GAIA Exploring Sound (PDF) - Roland Corporation Australia

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This last point may need a little clarification. Of course, the orchestra could play pizzicato where all the players pluck the strings. This would suggest a sharper attack. However, if you imagine each player slowly drawing the bow across the strings it is easy to understand why the attack would be more gentle. Then, of course, if you imagine each player bowing at slightly different times the overall effect could be slower again. So now we have our basic plan. We need to recreate the slightly out-of-tune, out-of-time, bowing sound. One more thing; in the previous lesson we used a sawtooth waveform for our brass sounds. We will now learn that the same sawtooth waveform is just as useful for string sounds, but not essential. Let’s start. As always, initialize the patch, then follow this Action List for TONE 1. Notice what we’ve done. We’ve begun by raising the pitch to what might be considered a violin range (although this would not be necessary had we been aiming for a cello sound). Figure 9.3 Synth Strings Step One We’ve then slowed down the attack of the sound as discussed above, but we’ve also added some release. The release may be attributed to the many players all stopping at different times, as with the attack. However, in this case we have lengthened the release time simply because it is characteristic of those early 1980s string synth patches. Finally we’ve added something new. Very often when we listen to a real string section the violins sound much brighter to their larger counterparts. So we have lowered the Cutoff a little to allow us to add some Key follow to the Filter. In this way the higher notes will be a little brighter than the lower notes. Play the keyboard and you’ll find that the lower notes are now a little “warmer”. Perhaps a little more pleasing to the ear. As always, you can be the judge. Audio 9.1 Synth Strings Step One 107
Step Two Now copy TONE 1 to both TONE 2 and TONE 3. Then, after checking that all three TONES are the same, turn off TONES 2 and 3, and make sure TONE 1 is selected for editing. Follow this Action List for TONE 1. Figure 9.4 Step Two Step Three Now switch on TONE 2, switch off TONE 1, and make Sure TONE 2 is selected for editing (it will be on by default). Follow the Action List in Figure 9.5. Figure 9.5 Step Three To make the “players” sound slightly out of tune we have added a little modulation, or vibrato. Notice that we haven’t bothered to change the vibrato rate. This is because the default rate created by initializing the patch is close enough. We have also added some detune to TONE 1, although it’s hard to hear without the other TONES. Audio 9.2 Synth Strings Step Two This time we are using a different wave shape. Why? We have been trying to emphasize the pitch differences of a large orchestra. So far, we have been using detune and vibrato. This time we have added another type of modulation. To do this we have chosen the Pulse wave. Notice that we have chosen variation 3. This is because that particular Pulse wave sounds a little more like a string sound. Then we have added some Pulse Width Modulation, and lowered the rate so that it will sound very different to the vibrato we used for TONE 1. Another subtle difference. 108
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
Page 7 and 8:
TONE versus Tone Throughout this bo
Page 9 and 10:
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
Page 15 and 16:
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
Page 21 and 22:
Section 2 The Pitch Controls Once a
Page 23 and 24:
Low Frequency and Audibility Now we
Page 25 and 26:
OK, now look at the button marked
Page 27 and 28:
Exercise Try selecting the Pulse wa
Page 29 and 30:
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
Page 51 and 52:
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 and 104: Let’s try another version of this
Page 105 and 106: Try playing the sound with and with
Page 107: Section 1 Synthesizer Strings One o
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
Page 155 and 156: Now let’s look at the Spectrum of
Page 157 and 158: Section 4 Using Noise waveforms In
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Lesson 12 Global Review In this fin
Page 161 and 162:
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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