB Mo d e )

Lo a d in g a n Au d io File (W AV/ AIFF

fo rm a t) fro m Yo u r Co m p u te r in to th e

V-Sy n th (Im p o rt)

Th e V-Sy n th ’s File Stru ctu re

As seen from your computer, the V-Synth’s file structure is as

follows.

Do not perform operations on your computer to erase (format) or

rename these folders or files.

WAV/ AIFF format audio files created by another device can be

loaded into the V-Synth and used in the same way as data you’ve

sampled on the V-Synth.

If the V-Synth stops operating correctly, break the USB connection

between the computer and the V-Synth (p. 92, p. 94), and then

execute the Factory Reset command (p. 98).

1 . Use a USB cable to connect the V-Synth to your computer as

described in “Connecting the V-Synth to your computer” (p.

91, p. 93).

This will erase all the data that has been saved on the V-Synth. As a

precaution against such occurrences, we recommend that you

always make a backup of your data (p. 94).

2 . From your computer, copy (drag & drop) the audio file saved

on your computer into the *****.prj folder within the V-Synth.

In te rn a l Me m o ry

fig.07-06

3 . Cancel the USB connection (p. 92, p. 94).

4 . Use the Import menu (Import Files, p. 85) in the V-Synth’s

[V-SYNTH]

Disk mode to import the file you copied in step 2.

[Internal.prj]

5 . Use the Sample mode’s Preview function (p. 65) to verify

that the imported data will sound correctly.

V-Synth System.s00

V-Synth Template.s00

V-Synth Palette.s00

6 . Use the Sample mode’s Save command (or the Disk mode’s

Save Project command) to save the project.

7 . Use the Disk mode’s Tools menu (Tools, p. 87) to delete the

[PATCH]

data you copied in step 2.

001 xxxxxxxxxxxx.p00

002 xxxxxxxxxxxx.p00

512 xxxxxxxxxxxx.p00

[WAVE]

001 xxxxxxxxxxxx.wav

002 xxxxxxxxxxxx.w00

999 xxxxxxxxxxxx.wav

PC Ca rd

fig.07-07

[PC CARD]

[Project1.prj]

V-Synth System.s00

V-Synth Template.s00

V-Synth Palette.s00

[PATCH]

001 xxxxxxxxxxxx.p00

002 xxxxxxxxxxxx.p00

512 xxxxxxxxxxxx.p00

[WAVE]

001 xxxxxxxxxxxx.wav

002 xxxxxxxxxxxx.w00

999 xxxxxxxxxxxx.wav

[Project2.prj]

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Co n n e ctin g to Yo u r Co m p u te r via USB (USB Mo d e )

In order to use USB in MIDI mode, you must install the driver from

the included CD-ROM into your computer.

Ex ch a n g in g MIDI Me ssa g e s

w ith Yo u r Co m p u te r (MIDI

Mo d e )

The correct driver and the installation procedure will depend on

your system and on the other programs you are using. Be sure to

read the Readme file on the CD-ROM before installation.

Windows XP/ 2000

Drive r In sta lla tio n a n d Se ttin g s

→ \Midi\Usb_xp2k\Readme_e.htm

In order to use the V-Synth as a USB MIDI device from your

computer, you must first install the USB MIDI driver. The USB MIDI

driver is on the included “V-Synth Driver CD-ROM.”

Windows Me/ 98/ 98SE

→ \Midi\Usb_me98\Readme_e.htm

Mac OS 9 (9.04 or later)

→ \OS_9\English\Readme_OMS-E.HTM

→ \OS_9\English\Readme_FM-E.HTM

W h a t is th e USB MIDI Drive r?

Mac OS X

The USB MIDI Driver is a software which passes data between

the V-Synth and the application (sequencer software, etc.) that

is running on the USB-connected computer.

→ \OS_X\Readme-E.HTM

The USB MIDI Driver sends data from the application to the V-

Synth, and passes data from the V-Synth to the application.

fig.07-08.e

Application

USB connector

USB

Driver

USB cable

Computer

USB connector

V-Synth

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O th e r Fu n ctio n s

2 . In the pulldown menu, touch <Data Transfer>.

Tra n sm ittin g Da ta to a n

Ex te rn a l MIDI De vice (Da ta

Tra n sfe r)

The Data Transfer window appears.

fig.08-02_50

Patch, setup and system settings will be transmitted to an external

MIDI device. This operation is called bulk dump. Use this operation

when you want to connect another V-Synth and play it using the

same settings, or to save your data on an external MIDI device as a

precaution against possible loss of sound data or system settings.

To transmit data to an external MIDI device, connect the external

MIDI device and V-Synth as shown in the diagram.

fig.08-01.e

3 . In “Source,” select the type of data that you want to

transmit.

MIDI IN

<ALL>: Patch, setup, system

<SETUP>: Setup

<SYSTEM>: System

<PATCH>: Patch

If you selected <PATCH>, specify the patch that is to be sent.

<WORK>: Transmit patches from the work area. Use the

“FROM” - “TO” fields to specify the range of patch numbers

(001–512) that will be transmit.

MIDI Sequencer

MIDI OUT

<TEMP>: Transmit patch from the temporary area.

4 . Set the external MIDI device so that it will be ready to receive

data, and touch <Execute> to execute data transmission.

While the data is being transmitted, the display will indicate

“Transmitting...” When “COMPLETED!” is displayed, the

transmission has been completed.

