GAIA Exploring Sound (PDF) - Roland Corporation Australia

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Now look at Figure 11.4, and you can see that the Filter is behaving quite differently. Figure 11.4 Negative Filter Envelope Actually, we are trying to add a particular character of the Electric Piano sound. Once being struck by the hammer the metallic tine will vibrate for a while, but when the note is released a dampening mechanism comes into play. This is much like what happens inside an acoustic piano, but dampening the full weight of the metallic tine is not so easy. As a result, the tine will try to maintain its vibration even though the dampener is trying its best to stop it. This creates a slightly noisy release. Note that in both Figures 11.3&4 that the Decay is not used at all because the Sustain is set to the maximum. Obviously, the Cutoff Frequency has been set a little higher for the inverted envelope to work. So now the sound starts at the brighter Cutoff Frequency, then “decays” to a lower (less bright) sound until the note is released. Notice that even though we say it is “decaying” we are actually using the Attack time to achieve this result. Even more importantly, when the note is released the envelope will suddenly jump back UP to the brighter frequency. Why have we done this? Try playing the keyboard with just this TONE. You may wish to turn the Amplifier Level up to full. Can you hear the release effect? It is a little more obvious when you raise the Octave switch. When you’ve finished trying this sound please lower the Amplifier Level back down to 15, and return the Octave switch to the normal position. To complete our metallic part of the sound: 1. Copy TONE 1 to TONE 2. 2. Raise the Pitch of TONE 2 to +24 3. Switch on Ring Mod. Try this new metallic sound. 147
Now for the body of the Electric Piano sound. Select TONE 3 and follow the Action List in Figure 11.5. metallic sound more when played louder. You could further emphasize this condition by slightly raising the Velocity Sensitivity of TONE 3. Figure 11.5 EP TONE 3 Again, there is much to be learnt from this new recipe. If you now play this sound you will find we have a convincing Electric Piano sound, although it does sound a bit low in pitch. We have chosen a particular Pulse waveform, the one that sounds most like an electric piano. Of course, you are welcome to try any other waveform. The Oscillator is tuned down one octave. A very deliberate choice. It has allowed us to put a greater “distance” between the tuning of the body (TONE 3) and the metallic sound (TONES 1 & 2). We have used the inverted Filter Envelope again in order to emphasize that metallic dampening we used in TONE 1 and 2. One further point about TONES 1 & 2; we lowered the Velocity Sensitivity. This was done because the original Electric Piano would sound more metallic when played softly. So if we limit the velocity sensitivity of the metallic sound, but maintain full velocity for the body, then TONE 3 will effectively begin to mask the Try raising the pitch by pressing the Octave Up button once. Now to further enhance this sound let’s add some effects that were typically used on Electric Pianos of the time. Switch on the Phaser, the Reverb, and lower the Reverb Level to about 10. It’s that simple! You now have a synthesized version of an Electric Piano. Perhaps it’s not an exact copy, but more than anything it has allowed us to illustrate a few of the more advanced Subtractive Synthesis techniques. You may have noticed that we only switched on the Phaser effect. We made no attempt to modify the Phaser parameters. The Initial Patch provided something quite appropriate. In general, you will find that a lot of thought has gone into creating the Initial Patch. However, feel free to adjust the effect parameters to suit your taste. 148
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
Page 11 and 12:
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
Page 37 and 38:
You have just been able to prove th
Page 39 and 40:
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
Page 45 and 46:
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
Page 55 and 56:
Envelopes One type of modulator is
Page 57 and 58:
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.
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Lesson 6 Controllers In this lesson
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Initialize the Patch, and set the L
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Section 2 It is worthwhile experime
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What’s Wrong With the Trumpet Sou
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Key Trigger You now know that by pr
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Section 5 More Controllers Mono/Pol
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Experiment with the three methods o
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Section 7 Pulse Width Modulation Th
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Lesson 7 The Action List In Lesson
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Press the one that looks like a Rew
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Section 2 Editing the Action List T
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Section 3 File Controls At the top
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Section 4 Bass Guitar Analysis Now
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Lesson 8 Combining TONES - Part One
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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 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: From the description of the Electri
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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