GAIA Exploring Sound (PDF) - Roland Corporation Australia

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Section 5 Ring Modulation The second form of Modulation that exists in the <strong>GAIA</strong> is called Ring, which is short for Ring Modulation. With Ring Modulation the signals from the two Oscillators are multiplied together. This creates a complex, metallic-sounding waveform. A waveform that is rich in new Harmonics. Figure 8.11 Ring Modulation Diagram Let’s see what it sounds like: Initialize the Patch and follow this Action List: Note: there is one step in what is called the Common section of the list where you only need to select TONE 2. Figure 8.12 Ring Mod Action List When you have finished this Action List switch on Ring Modulation. Note: the Ring Modulator not only creates this new metallic sound, it also allows the original signal from Oscillator 2 to pass through unchanged. 103
Try playing the sound with and without Ring Modulation, particularly in the low octave. Without Ring Mod you can clearly hear the two pitches. Audio 8.9 Ring Mod Off However, with Ring Mod switched on the sound is more of a metallic Gamelan effect. Audio 8.10 Ring Mod On A Gamelan is “a traditional instrumental ensemble of Indonesia, typically including many bronze percussion instruments.” 104
Page 1 and 2:
Exploring Sound WITH THE ROLAND GAI
Page 3 and 4:
Welcome to the exciting world of so
Page 5 and 6:
Section 1 Terminology Before we beg
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TONE versus Tone Throughout this bo
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Section 3 The Basic Building Blocks
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Or more correctly as shown in Figur
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Now let’s experiment with the sof
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Lesson 2 Signal Sources - Waveforms
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would oscillate. It created an elec
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Now play an octave higher. How many
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Section 2 The Pitch Controls Once a
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Low Frequency and Audibility Now we
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OK, now look at the button marked
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Exercise Try selecting the Pulse wa
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Lesson 3 Signal Sources - Harmonics
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Sine Waves Let’s move forward, pl
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Now try switching on the second TON
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What are we subtracting? Well, we c
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You have just been able to prove th
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Harmonic Series Let’s look again
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Harmonics Charts Let’s review the
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Lesson 4 Filters This Lesson will d
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If we were to lower the bass contro
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Another very important difference b
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Please experiment with all three co
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What you are hearing, and seeing, i
Page 53 and 54: Lesson 5 Envelopes So far we have b
Page 55 and 56: Envelopes One type of modulator is
Page 57 and 58: Section 2 The Trumpet Back in Lesso
Page 59 and 60: If you have followed these instruct
Page 61 and 62: ut that doesn’t mean you have hot
Page 63 and 64: Section 5 Dynamics The Shift Key Ju
Page 65 and 66: Section 6 Lesson Five Assignment 1.
Page 67 and 68: Lesson 6 Controllers In this lesson
Page 69 and 70: Initialize the Patch, and set the L
Page 71 and 72: Section 2 It is worthwhile experime
Page 73 and 74: What’s Wrong With the Trumpet Sou
Page 75 and 76: Key Trigger You now know that by pr
Page 77 and 78: Section 5 More Controllers Mono/Pol
Page 79 and 80: Experiment with the three methods o
Page 81 and 82: Section 7 Pulse Width Modulation Th
Page 83 and 84: Lesson 7 The Action List In Lesson
Page 85 and 86: Press the one that looks like a Rew
Page 87 and 88: Section 2 Editing the Action List T
Page 89 and 90: Section 3 File Controls At the top
Page 91 and 92: Section 4 Bass Guitar Analysis Now
Page 93 and 94: Lesson 8 Combining TONES - Part One
Page 95 and 96: It’s that easy! So if you then wa
Page 97 and 98: Add Some Detune For the moment swit
Page 99 and 100: Section 3 Traditional Synth Patch -
Page 101 and 102: Section 4 Oscillator Sync You will
Page 103: Let’s try another version of this
Page 107 and 108: Section 1 Synthesizer Strings One o
Page 109 and 110: Step Two Now copy TONE 1 to both TO
Page 111 and 112: So now we have quite a convincing
Page 113 and 114: Section 2 Real Strings In this sect
Page 115 and 116: Now follow this Action List: Figure
Page 117 and 118: Section 3 Real Brass From the previ
Page 119 and 120: So now we can complete our brass se
Page 121 and 122: Section 4 Lesson Nine Assignment As
Page 123 and 124: Lesson 10 Effects We will approach
Page 125 and 126: So now you can choose which method
Page 127 and 128: Delay Experiment One Before we expl
Page 129 and 130: High Damp High Damp stands for High
Page 131 and 132: Before we leave the delay section l
Page 133 and 134: All this theory explains why the to
Page 135 and 136: The Flanger Having explored the tec
Page 137 and 138: Section 3 Distortion Effects Distor
Page 139 and 140: Bit Crash Although the Bit Crash ef
Page 141 and 142: Section 4 Reverb and Boost Reverb I
Page 143 and 144: Section 5 First Effects Here is a P
Page 145 and 146: Lesson 11 Combining TONES - Part Th
Page 147 and 148: From the description of the Electri
Page 149 and 150: Now for the body of the Electric Pi
Page 151 and 152: Pad TONE 2 Now that we have our sol
Page 153 and 154: Final Touches There are just two mo
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Now let’s look at the Spectrum of
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Section 4 Using Noise waveforms In
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Lesson 12 Global Review In this fin
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Section 2 Global Questions Just bef
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Section 3 TONE 1 Oscillator Let’s
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Section 5 TONE 1 Amplifier Figure 1
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Section 7 TONES 2 and 3 In reality,
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Section 9 Final Assignment Now it
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The Future However, this is not the
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