GAIA Exploring Sound (PDF) - Roland Corporation Australia

More documents

Recommendations

Info

Section 6 TONE 1 LFO Figure 12.9 TONE 1 LFO Perhaps the programmer wanted to emphasize the heavily modulated sound. What LFO Destinations have been used? In this patch only the Pitch is receiving the LFO signal. So the Tonal Color and Amplifier Level remain constant. Notice also that there is no fade time, so the LFO controls the Pitch right from the beginning of each note. What Shape has been used? The Triangle shape has been used which is a very common decision. It is a shape that sounds very much like a “natural” vibrato, although some musicians prefer the purer Sine wave. Having said that, the Pitch Depth of the LFO is not set very high at all. It is really quite a subtle adjustment to the sound, and that is a very important point. Sometimes the smallest change can make or break a sound. As always, use your own judgement and never be afraid to adjust the sound to your taste. What Rate has been used? Actually, the Rate appears a little high. Many instruments and vocalists tend to have a vibrato with a Rate similar to that of a setting around 78. However, as always, that is a matter of taste. 165
Section 7 TONES 2 and 3 In reality, we’d prefer you to go back and ask all those questions again about TONES 2 & 3. However, by starting with the Global Questions on pages 160 and 161 we can already rule out many of those questions. This is because we already established that TONES 2 and 3 appear to have started as copies of TONE 1. Indeed, the only real differences appear to be in the Oscillators and LFOs. So we’ll select just a few questions for now: What Oscillator wave shape has been used? Both TONES have used a variation of the Sawtooth waveform. The programmer could have added more SuperSaw, but has instead taken the more subtle approach. Since TONES 2 and 3 are panned left and right perhaps they are there just to add “width” to the sound. What can be learnt from the Pitch and Detune settings? Even though these two TONES are a subtle addition to the overall Patch, they feature some unique decisions. Clearly the programmer wanted to add more modulation, and this has been enhanced by detuning these two TONES. What LFO Shape has been used? Both TONES 2 and 3 use the Random LFO waveform. As we mentioned, this has added a “mosquito-like” quality to their sound. Actually, it is almost as if these sounds come from very badly made, or unstable, oscillators. Traditional analog synthesizers had problems with stability, so by adding some random LFO the programmer has successfully recreated that type of sound. This is a very interesting point; sometimes a sound can be improved by recreating all that was unacceptable in the original. You have already used this idea when creating the noisy release of an electric piano back in Lesson 11. 166
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
Page 31 and 32:
Sine Waves Let’s move forward, pl
Page 33 and 34:
Now try switching on the second TON
Page 35 and 36:
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
Page 41 and 42:
Harmonics Charts Let’s review the
Page 43 and 44:
Lesson 4 Filters This Lesson will d
Page 45 and 46:
If we were to lower the bass contro
Page 47 and 48:
Another very important difference b
Page 49 and 50:
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 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
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: Section 5 TONE 1 Amplifier Figure 1
Page 169 and 170: Section 9 Final Assignment Now it
Page 171: The Future However, this is not the
show all

GAIA Exploring Sound (PDF) - Roland Corporation Australia

Create successful ePaper yourself

Delete template?

Save as template?