V-Synth

1 . Touch <■> in the upper right of the screen.

To halt during transmission, touch <ABORT>.

A pulldown menu appears.

fig.01-05_50

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O th e r Fu n ctio n s

Re se t to De fa u lt Fa cto ry

Se ttin g s (Fa cto ry Re se t)

Vie w in g Va rio u s In fo rm a tio n

(In fo )

This restores all data in the V-Synth to the factory-set condition

(Factory Reset).

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

A pulldown menu appears.

fig.01-05_50

If there is important data you’ve created that’s stored in the V-

Synth’s internal memory, all such data is discarded when a

Factory Reset is performed. If you want to keep the existing data,

save it on a PC card (p. 85), USB backing up onto a computer (p.

94) or transmit it to an external MIDI device and save it (p. 97).

1 . Press [MODE].

The V-SYNTH MODE MENU window appears.

fig.MODE_50

2 . In the pulldown menu, touch <Info>.

The PATCH Information window appears.

fig.08-04_50

2 . Touch <FACTORY RESET>.

The Factory Reset screen appears.

fig.08-03_50

This window shows the following information.

Version: The V-Synth’s program version

Part: The number and name of the patch assigned to each part

3 . When you have finished viewing the information, touch

<OK> to close the window.

3 . Touch <Execute> to execute the Factory Reset.

When the display indicates “COMPLETED!,” the factory reset

operation has been completed.

9 8

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O th e r Fu n ctio n s

Ad ju stin g th e Se n sitivity o f th e

To u ch Scre e n

Ad ju stin g th e Se n sitivity o f th e

To u ch Scre e n / Tim e Trip Pa d / D

Be a m Co n tro lle r (Ca lib ra tio n

Mo d e )

Perform this adjustment if the touch panel no longer responds as

you expect.

1 . In the CALIBRATION MENU screen, touch <TOUCH

SCREEN>.

Disp la y in g th e CALIBRATIO N MEN U

Scre e n

The T SCREEN CALIBRATION screen appears.

fig.08-06_50

1 . Press [MODE].

The V-SYNTH MODE MENU window appears.

fig.MODE_50

2 . Touch the center of “+” symbol indicated by the square

symbol in the screen, in the following order: left → top →

right → bottom.

When you have touched all four points, the screen will close, and

the sensitivity of the touch screen will be calibrated.

2 . Touch <CALIBRATION>.

The CALIBRATION MENU screen appears.

fig.08-05_50

9 9

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O th e r Fu n ctio n s

Ad ju stin g th e Se n sitivity o f th e Tim e

Trip Pa d

Ad ju stin g th e Se n sitivity o f th e D

Be a m Co n tro lle r

Perform this adjustment if the Time Trip pad no longer responds as

Perform this adjustment if the D Beam controller is functioning

you expect.

incorrectly, such as responding even though you have not operated

it.

1 . In the CALIBRATION MENU screen, touch <TIME TRIP PAD>.

1 . In the CALIBRATION MENU screen, touch <D BEAM>.

The TT PAD CALIBRATION screen appears.

fig.08-07_50

The D Beam CALIBRATION screen appears.

fig.08-08_50

2 . On the Time Trip pad, touch the points indicated by the

square symbol in the screen, in the following order: left →

top → right → bottom.

When you place your hand over the D Beam controller, the “L”

or “R” level meter in the screen will move upward or

downward.

When you have touched all four points, the screen will close, and

the sensitivity of the Time Trip pad will be calibrated.

2 . First specify the location at which the D Beam controller will

begin responding (i.e., the minimum value).

Move your hand toward the D Beam controller, and touch

<Min> at the point where you want the controller to begin

responding.

3 . Next specify the location at which the D Beam controller will

reach the peak (i.e., the maximum value).

Continue moving your hand toward the D Beam controller, and

touch <Max> at the point where you want the peak response to

occur.

4 . While watching the level meter in the screen, raise and lower

your hand to check the response of the D Beam controller.

5 . If you are satisfied with the response, touch <OK>.

The sensitivity of the D Beam controller will be calibrated.

1 0 0

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Ap p e n d ice s

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Pa ra m e te r List

Pa tch Pa ra m e te rs

Co m m o n G ro u p (p . 3 6 )

Parameter

General

Value

Structure Type

TYPE1, TYPE2, TYPE3

OFF, ON

Portamento

Mode

Portamento Switch

Portamento Mode

NORMAL, LEGATO

RATE, TIME

0–127

Type

Portamento Type

Time

Portamento Time

Time Velo Sens

Mono/ Poly

Legato

Portamento Time Velocity Sensitivity

-63– +63

Mono, Poly

OFF, ON

Legato Switch

D Beam/Bender

Octave Shift

D Beam

-3– +3

D Beam Type

OFF, Time Trip, Time, Pitch, Assignable

Bend Range Up

Bend Range Down

TT Pad

Pitch Bend Range Up

Pitch Bend Range Down

0–48

Mode

Time Trip Pad Mode

XY, TT

Hold

Time Trip Pad Hold Switch

OFF, ON

Matrix Ctrl

Source

Matrix Control Source

OFF, CC01–31, CC33–95, BEND, AFT, +PAD-X/

Y, PAD-X/ Y, TRIP-R, BEAM-L/ R, KNOB1/ 2,

VELO, KEYF

-63– +63

(*)

