![]() ![]() But despite its limited implementation in the VP9000 - six-voice polyphony and a maximum sampling time of 50 seconds - Variphrase did allow you to shift pitched samples over a fairly impressive range, and alter the pitch and tempo of percussive phrases to fit other elements of your music. Nobody has yet learned how to do these things without introducing artefacts. ![]() The VP9000 didn't quite live up to Roland's claim that it would permit you to distribute a single sample across a keyboard without munchkinisation, and apply time-stretching without loss of the original timbre or signal quality. This allowed you to pitch-shift, time-stretch, and shift the frequencies of formants independently of one another, whereas, on any conventional processor, they are inseparably linked to one another. Now there's a rackmount V-Synth, and as you'll discover in our two-part review, it's more powerful than the first.įive years ago, Roland released the VP9000 (reviewed back in SOS June 2000), a 2U rackmount device that embodied a new audio-processing technology called Variphrase. ![]() The V-Synth repackaged Roland's groundbreaking Variphrase technology, creating a powerful new kind of sample-based synthesis. ![]()
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