GAIA Exploring Sound (PDF) - Roland Corporation Australia

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Section 1 A Dance/Trance Patch From the beginning of this book we have referred to the “Three Building Blocks” in the GAIA, or any Subtractive Synthesizer. Clearly, through the previous Lessons you will have realized that there are far more components. Low Frequency Oscillators, Effects, and so on. but by selecting Patch A-7 we have also chosen an Arpeggio pattern, and some dedicated effects. So a more complete Figure 12.1 There is also a very powerful Arpeggiator in the GAIA, and a Phrase Recorder. Both of these greatly expand the possibilities of this instrument, but are not really the focus of this book. For a detailed explanation of the Arpeggiator and Phrase Recorder please see the GAIA owner’s manual. Even so, we’d now like to analyze one of the GAIA’s Preset Patches that happens to use the Arpeggiator. Please select Preset Patch A-7, and play the keyboard. It is immediately obvious that a “Patch” in the GAIA is much more than just the Three Building Blocks. Of course, the Patch is made up of three TONES, all with Three Building Blocks of their own. We could refer to all of these as being the Sound Generator, diagram of the structure of the GAIA would look more like this: Now that you understand programming we’d like you to examine this patch, but we will provide you with a list of questions to guide you. Let’s Begin. 159
Section 2 Global Questions Just before we start, switch off the Arpeggiator and all the effects so that we can concentrate on the Sound Generator only. Figure 12.2 Preset Patch A-7 What is the purpose of each of the three TONES? Using the TONE on/off switches try to see what each of the three TONES sound like individually. In the case of this patch (Patch A-7), TONE 1 seems to be the main body of the sound, with a lot of modulation. TONES 2 and 3 are simple sounds panned either left or right. Individually they sound a little like a mosquito. Perhaps this is to add to the modulation effect. 160
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Exploring Sound WITH THE ROLAND GAI
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Welcome to the exciting world of so
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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
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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.
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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
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Add Some Detune For the moment swit
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Section 3 Traditional Synth Patch -
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Section 4 Oscillator Sync You will
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Let’s try another version of this
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Try playing the sound with and with
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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
Page 155 and 156: Now let’s look at the Spectrum of
Page 157 and 158: Section 4 Using Noise waveforms In
Page 159: Lesson 12 Global Review In this fin
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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GAIA Exploring Sound (PDF) - Roland Corporation Australia

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