Sens

Matrix Control Sens

Destination 1, 2

Arpeggio

Arpeggio Switch

Patch Tempo

Hold

Matrix Control Destination 1, 2

OFF, ON

20.0–250.0

Arpeggio Hold Switch

Arpeggio Octave Range

Arpeggio Keyboard Velocity

Arpeggio Duration

OFF, ON

Octave Range

KBD Velo

Duration

-3– +3

REAL, 1–127

0–100 %

Motif

Arpeggio Motif

UP, DOWN, UP&DOWN, RANDOM, NOTE

ORDER, RHYTHM, PHRASE, AUTO

0–100 %

Shuffle Rate

Arpeggio Shuffle Rate

Shuffle Resolution

Arpeggio Shuffle Resolution

(Sixteenth note),

(Eighth note)

Tune

Patch Coarse Tune

Patch Fine Tune

Scale Tune

-48– +48

-50– +50

Scale Tune Switch

OFF, ON

-100– +100

Scale Tune C–B

Zone

Current Zone

Zone 01–16 Range Hi

Zone 01–16

C-1–G9

* 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, 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, MFX-

PRM1–3, TVA-PAN

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Pa ra m e te r List

O SC1 / O SC2 G ro u p (p . 4 2 )

Parameter

Value

Oscillator Switch

OSC Type

OFF, ON

Oscillator Type

Wave Gain

ANALOG, PCM, EXT IN

-12– +12 dB

Waveform

Analog Oscillator Waveform

SAW, SQR, TRI, SINE, RAMP, JUNO, HQ-SAW,

HQ-SQR, NOISE

0.0–4.0

Impact

Analog Oscillator Impact

Time Trip Switch

Time Trip Sw

Beat Keep

Waveform

Vari Sw

OFF, ON

Time Trip Beat Keep

OFF, ON

PCM Oscillator Waveform

PCM Oscillator Vari Switch

PCM Oscillator Start Offset

PCM Oscillator Playback Mode

PCM Oscillator Loop Switch

PCM Oscillator Robot Voice Switch

PCM Oscillator Tempo Sync Switch

OFF, ON

Start Offset

Playback Mode

Loop

0–**

RETRIGGER, LEGATO, STEP, EVENT

OFF, ON

Robot Voice

Tempo Sync

Pitch

Oscillator Pitch

-63 – +63

Pitch KF

Coarse

Oscillator Pitch Key Follow

Oscillator Coarse Tune

Oscillator Fine Tune

-200– +200

-48– +48

Fine

-50– +50

Random

Oscillator Random Pitch Depth

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

-63– +63

Pit LFO Dp

Oscillator Pitch LFO Depth

Envelope Velocity Curve

Velocity Curve

Velocity Sens

Velocity A-Sens

Velocity D-Sens

Velocity R-Sens

ADSR Attack

ADSR Decay

ADSR Sustain

ADSR Release

Env Depth

0–7

Envelope Velocity Sensitivity

Envelope Attack Time Velocity Sensitivity

Envelope Decay Time Velocity Sensitivity

Envelope Release Time Velocity Sensitivity

Envelope Attack Time

-63– +63

0–127, note (*)

0–127

Envelope Decay Time

Envelope Sustain Level

Envelope Release Time

0–127, note (*)

-63– +63

Envelope Depth

Env Time KF

Pulse Width (ANALOG)

Pulse Width

Envelope Time Key Follow

-200– +200

-63– +63

-200– +200

-63– +63

0–7

PW KF

Pulse Width Key Follow

PW LFO Depth

Velocity Curve

Velocity Sens

Velocity A-Sens

Velocity D-Sens

Velocity R-Sens

ADSR Attack

ADSR Decay

ADSR Sustain

ADSR Release

Env Depth

Pulse Width LFO Depth

Envelope Velocity Curve

Envelope Velocity Sensitivity

Envelope Attack Time Velocity Sensitivity

Envelope Decay Time Velocity Sensitivity

Envelope Release Time Velocity Sensitivity

Envelope Attack Time

-63– +63

0–127

Envelope Decay Time

0–127

Envelope Sustain Level

0–127

Envelope Release Time

0–127

Envelope Depth

-63– +63

-200– +200

Env Time KF

Envelope Time Key Follow

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Pa ra m e te r List

Parameter

Value

Fat (ANALOG)

Fat

0–127

Fat KF

Fat Key Follow

-200– +200

-63– +63

0–7

Fat LFO Depth

Velocity Curve

Velocity Sens

Velocity A-Sens

Velocity D-Sens

Velocity R-Sens

ADSR Attack

ADSR Decay

ADSR Sustain

ADSR Release

Env Depth

Envelope Velocity Curve

Envelope Velocity Sensitivity

Envelope Attack Time Velocity Sensitivity

Envelope Decay Time Velocity Sensitivity

Envelope Release Time Velocity Sensitivity

Envelope Attack Time

-63– +63

0–127, note (*)

0–127

Envelope Decay Time

Envelope Sustain Level

Envelope Release Time

0–127, note (*)

-63– +63

-200– +200

Envelope Depth

Env Time KF

Time (PCM)

Time

Envelope Time Key Follow

-63– +63

Time KF

Time Key Follow

-200– +200

BWD, ZERO, FWD

-63– +63

Time Offset

Time LFO Depth

Velocity Curve

Velocity Sens

Velocity A-Sens

Velocity D-Sens

Velocity R-Sens

ADSR Attack

ADSR Decay

ADSR Sustain

ADSR Release

Env Depth

Envelope Velocity Curve

0–7

Envelope Velocity Sensitivity

Envelope Attack Time Velocity Sensitivity

Envelope Decay Time Velocity Sensitivity

Envelope Release Time Velocity Sensitivity

Envelope Attack Time

-63– +63

0–127, note (*)

