I have had a V synth for a couple days now.
It is definately the second small step in what will be a BIG improvement on the way samples are utilized in synths (soft or hard)
I am not sure if anyone is interested in this and there is a good chance that this thread will be deemed OT and moved or deleted.
In my mind the V synth IS a new sound library.
If others (and papa) agree, let me know and I will start a lengthy description of this synth.
And it will be lengthy. This thing is VERY different. I now see why roland was vague in the marketing description for it. It would not be possible to describe in a few sentences.
The roland demos do not in any way reflect how deep this thing is.
The factory sound set has a lot of wacky spacey ear candy patches that I think miss the point of the V synth.
I agree with your karma assesment completely.
The V synth could be much more usefull in the hands of someone who has the time to really dig into it.
I still want to get the moderators approval before I get too deep into a discussion on it.
I think once we get going there will be a lot of back and forth discussing it and answering questions.
With the recent rash of thread deletions happening I want to make sure I am not wasting everyones time.
But to start.
It is basically 3 synth engines.
A truly lame analog generator
A lame pcm waveform player (rompler)(with ****ty waves)
AND a multitimbral variphrase engine.
Thats were the fun is. It can use the pcm waves or your own samples.
The power is in the formant shifting that does a good job of pitch shifting samples while making them sound pretty real and not chipmunky.
It also has a sort of \"auto tune\" switch that makes the sample maintain a steady pitch.
And indian vocal phrase that varies considerably in pitch (think cool ethinic phrase) can be made to stay on one pitch.
Now you can play it as a standard pcm sample wave only it has a ton more charecter.
Now picture a multi syllable vocal phrase.
you can add markers to it that do an acid style chop job on it.
Combine that with the auto tune switch and you can take that single multisylable sample and play chords with it.
and it will stay rhythmically locked.....as in all the syllables stay in sync no matter how far you stretch it. And it sounds NOT stretched to crap.
OR you can have it rotate through the syllables.
Think of a long sustained vocal phrase......
With the acid markers you can play the chords and have the syllables sync. Playing big wide chords!
And you can change the tempo of the syllables!!! Midi syncable.
Or you can have the syllable play in rotation with each key press.
Very quickly I sampled myself singing (ok moaning) a phrase like that.
In 2 minutes I had it edited and \"analyzed\" (roland term for the acidizing and formant calculations)
I had me singing the phase in harmonies generated by the keyboard and syncing to tempo changes.
And if thats not cool enough......
Then you can run it through the standard synth adsr and filters AND one or two COSM algorithms.
And thats only one ocsillator!!!!
There is still another one to add to the mix.
The reason why I strongly feel that this is relevant to this forum is that once this technology matures it will completely change the orchestral sample library systems that are now reaching a level of maturity.
This is the early future of usable physical modeling.
There is no way that every conceivable articulation can be sampled, mapped, and played in real time.
The V synth formant shifting +acid style chopping etc.... will be the next quantum leap (sorry nick) in how we make music.
Since I mentioned Nick......
with multi velocity fomant shifting that can rotate throught the \"words\" in real time user defined order always locking to midi tempo changes.
Rotating through syllables on SOLO vocal samples that with the variphrase algorithms sound dead on real and you can PLAY them real time and get scary results. I can envision the NEW vocal phrase libraries that would emerge.
As another test I loaded in some of the vocal phrases off of Erics Africa set.
Quickly I am playing huge chords with the chant staying in user defined sync.
THEN..... comes the mutilating with the cosm engines.
Combined with the other osc of ME moaning (singing) also mutilated (even more than just me singing)
And its all in sync!!!
And it sounds real.....while at the same time it doesn\'t.
And I am doing this within 2 hours of unpacking it.
With all that said I think this thing is going to flop. It will be on several hit records and Zawinal will do amazing **** with it if he gets one but for most users its VERY DEEP TERRITORY.
Maybe even too deep for my purposes. I have an idea of some practical uses for it in my music but I may end up not keeping it.
I have to say that this box is truly the first NEW sound creation tool to come out in years. And for the first time in years I am psyched about the future of synths.
I certainly dont agree with your Karma judges here. I have a Karma and there is no synthtechnology that even gets close. There more time you spend on it (and the MW-software for it) the more it starts to grow on you. If you are only into the patches, they will naturally die on you. But if you seek deeper into the sound of the karma - try to experiment with other sounds then the featured onboards - use the MW-software - you get a totally kick out of it. Its a create wonder and I simply cant get tired of it - even though I had a period where I thought it was sorta dead. I went back and rediscovered the Karma. Its one creative masterpiece. Just tweak it more guyz. Dont let it down. Its your fault - not karms.
That being said I have totally high desires for the new Roland. However I am a bit sceptical about its features. Infrared beam doesnt seem to work on me. You cant really touch the sound yet and its more like a filterknob. Timetrip pad is awesome, but how many times do you actually need to scrool back in a loop in realtime. Does it sound weird - oh yes! Cool too? Not so often.
However im gonna have to try it out some more. I know BT used it on his latest album (he was a betatester) and he totally freaked about it. Then again. Its more his style screwing up beats like dat and going deep into the waves.