GAIA Exploring Sound (PDF) - Roland Corporation Australia

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Pitch Envelope We have added a negative amount of Pitch Envelope depth, with a fast decay. So instead of the Pitch Envelope looking like this: Or more correctly, since the Attack is set to zero, it would look like Figure 9.18. Figure 9.18 “Sax” Pitch Envelope Figure 9.16 Positive Pitch Envelope It looks more like Figure 9.17. Figure 9.17 Negative Pitch Envelope This has given our “saxophone” a characteristic “bark” at the beginning. Switch on all three TONES and play this new sound. Perhaps it’s not perfect, but it is still a great sound. Audio 9.13 Real Brass, all three TONES 119
Section 4 Lesson Nine Assignment As an exercise, see if you can create the sound of a woodwind ensemble. Here are a few hints. 1. Perhaps consider using a flute, clarinet and bassoon. 2. The flute sound might be close to the Triangle waveform. 3. The clarinet is most likely to be a Square waveform. 4. The bassoon might be some type of Pulse shape. 5. When played together they really should have that ensemble feel. That is, they are very unlikely to be perfectly in tune, or in time. A suggested “answer” can be found on the next page. 120
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
Page 13 and 14:
Now let’s experiment with the sof
Page 15 and 16:
Lesson 2 Signal Sources - Waveforms
Page 17 and 18:
would oscillate. It created an elec
Page 19 and 20:
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
Page 33 and 34:
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
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Lesson 5 Envelopes So far we have b
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Envelopes One type of modulator is
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Section 2 The Trumpet Back in Lesso
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If you have followed these instruct
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ut that doesn’t mean you have hot
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Section 5 Dynamics The Shift Key Ju
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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 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: So now we can complete our brass se
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
Page 159 and 160: Lesson 12 Global Review In this fin
Page 161 and 162: Section 2 Global Questions Just bef
Page 163 and 164: Section 3 TONE 1 Oscillator Let’s
Page 165 and 166: Section 5 TONE 1 Amplifier Figure 1
Page 167 and 168: Section 7 TONES 2 and 3 In reality,
Page 169 and 170: Section 9 Final Assignment Now it
Page 171:
The Future However, this is not the
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