0–127

Envelope Decay Time

Envelope Sustain Level

Envelope Release Time

0–127, note (*)

-63– +63

Envelope Depth

Env Time KF

Formant (PCM)

Formant

Envelope Time Key Follow

-200– +200

-63– +63

-200– +200

0–127

Formant KF

Energy

Formant Key Follow

Fmt LFO Depth

Velocity Curve

Velocity Sens

Velocity A-Sens

Velocity D-Sens

Velocity R-Sens

ADSR Attack

ADSR Decay

ADSR Sustain

ADSR Release

Env Depth

Formant LFO Depth

-63– +63

0–7

Envelope Velocity Curve

Envelope Velocity Sensitivity

Envelope Attack Time Velocity Sensitivity

Envelope Decay Time Velocity Sensitivity

Envelope Release Time Velocity Sensitivity

Envelope Attack Time

-63– +63

0–127, note (*)

0–127

Envelope Decay Time

Envelope Sustain Level

Envelope Release Time

0–127, note (*)

-63– +63

-200– +200

Envelope Depth

Env Time KF

OSC TVA

Envelope Time Key Follow

Level

0–127

Level KF

Level Key Follow

-200– +200

-63– +63

Level LFO Dp

Velocity Curve

Velocity Sens

Velocity A-Sens

Velocity D-Sens

Velocity R-Sens

ADSR Attack

ADSR Decay

ADSR Sustain

ADSR Release

Env Time KF

Level LFO Depth

Envelope Velocity Curve

0–7

Envelope Velocity Sensitivity

Envelope Attack Time Velocity Sensitivity

Envelope Decay Time Velocity Sensitivity

Envelope Release Time Velocity Sensitivity

Envelope Attack Time

-63– +63

0–127, note (*)

0–127

Envelope Decay Time

Envelope Sustain Level

Envelope Release Time

0–127, note (*)

-200– +200

Envelope Time Key Follow

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Pa ra m e te r List

Parameter

LFO

Value

Waveform

Offset

LFO Waveform

LFO Offset

SIN, TRI, SAW, SQR, RND, TRP, S&H, CHAOS

-100, -50, 0, +50, +100

Key Sync

Delay Time

Rate

LFO Key Sync Switch

LFO Delay Time

LFO Rate

OFF, ON

0–127

0–127, note (*)

Fade Mode

Fade Time

LFO Fade Mode

LFO Fade Time

ON <<, ON >>, OFF <<, OFF >>

0–127

(Sixteenth note),

(Eighth-note triplet),

(Dotted sixteenth note),

(Eighth note),

(Thirty-second note),

(Quarter-note triplet),

(Dotted eighth note),

(Dotted half note),

(Quarter note),

(Whole note),

(Half-note triplet),

(Dotted quarter note),

(Dotted whole note),

(Half note),

(Double note)

(Whole-note triplet),

(Double-note triplet),

Mo d Gro u p (p . 4 6 )

Parameter

Modulator Switch

Mod Type

Value

OFF, ON

Modulator Type

Original Level

Attack

MIX, RING, FM, ENV RING, OSC SYNC

Modulator Original Level

Modulator Attack Time

Modulator Release Time

0–127

Release

CO SM1 / CO SM2 Gro u p (p . 4 6 )

Parameter

Value

COSM Switch

COSM Type

OFF, ON

THRU, OD/ DS, W-SHAPE, AMP, SPEAKER,

RESONATOR, SBF1/ 2, COMB, DUAL, TVF,

DYN-TVF, COMP, LIMITER, F-SHIFT, LO-FI

LFO

Waveform

Offset

LFO Waveform

LFO Offset

SIN, TRI, SAW, SQR, RND, TRP, S&H, CHAOS

-100, -50, 0, +50, +100

Key Sync

Delay Time

Rate

LFO Key Sync Switch

LFO Delay Time

LFO Rate

OFF, ON

0–127

0–127, note (*)

Fade Mode

Fade Time

LFO Fade Mode

LFO Fade Time

ON <<, ON >>, OFF <<, OFF >>

0–127

(Sixteenth note),

(Eighth-note triplet),

(Dotted sixteenth note),

(Eighth note),

(Thirty-second note),

(Quarter-note triplet),

(Dotted eighth note),

(Dotted half note),

(Quarter note),

(Whole note),

(Half-note triplet),

(Dotted quarter note),

(Dotted whole note),

(Half note),

(Whole-note triplet),

(Double-note triplet),

(Double note)

For details on the parameters of each COSM section, refer to “COSM Parameters” (p . 1 11).

