Basic Sound Parameters
B a s i c S o u n d P a r a m e t e r s
12
This chapter only deals with those sections which are directly
involved in sound generation and treatment. For information
about programming the Arpeggiator or applying realtime
controllers (
Time-Trip
,
D-Beam
,
Bender
and
Control
knobs),
please refer to the chapter “
Advanced Performance
” towards
the end of this tutorial. For information about Sampling and more
advanced programming, see the chapter “
Advanced Sound
Programming
” below.
Practical instructions here are in a much more compact form than
those above because I assume that you already know your way
around the menus. Look in the
Owner’s Manual
under
“
Creating a Patch - Functions of Patch Parameters
”
whenever you need detailed information about individual
parameters. Although each section will be dealt with in turn, you
will be guided towards other sections in the
V-Synth
whenever
necessary. This will help you get used to switching between
sections and guard against seeing each one as a separate,
unrelated entity.
✱
IIn
n p
prra
accttiicce
e,, ccrre
ea
attiin
ng
g a
a g
go
oo
od
d p
pa
attcch
h u
ussu
ua
alllly
y m
me
ea
an
nss
jju
um
mp
piin
ng
g b
ba
acck
k a
an
nd
d ffo
orrtth
h b
be
ettw
we
ee
en
n p
pa
arra
am
me
ette
errss rra
atth
he
err
o
offtte
en
n.. S
Sy
yn
ntth
he
essiizze
err m
mo
od
du
ulle
ess//sse
eccttiio
on
nss a
arre
e,, b
by
y tth
he
eiirr v
ve
erry
y
n
na
attu
urre
e,, h
hiig
gh
hlly
y iin
ntte
erra
accttiiv
ve
e
Because the Effect section is dealt with last, the sounds will only
start coming to life towards the end of this chapter. If you find
dry sounds generally tiring to the ear, you can always add some
internal or external reverb.
Go to
512
:
INIT PATCH
and touch the
OSC1
pad...
For each of its two oscillators (per Zone), the
V-Synth
gives you
the choice of two fundamentally different types -
Analog
and
PCM
. Whichever you choose, many of the parameters are
practically the same. There is a third option which will be
mentioned later on:
EXT IN
causes signals from the two
INPUT
jacks to be routed directly to the
MOD
section.
As these diagrams clearly show, the signal passes through several
stages, each with its own dedicated envelope but with a single,
shared LFO. This means that the main parameters (
Pitch
,
Time
...) in each of the four stages can be modulated by individual
envelopes as well as by a common LFO.
*
* A
An
ny
y a
au
ud
diio
o ssiig
gn
na
all tth
ha
att''ss b
be
ee
en
n iin
np
pu
utt w
wh
hiille
e tth
he
e o
osscciilllla
atto
orr
tty
yp
pe
e o
on
n tth
he
e V
V--S
Sy
yn
ntth
h iiss sse
ett tto
o E
EX
XT
T IIN
N w
wiillll b
be
e h
he
ea
arrd
d o
on
nlly
y
w
wh
he
en
n y
yo
ou
u p
plla
ay
y tth
he
e k
ke
ey
yb
bo
oa
arrd
d.. IIn
n o
otth
he
err w
wo
orrd
dss,, tth
he
e ssiim
mp
plle
e
a
acctt o
off iin
np
pu
uttttiin
ng
g a
a sso
ou
un
nd
d iiss n
no
ott e
en
no
ou
ug
gh
h tto
o cca
au
usse
e iitt tto
o b
be
e
h
he
ea
arrd
d.. N
No
otte
e tth
ha
att tth
he
e ssiig
gn
na
all ffrro
om
m tth
he
e D
DIIG
GIIT
TA
AL
L IIN
NP
PU
UT
T iiss n
no
ott
a
allllo
ow
we
ed
d tto
o b
be
e u
usse
ed
d a
ass a
a sso
ou
urrcce
e ffo
orr E
EX
XT
T IIN
N..
The OSC1 / OSC2 Sections
Wave
Pitch
Envelope
Pitch
PW
Envelope
Pulse
Width
Fat
Envelope
Fat
TVA
Envelope
OSC
TVA
LFO
control signal
Analog OSC
audio signal
Waveform
Pitch
Envelope
Pitch
Time
Envelope
Time
Formant
Envelope
Formant
TVA
Envelope
OSC
TVA
LFO
control signal
PCM OSC
audio signal