Yuhki (keyboardist and composer)
Born in Tokyo
Yuhki took an interest in British hard rock and progressive rock in his teens and began playing in bands as a keyboardist. After playing in heavy metal, hard rock and progressive rock bands, he made his record debut with King Record in 2000 as a member of the hard rock band Ark Storm. Their second album, Beginning Of The New Legend, was released in Europe and the U.S. Three albums have been released up to now. He has been a member of Galneryus since 2001. Three albums have been released from Vap, Inc. As a keyboardist and composer, he has been highly active in Alhambra, his own progressive hard rock band that features a female vocalist. The album A Far Cry To You was released in 2005.
Demo Song “V-Real” Composed and Performed by Yuhki. All sounds created on a V-Synth 2.0.

Beyond the end of despair...

A Far Cry To You
Demo Song "V-Real"

The patches used in the song above are available from the download page below. Patch explanations are by Yuhki himself.

This sound takes from the synth brass pads often heard in 80s rock and pop music. I made this sound in the spirit of the Jupiter-8 of bygone days. I layered two OSC SAWs and turned on the sub-oscillator to create a sound that has a broad, gutsy feel to it. It is great for arpeggios and sequenced phrases when working with guitars. This sound finds use in many songs such as in the riff midway through the song “Shiver” in Galneryus’s new album.
This synth lead patch features portamento and uses two different SAWs, LA-SAW and SAW, to create a sound that really stands out. STRUCTURE3 is used as well as sideband and comb filters from the COSM section to make different tones that are then layered. For effects, the flanger is used and intricate results are obtained through use of the D Beam. C1 is set to make the OSC2 pitch shift up 5 degrees and C2 is set to shift it up by an octave.
The Dulcimer PCM sound is used in OSC1 and SUPER-SAW is used in OSC2 to create a sound that glitters. It is used, for example, in the intro to Galneryus’s song “My Last Farewell”. The filter is designed to open gradually by rubbing the TTPad from –Y to +Y.
This patch passes the organ through a guitar amp. It has a really heavy feel to it. When Galneryus recorded the backing sound for the song “Heavy Curse”, instead of using rotary speakers, I put the organ through a guitar amp. Wondering if I could do this when playing live, I fiddled with the MFX section and succeeded in getting a pretty decent sound. I used a PCM organ sound with two oscillators and the METALSTACK speaker simulator from the COSM section. The V-Synth comes with lots of effects of surprisingly high quality. Among these, I use DS/OD to apply distortion. Try moving your hand over the D Beam. You’ll get a really interesting effect!
This synth orchestra sound is expansive and majestic. A sublime atmosphere is created by just playing a chord. A PWM PCM waveform with two oscillators is used and for effects, the six-phase Hexa Chorus is used to bring expansiveness and depth.
I made this sound in the spirit of the analog synth lead sounds of former times. Using two oscillators I layered LA-SQUARE on OSC1 and HQ-SAW on OSC2. I also used a sub-oscillator with the end result being a thick portamento-enriched sound. Since I set C1 and C2 to shift the pitch 5 degrees and 1 octave respectively, these could be applied when soloing to immerse myself in a sea of color (laughs).
The V-Synth analog oscillator has a variety of analog waveforms. Among them, I like SuperSaw in particular and use it a lot. Using this, I created a rather bright sounding string pad that was suitable for long, sustained backing notes. If I think the tone is too bright while playing I assign a filter to the TTPad and, since the sound is being held, I quickly make it soft by rubbing my finger on the TTPad.
This is a thick, polyphonic synth sound with portamento. In the lower register it can also be used as a powerful synth bass with a booming sound. It uses two SUPER-SAW waveforms and for effects it passes through an analog phaser. Using the modulation lever and TTPad, an interesting effect is possible that will add a chaotic element of surprise.
This is the lead sound that was heard in 70s fusion. SBF2 of the COSM section is used to emphasize the keynote and harmonic overtones. While brighter in the high register, in the lower register a click sound stands out. A spacey effect is achieved by rubbing the TTPad quickly from –Y to +Y.
Personally, I love the violin, but I can’t play it. (sad face) So, I get great self-satisfaction by creating a violin sound on the synth and then achieving a somewhat near resemblance when I play. (laughs) Using SBF1 in the COSM section then applying an OD-to-Cho effect and then making TVA LFO work on the TTPad, I was able achieve a refined patch that sounds just like tremolo! A glissando effect is achieved using D Beam and the application of delay further alters the sound. By tweaking C1, it changes to pizzicato.
The majestic synth brass sounds I use when playing the themes in the intros to Alhambra songs are indispensable. I make these dynamic sounds by layering SUPER-SAW in OSC1 and the PCM DistOsc waveform in OSC2. By nudging up the oscillator pitch for the attack I am able to get an even brassier effect.
With this sound I layered SAW and LASAW. This is a bell sound that is really only possible on a synth. Since I am using STRUCTURE3 which uses the COSM section in sequence, the glittering effect is emphasized by using the SBF in the high pitched OSC2. Breadth is added by applying Space Chorus as an effect.
This sound features a glittering attack by using two SAW waves. An illusory effect is achieved by using band pass delay. This sound can also be used for things like arpeggios and chord backing.