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Pa ra m e te r List

T V A Gro u p (p . 4 7 )

Parameter

TVA Switch

TVA

Value

OFF, ON

Level

0–127

Level KF

Level Key Follow

Level LFO Depth

-200– +200

-63– +63

Lvl LFO Dp

Pan

L64–0–63R

-200– +200

-63– +63

Pan KF

Pan Key Follow

Pan LFO Dp

Velocity Curve

Velocity Sens

Velocity A-Sens

Velocity D-Sens

Velocity R-Sens

ADSR Attack

ADSR Decay

ADSR Sustain

ADSR Release

Env Time KF

LFO

Pan LFO Depth

Envelope Velocity Curve

0–7

Envelope Velocity Sensitivity

Envelope Attack Time Velocity Sensitivity

Envelope Decay Time Velocity Sensitivity

Envelope Release Time Velocity Sensitivity

Envelope Attack Time

-63– +63

0–127, note (*)

0–127

Envelope Decay Time

Envelope Sustain Level

Envelope Release Time

0–127, note (*)

-200– +200

Envelope Time Key Follow

Waveform

Offset

LFO Waveform

LFO Offset

SIN, TRI, SAW, SQR, RND, TRP, S&H, CHAOS

-100, -50, 0, +50, +100

Key Sync

LFO Key Sync Switch

LFO Delay Time

LFO Rate

OFF, ON

Delay Time

Rate

0–127

0–127, note (*)

Fade Mode

Fade Time

LFO Fade Mode

LFO Fade Time

ON <<, ON >>, OFF <<, OFF >>

0–127

(Sixteenth note),

(Quarter note),

(Eighth-note triplet),

(Half-note triplet),

(Dotted sixteenth note),

(Eighth note),

(Thirty-second note),

(Quarter-note triplet),

(Dotted eighth note),

(Dotted half note),

(Dotted quarter note),

(Dotted whole note),

(Half note),

(Double note)

(Whole-note triplet),

(Whole note),

(Double-note triplet),

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Pa ra m e te r List

E f fe ct Gro u p (p . 5 0 )

Parameter

Routing

Value

MFX Send

CHO Send

REV Send

Output Assign

MFX

MFX Send Level

0–127

Chorus Send Level

Reverb Send Level

0–127

MULTI, MAIN, DIR

OFF, ON

00 (Thru)–41

0–127

MFX On/ Off Switch

MFX Type

MFX Master Level

MFX To CHO

MFX To REV

CHO

MFX Chorus Send Level

MFX Reverb Send Level

Chorus On/ Off Switch

0–127

OFF, ON

00 (Off)–08

0–127

CHO Type

CHO Master Level

CHO To REV

REV

Chorus Master Level

Chorus Reverb Send Level

Reverb On/ Off Switch

0–127

OFF, ON

00 (Off)–10

0–127

REV Type

REV Master Level

MFX

Reverb Master Level

MFX Type

CHO

00 (Thru)–41

00 (Off)–08

00 (Off)–10

CHO Type

REV

Chorus Type

Reverb Type

REV Type

•

For details on the parameters of each MFX section, refer to “MFX Parameters” (p . 1 16).

For details on the parameters of each chorus section, refer to “Chorus Parameters” (p . 1 38).

For details on the parameters of each reverb section, refer to “Reverb Parameters” (p . 1 38).

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Pa ra m e te r List

Sy ste m Pa ra m e te rs

Co m m o n G ro u p (p . 7 4 )

Parameter

Master

Value

Master Tune

Master Key Shift

Master Level

415.3–466.2 Hz

-24– +24

0–127

Patch Remain

Powerup Mode

Patch Remain Switch

OFF, ON

Last Set, Default

External Input Type

STEREO L R, MONORAL MIX, MONORAL L,

MONORAL R

Mix/ Parallel

Output Gain

Digital Output Freq

MIX, PARALLEL

-12– +12 dB

Digital Output Frequency

44.1, 48, 96 KHz

4 Band EQ

4-Band Equalizer Switch

Low Frequency

OFF, ON

LOW Freq

50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500,

630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000

LOW Gain

MID 1 Q

-15– +15 dB

0.5, 0.7, 1.0, 2.0, 4.0, 8.0

MID 1 Freq

Mid 1 Frequency

50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500,

630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000,

5000, 6300, 8000, 10000, 12500, 16000, 20000 Hz

-15– +15 dB

MID 1 Gain

MID 2 Q

0.5, 0.7, 1.0, 2.0, 4.0, 8.0

MID 2 Freq

Mid 2 Frequency

High Frequency

50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500,

630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000,

5000, 6300, 8000, 10000, 12500, 16000, 20000 Hz

-15– +15 dB

MID 2 Gain

HIGH Freq

2000, 4000, 5000, 6300, 8000, 10000, 12500, 16000,

20000 Hz

HIGH Gain

TOTAL Gain

MIDI/USB

Device ID

Clock Source

Rx PC

-15– +15 dB

Device ID Number

17–32

INTERNAL, EXTERNAL

OFF, ON

Receive Program Change Switch

Receive Bank Select Switch

Rx Bank

OFF, ON

Rx Sys-Ex

Tx Edit

Receive System Exclusive Switch

Transmit Edit Data Switch

OFF, ON

Clock Out

Part MIDI

OFF, ON

Part 1–16 Rx Sw

Part 1–16 Rx Ch

Part 1–16 Receive Switch

Part 1–16 Receive Channel

OFF, ON

1–16

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Pa ra m e te r List

Co n tro lle r Gro u p (p . 7 7 )

