Manual Roland XP-30 (page 64 of 216) (English)

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Chapter 3. Creating Your Own Sounds

Note on Tone Editing

Because the XP-30 is designed to create wholly realistic

sounds, editing necessarily affects the complex PCM

waveforms sound are based on. So if you try to create a

sound which is totally different from the original waveform,

the results may not be what you want. XP-30 waveforms are

divided into:

One-Shot: These waveforms contain sounds that have short

decays. A one-shot waveform records the initial

rise and fall of the sound. Some of the XP-30’s

one-shot waveforms are sounds that are

complete in themselves, such as percussive

instrument sounds. The XP-30, however,

contains many other one-shot waveforms that

are only partial elements of sounds. These

include attack components such as piano

hammer sounds and guitar fret noises.

Looped: These waveforms contain sounds with long

decays or sustained sounds. With looped

waveforms, the latter part of the sound is

generated repeatedly over a specified portion of

the waveform for as long as the note is held

(allowing wave memory to be used more

efficiently). The XP-30’s looped waveforms

include such sound components as piano string

vibrations and hollow sounds of brass

instruments.

The following diagram shows an example of sound (electric

organ) that combines one-shot and looped waveforms.

fig.3-09.e

Notes for Editing One-Shot Waveforms

An envelope cannot be used for giving a one-shot waveform

a longer decay than the original waveform’s, or make it a

sustaining sound. Even if you were to make such envelope

settings, you would simply be controlling a non-existent

portion of the sound, so such settings would have no

meaning.

Notes for Editing Looped Waveforms

With many acoustic instruments like piano and sax, radical

timbral changes occur during the first few moments of the

note. This initial attack is what defines much of the

instrument’s character. The XP-30 provides a variety of

waveforms containing realistic acoustic instrument attacks.

To obtain the maximum realism when using these

waveforms, it is best to leave the filter wide open during the

attack. This way, all the complex timbral changes can be

heard. For the decay portion of the sound, you can use the

envelope to produce the desired changes. If you use the

envelope to modify the attack portion as well, the natural

attack contained in the waveform itself will not be heard to

full advantage, and you may not achieve the result you want.

fig.3-10.e

If you try to make just the attack brighter and subdue just the

decay using the TVF filter, you need to keep in mind the

timbral characters of the original waveform. And particularly

if you’re making a part of the sound brighter than the

original waveform, you should first generate upper

harmonics (not present in the original waveform) using

Color and Depth parameters (PATCH/WAVE/FXM) before

filtering. If you don’t, the results will be disappointing. To

make the entire sound brighter than the original waveform,

try adjusting effects such as enhancer and equalizer before

modifying the TVF parameter (PATCH/TVF).

TVA ENV for looped Organ

waveform (sustain portion)

Key-off

Resulting TVA ENV change

TVA ENV for one-shot Key-

click waveform (attack portion)

Key-off

Tone change stored

with the wave

Envelope

for the TVF filter

Resulting tone change

Looped Portion

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Roland XP-30 Manual

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