Comments about V-Synth

The V-Synth combines a powerful analog oscillator and a high-quality PCM oscillator. The COSM and effects sections, which allow you to create dramatic sound changes, can be freely combined into structures to create a variety of sounds. This adds up to the true meaning of a synthesizer.
An important point regarding the keyboard sound in the heavy metal band Galneryus and progressive rock band Alhambra, both which I play in, is to create a phat sound that has sufficient presence so that it will not be buried by the other instruments. Even if you think a patch sounds great on its own, it will often get drowned out the instant it becomes part of an imposing band sound in which each instrument has its own strong presence.
The great ability of patches created on the V-Synth to stick out deserves special mention. This is a synth that will let you re-experience how much fun it is to create sounds! Although the V-Synth contains many unique patches that will, for sure, take you by surprise as well as many high quality preset sounds that can be put to use as is, this synthesizer really goes beyond this by having the potential to be tailored into a personalized machine through use of the various parameters. It is extremely rare to find a synthesizer with such a wide range of abilities that can handle this many different genres. The V-Synth brings various elements together to facilitate the design of original sounds.

With the analog oscillator, which contains analog waveforms, I can choose a waveform that’s close to what I have in mind and then make it even thicker using the sub-oscillator. By layering another oscillator I can make a sufficiently phat sound. All this can be done using just the oscillator section. Also, various waveforms are available (and you can also add waveforms that you sampled) for the PCM oscillator, so by combining these you can create a wide range of basic sounds.
The side band filter in the COSM section, which creates dramatic sound changes, emphasizes the keynote and overtones. I use it a lot because it can be used to make interesting tones that have never existed before. Since I can also choose amps of differing character using the amp simulator, I am able to easily change a sound to one that has an airy, spacious feel by simply feeding it through an amp. The TVF, too, is great since you can select among all sorts of powerful filters.
Since I can choose among a wide range of tones, I often apply Distortion/OD—part of the high-quality effects section—to synth lead, organ, and other sounds. Also, I like the fact that there is such a rich selection of chorus effects. With so many available, it’s really easy to select the exact feeling of spaciousness that I’m looking for. I make good use of effects like Tape Echo, which simulates the RE-201 Space Echo, and the 6-phase Hexa Chorus, because they lend a definite breadth and thickness to pad and string sounds.
Controllers that allow me to apply sound changes to phrases, etc., are really important to me when playing. Along with the usual pitch bender and modulation lever, the TTpad and D Beam controller can be assigned to various songs. By causing sound changes in real time, it is possible to add any expression to songs and phrases.

At present there are many PCM sound engines available that contain countless waveforms (samples). With synthesizers that contain hundreds of high-quality presets you can, to a certain extent, easily get the sound you are looking for without the need for detailed sound creation. But with the V-Synth you can delve right in and use any parameter to create the sound you are imagining. Many times, using this process, you end up creating far-out, unexpected sounds. This is a synth that not only manifests an artist’s imagination, but one which also has the ability to inspire. For me right now, the V-Synth is an essential tool for my live gigs and recording!

June, 2006 Keyboardist Yuhki (Galneryus/Alhambra)