Parameter

Value

Patch Tx Ch

Tx PC

Patch Transmit Channel

1–16, RX CH, OFF

OFF, ON

Transmit Program Change Switch

Transmit Bank Select Switch

Tx Bank

OFF, ON

Tx Active Sens

KBD

Transmit Active Sensing Switch

OFF, ON

KBD Sens

Keyboard Sensitivity

Keyboard Velocity

Aftertouch Sensitivity

Local Switch

LIGHT, MEDIUM, HEAVY

REAL, 1–127

0–200

KBD Velocity

After Sens

Local Sw

OFF, ON

Remote KBD Sw

TT Pad/Knob

X Assign-XY

Y Assign-XY

X Assign-TT

Y Assign-TT

Knob 1, 2 Assign

Beam

Remote Keyboard Switch

OFF, ON

OFF, CC01–31, CC33–95

X Assign-Time Trip

Y Assign-Time Trip

D Beam Sens L, R

D Beam 1–4 Assign L, R

Pedal

D Beam Sensitivity L, R

Hold Pedal Polarity

0–200

OFF, CC01–31, CC33–95

Hold Polarity

Pedal 1, 2 Assign

STANDARD, REVERSE

OFF, CC01–31, CC33–95, BEND UP, BEND

DOWN, AFTERTOUCH

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Pa ra m e te r List

V-L I N K G ro u p (p . 8 0 )

Parameter

Value

Channel

V-LINK MIDI Channel

1–16

Audio

V-LINK Audio Switch

OFF, ON

Output

V-LINK Keyboard Output Fade Switch

V-LINK Patch Palette Local Switch

Local Sw

TT Pad/Knob

Local Sw

X Assign-XY

V-LINK Time Trip Pad Local Switch

V-LINK X Assign-XY

OFF, ON

OFF, PLAYBACK-SPEED, DISSOLVE-TIME,

AUDIO-LEVEL, COLOR-CB, COLOR-CR,

BRIGHTNESS, VFX1, VFX2, VFX3, VFX4, OUT-

PUT-FADE, T-BAR

Y Assign-XY

V-LINK X Assign-XY

OFF, PLAYBACK-SPEED, DISSOLVE-TIME,

AUDIO-LEVEL, COLOR-CB, COLOR-CR,

BRIGHTNESS, VFX1, VFX2, VFX3, VFX4, OUT-

PUT-FADE, T-BAR

Assign-TT

Local Sw

V-LINK Assign-Time Trip

V-LINK Knob1, 2 Local Switch

V-LINK Knob1, 2 Assign

OFF, TIME-TRIP

OFF, ON

1, 2 Assign

OFF, PLAYBACK-SPEED, DISSOLVE-TIME,

AUDIO-LEVEL, COLOR-CB, COLOR-CR,

BRIGHTNESS, VFX1, VFX2, VFX3, VFX4, OUT-

PUT-FADE, T-BAR

Beam

Local Sw

V-LINK D Beam Local Switch

V-LINK D Beam1–4 Assign L, R

OFF, ON

1–4 Assign L, R

OFF, PLAYBACK-SPEED, DISSOLVE-TIME,

AUDIO-LEVEL, COLOR-CB, COLOR-CR,

BRIGHTNESS, VFX1, VFX2, VFX3, VFX4, OUT-

PUT-FADE, T-BAR

Lever

Mod Local Sw

Mod Assign

V-LINK Modulation Local Switch

V-LINK Modulation Assign

OFF, ON

OFF, PLAYBACK-SPEED, DISSOLVE-TIME,

AUDIO-LEVEL, COLOR-CB, COLOR-CR,

BRIGHTNESS, VFX1, VFX2, VFX3, VFX4, OUT-

PUT-FADE, T-BAR

Bend Local Sw

Bend Assign

V-LINK Pitch Bend Local Switch

V-LINK Pitch Bend Assign

OFF, ON

OFF, PLAYBACK-SPEED, DISSOLVE-TIME,

AUDIO-LEVEL, COLOR-CB, COLOR-CR,

BRIGHTNESS, VFX1, VFX2, VFX3, VFX4, OUT-

PUT-FADE, T-BAR

After Local Sw

After Assign

V-LINK Aftertouch Local Switch

V-LINK Aftertouch Assign

OFF, ON

OFF, PLAYBACK-SPEED, DISSOLVE-TIME,

AUDIO-LEVEL, COLOR-CB, COLOR-CR,

BRIGHTNESS, VFX1, VFX2, VFX3, VFX4, OUT-

PUT-FADE, T-BAR

1 1 0

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CO SM List

O ve rd rive / Disto rtio n

CO SM Pa ra m e te rs

Overdrive produces a natural-sounding distortion

similar to that produced by a vacuum tube amplifier.

Distortion produces a more intense distortion than the

overdrive effect.

COSM provides 15 types. This section explains the features of each

COSM, and the functions of the parameters.

Explanations for each COSM Type are given on the following

pages.

Parameter

COSM Type

Drive Type

Value

Description

Overdrive / Distortion

Wave Shape

OD/ DS

W-SHAPE

AMP

OD, DS

Selects whether to use over-

drive (OD) or distortion

(DS).

Amp Simulator

Speaker Simulator

Resonator

SPEAKER

RESONATOR

SBF1

Output Level

Drive

0–127

Output Level

Drive #1

Degree of distortion

Amount of LFO applied to

distortion

1st order SideBandFilter

2nd order SideBandFilter

Comb Filter

Drive LFO Depth -63– +63

SBF2

COMB

* For details on envelope settings, refer to “Making Envelope

Dual Filter

DUAL

Tone

Tone #2

TVF

0–127

Tonal character

Dynamic TVF

DYN-TVF

COMP

Tone KF

Tone LFO Depth

-200– +200

-63– +63

Key follow setting for tone

Amount of LFO applied to

tone

Polyphonic Compressor

Polyphonic Limiter

Frequency Shifter

Lo-Fi Processor

LIMITER

F-SHIFT

LO-FI

* For details on envelope settings, refer to “Making Envelope

LFO

* For details on LFO settings, refer to “Making LFO Settings” (p.

