#Gylt keyboard controls Patch

The V-Synth's 320 x 240 colour TFT touchscreen is central to the synth's operation, and is cleverly designed to display a great deal of information.īonus style points are earned for the new synth by the neatly recessed colour screen and Time Trip pad (an innovative controller with various uses), and by informational panels lit by splashes of blue light. I needn't have worried Roland's baby has a sturdy metal body and I suspect it'll take more than a few cavalier couriers to beat it into submission. Fearing the worst, I opened up and set about extracting chunks of polystyrene from keyboard and buttons. When the review model arrived, it was in a box that was visibly well-travelled. In classic black with silver plastic end-cheeks, shiny-top knobs and a host of glowing orange buttons, the V-Synth GT makes a striking figure. APS employs a separate pool of waveforms and performance models to replicate some of the nuances of human performance.īoth the original V-Synth and its rack counterpart, the V-Synth XT, have received thorough examinations in SOS to gain a complete perspective I therefore recommend that you read this review in conjunction with the earlier ones from the May 2003 and September/October 2005 editions of SOS. Conceived as an 'expressive synth', the GT also features brand-new technology, in the form of Articulative Phrase Synthesis. Like the earlier XT rack, the GT has a colour touchscreen and sacrifices some of the original keyboard's dedicated knobs for a row of assignable ones. Polyphony has increased too, and in most cases effectively doubles the capacity of the original. This offers layering potential previously impossible - and the synth's arpeggiator can now be allocated to a specific keyboard area in split keyboard setups.

#Gylt keyboard controls Patch

The new V-Synth GT variant features a 'dual core' structure think of this as two V-Synths in one body, since each half (or 'tone') can be treated like a complete patch of the original. Features such as the twin D-Beam controllers, 'Time Trip' pad, dedicated knobs and responsive touchscreen ensured that its unique 'elastic audio' (as Roland described their 'Variphrase' concept) was highly malleable in performance.Īlthough basic multitimbrality and keyboard splits were included, there were limitations: for example, the arpeggiator could not be confined within keyboard zones and the maximum polyphony of 24 notes was soon eaten up by complex patches. These audio sources were routed in a semi-modular fashion through a selection of COSM processors such as standard filters, amp models, waveshapers, side-band filters, frequency shifters, comb filters and more. So at the mere mention of an updated version, the V-Synth GT, I began hoarding pocket money and mentally freeing up studio space.įor those readers with an imperfect grasp of their V-Synth history, the original V-Synth was an innovative instrument that combined modelled analogue waveforms and PCM variphrase oscillators with user sampling. Its remarkable sample-warping abilities, its COSM (Composite Object Sound Modelling) processors and its innovative performance controls turned me into a gushing fanboy during my initial review for SOS. I can't believe it's more than four years since Roland's V-Synth entered my life. Can Roland take the concept further with the new V-Synth GT? Let's find out. In 2003 the original V-Synth represented a bold leap forward in synthesizer technology.