Parameters marked by “#1”–“#4” can be selected as a destination

parameter for matrix control (Destination). These correspond as

follows.

W a ve Sh a p e

#1: Destination CSM1/ 2-PRM1

You can use a variety of waveforms to create and

#2: Destination CSM1/ 2-PRM2

distort the sound.

#3: Destination CSM1/ 2-LFO-PRM1

#4: Destination CSM1/ 2-LFO-PRM2

Parameter

COSM Type

Shape Type

Output Level

Drive

Value

Description

1–6

Type of waveform

Output Level

0–127

Drive #1

0–127

Degree of distortion

Amount of LFO applied to

distortion

Drive LFO Depth -63– +63

* For details on envelope settings, refer to “Making Envelope

Tone

Tone #2

0–127

Tonal character

Tone KF

Tone LFO Depth

-200– +200

-63– +63

Key follow setting for tone

Amount of LFO applied to

tone

* For details on envelope settings, refer to “Making Envelope

LFO

* For details on LFO settings, refer to “Making LFO Settings” (p.

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CO SM List

Am p Sim u la to r

1 st o rd e r Sid e Ba n d Filte r

Simulates an amp.

By boosting the fundamental and overtones, you can

apply a pitch to unpitched input sounds such as a

noise or a drum phrase.

Parameter

COSM Type

Amp Type

Bass

Value

Description

Parameter

COSM Type

HPF

Value

Description

1–3

Type of guitar amp

Tone of the bass/ mid/ tre-

ble range

0–127

Cutoff frequency of the

high pass filter

Middle

Treble

LPF

0–127

Cutoff frequency of the low

pass filter

Output Level

Gain

0–127

Output Level

LPF KF

-200– +200

Key follow setting for cut-

off frequency of low-pass

filter

Gain #1

Degree of distortion

Amount of LFO applied to

distortion

Gain LFO Depth

-63– +63

Sub

-100– +100

-2, -1, 0

Sub detune

* For details on envelope settings, refer to “Making Envelope

Octave

Width

Octave setting

LFO

Width #1

Width KF

0–127

Bandwidth

* For details on LFO settings, refer to “Making LFO Settings” (p.

-200– +200

Key follow setting for

bandwidth

Dyn Env

-63– +63

Envelope depth for the in-

put sound

Sp e a k e r Sim u la to r

Simulates the speaker type.

Width LFO Depth -63– +63

Amount of LFO applied to

bandwidth

* For details on envelope settings, refer to “Making Envelope

Parameter

Value

Description

Detune

COSM Type

Speaker Type

Detune #2

Dyn Env

0–127

Detune

1–12

-63– +63

Envelope depth for the in-

put sound

Detune LFO

Depth #4

-63– +63

Amount of LFO applied to

detune

Re so n a to r

* For details on envelope settings, refer to “Making Envelope

Simulates the resonance of a guitar body.

LFO

Parameter

COSM Type

Filter Type

Value

Description

* For details on LFO settings, refer to “Making LFO Settings” (p.

BANJO, AC.GTR, Type of filter (guitar)

RE.GTR

Size

Size #1

Size KF

0–127

Body size

-200– +200

Key follow setting for gui-

tar body

Size LFO Depth #3 -63– +63

Amount of LFO applied to

guitar body

* For details on envelope settings, refer to “Making Envelope

Balance

Balance #2

0–127

Volume balance between

the direct sound and the ef-

fect sound

Balance LFO

Depth #4

-63– +63

Amount of LFO applied to

the volume balance

* For details on envelope settings, refer to “Making Envelope

LFO

* For details on LFO settings, refer to “Making LFO Settings” (p.

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CO SM List

2 n d o rd e r Sid e Ba n d Filte r

Co m b Filte r

By boosting the fundamental and overtones, you can

apply a pitch to unpitched input sounds such as noise

or a drum phrase. This lets you create a stronger effect

than the first-order sideband filter.

A comb filter can be used to boost or cut the

fundamental or overtones.

Parameter

COSM Type

Octave

Value

Description

-2, -1, 0, +1, +2

Octave setting

Parameter

COSM Type

Value

Description

Tone

Tone #1

0–127

Tonal character

Amount of LFO applied to

tone

0–127

Frequency bandwidth

Cutoff frequency of the low

pass filter

Tone LFO Depth

-63– +63

LPF

* For details on envelope settings, refer to “Making Envelope

LPF KF

-200– +200

-2, -1, 0

Key follow setting for cut-

off frequency of low-pass

filter

Detune

Detune #2

Detune LFO

Depth #4

0–127

Detune

Octave

Octave setting

-63– +63

Amount of LFO applied to

detune

Width

Width #1

Width KF

0–127

Bandwidth

* For details on envelope settings, refer to “Making Envelope

-200– +200

Key follow setting for

bandwidth

LFO

Dyn Env

-63– +63

Envelope depth for the in-

put sound

* For details on LFO settings, refer to “Making LFO Settings” (p.

Width LFO Depth -63– +63

Amount of LFO applied to

bandwidth

* For details on envelope settings, refer to “Making Envelope

Du a l Filte r

Two filters can be connected in series or parallel.

Detune

Detune #2

Dyn Env

0–127

Detune

-63– +63

Envelope depth for the in-

put sound

Parameter

COSM Type

Filter Type

Value

Description

Detune LFO

Depth #4

-63– +63

Amount of LFO applied to

detune

LPF/ HPF, LPF-

>HPF, BPF/ BPF

Type of filter

* For details on envelope settings, refer to “Making Envelope

Filter1/2

LFO

Freq #1/ #2

0–127

Cutoff frequency of the fil-

ter

* For details on LFO settings, refer to “Making LFO Settings” (p.

Freq KF

-200– +200

Key follow setting for filter

cutoff frequency

Reso

0–127

Resonance

Freq LFO Depth

#3/ #4

-63– +63

Amount of LFO applied to

filter cutoff frequency

* For details on envelope settings, refer to “Making Envelope

LFO

* For details on LFO settings, refer to “Making LFO Settings” (p.

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CO SM List

TVF

Dy n a m ic TVF

Cuts off a specific frequency band to change a sounds

brightness, thickness, and other qualities. A wah effect

can be applied by using the volume of the input sound

to vary the center frequency.

brightness, thickness, and other qualities.

Parameter

COSM Type

Filter Type

Value

Description

LPF, BPF, HPF,

NOTCH, PEAK

Type of filter

Parameter

COSM Type

Filter Type

Value

Description

db/ Octave

-24dB/ oct, -12dB/ Amount of attenuation per

LPF, BPF, HPF,

NOTCH, PEAK

Type of filter

oct, -6dB/ oct

0–127

octave

Cutoff

db/ Octave

-24dB/ oct, -12dB/ Amount of attenuation per

Freq #1

Cutoff frequency of the fil-

ter

oct, -6dB/ oct

0–127

octave

Cutoff

Freq KF

-200– +200

-63– +63

Key follow setting for filter

cutoff frequency

Freq #1

Cutoff frequency of the fil-

ter

LFO Dp #3

Amount of LFO applied to

filter cutoff frequency

Freq KF

Dyn

-200– +200

-63– +63

Key follow setting for filter

cutoff frequency

* For details on envelope settings, refer to “Making Envelope

Envelope depth for the in-

put sound

Resonance

LFO Dp #4

-63– +63

Amount of LFO applied to

filter cutoff frequency

Reso #2

0–127

Resonance

R LFO Depth #4

-63– +63

Amount of LFO applied to

resonance

* For details on envelope settings, refer to “Making Envelope

* For details on envelope settings, refer to “Making Envelope

Resonance

Reso #2

0–127

Resonance

LFO

Dyn Env

-63– +63

Envelope depth for the in-

put sound

* For details on LFO settings, refer to “Making LFO Settings” (p.

R LFO Dp #4

-63– +63

Amount of LFO applied to

resonance

* For details on envelope settings, refer to “Making Envelope

LFO

* For details on LFO settings, refer to “Making LFO Settings” (p.

Po ly p h o n ic Co m p re sso r

Flattens out high levels and boosts low levels,

smoothing out unevenness in volume.

Parameter

COSM Type

Attack #1

Value

Description

0–127

Attack time

Sustain level

Output Level

Sustain #2

Output Level

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CO SM List

Po ly p h o n ic Lim ite r

Lo -Fi Pro ce sso r

Compresses signals that exceed a specified volume

By changing the bit count and sample rate, this effect

recreates the Lo-Fi (Low-Fidelity) sounds of the early

digital samplers and similar machines. After the Lo-Fi

processor, a filter to change the tone is arranged in

series.

level, preventing distortion from occurring.

Parameter

COSM Type

Thres

Value

Description

0–127

Sets the volume level at

which the compression be-

gins.

Parameter

COSM Type

Bit Down

Value

Description

Ratio

2:1, 4:1, 16:1, 100:1 Compression ratio

0–15

This setting is for reducing

the bit count.

Attack #1

Release #2

Output

0–127

Attack time

Release time

Output Level

Sample Rate

Down

Normal, 1/ 2, 1/ 4, Sets the fraction of current

1/ 8, 1/ 16, 1/ 32

sampling rates to be used

for processing.

Filter

Fre q u e n cy Sh ifte r

Filter #1

0–127

Cutoff frequency of the fil-

ter

By shifting the frequency relationship of the

fundamental and overtones, a human voice can be

given a “groaning” character.

Filter KF

-200– +200

Key follow setting for filter

cutoff frequency

Filter LFO Depth -63– +63

Amount of LFO applied to

filter cutoff frequency

Parameter

Effect

Value

Description

* For details on envelope settings, refer to “Making Envelope

Balance

Effect #1

Effect KF

0–127

Effect depth

Balance #2

0–127

Volume balance between

the direct sound and the ef-

fect sound

-200– +200

Key follow setting for the

effect volume

Effect LFO Depth -63– +63

Amount of LFO applied to

the effect volume

Balance LFO

Depth

-63– +63

Amount of LFO applied to

the volume balance

* For details on envelope settings, refer to “Making Envelope

LFO

* For details on LFO settings, refer to “Making LFO Settings” (p.

Balance

Balance #2

0–127

Volume balance between

the direct sound and the ef-

fect sound

Balance LFO

Depth

-63– +63

Amount of LFO applied to

the volume balance

* For details on envelope settings, refer to “Making Envelope

LFO

* For details on LFO settings, refer to “Making LFO Settings” (p.