GAIA Exploring Sound (PDF) - Roland Corporation Australia

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The Importance of Shape Just before we start to categorize these sounds, there are two more useful terms. If you look again at each wave shape we have shown so far they seem to repeat themselves across the screen. This type of repetition we refer to as Periodic, and therefore we call these waves Periodic Wave Shapes. Try selecting the Wave called “Noise.” Does it look periodic? Can you see anything that looks repetitive? Wave shapes like this are called Aperiodic. Now copy this table into your workbook or on to a piece of paper: Wave Shape Character <strong>Sound</strong>s like? Sawtooth brassy, string like Tuba (low range) Square Pulse Triangle Sine We have provided a suggested answer for the sawtooth wave merely as an example. Every person’s musical taste will differ, so please feel free to write your own opinions for all shapes. By far the most important point for this exercise is that you learn to recognize each wave shape by its sound. As you cover later lessons these sounds will become more familiar to you, but it would be of great advantage to you if you can establish a sense of recognition early. By the way, a wave shape we call the Super Saw is also available. Please try it. It is a unique sound used on a range of <strong>Roland</strong> synthesizers for several years. However, at this stage it is difficult to explain, so we will leave it for a later lesson. Please try all the wave shapes, including their variations. With time you will learn to recognize them all by their Tone Color. This familiarity with their sound will be a powerful tool once you begin making your own patches. Noise Firstly, notice the names we have given to each of the wave forms. Can you see why we use these names? Now complete the table. In the character column write down a brief description of each sound. In the “sounds like” column write down the name of the acoustic instrument that you believe sounds most like each wave shape. 25
Exercise Try selecting the Pulse wave again, and experiment with the two sliders labelled PWM and PW. Figure 2.10 Pulse Width Controls Summary The wave shapes provided by the Oscillator all have very different, and characteristic, sounds. Back to the Low Frequency range Earlier we discussed Low Frequency and Audibility. We found that below a certain Frequency we begin to hear a Sawtooth Waveform as a series of clicks. Why do we hear clicks? Look at the Sawtooth Wave again. If we sent this wave to a speaker can you imagine the surface of the speaker gradually being pushed forward, and then snapping back? Figure 2.11 Sawtooth Waveform You will notice from the wave viewer that these two controls change the width of the pulse, but in different ways. Most importantly, the PW control, which stands for Pulse Width, will make the pulse get more narrow, or thinner. Interestingly, the “pulse” part of the wave is always down, or negative. What would it sound like if it were positive? Well, it would sound the same. Our ears don’t care which direction. Does changing the pulse width suggest other acoustic instruments? Audio 2.4 Low Sawtooth 26
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: OK, now look at the button marked
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
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Press the one that looks like a Rew
Page 87 and 88:
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
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Step Two Now copy TONE 1 to both TO
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So now we have quite a convincing
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Section 2 Real Strings In this sect
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Now follow this Action List: Figure
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Section 3 Real Brass From the previ
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So now we can complete our brass se
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Section 4 Lesson Nine Assignment As
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Lesson 10 Effects We will approach
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So now you can choose which method
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Delay Experiment One Before we expl
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High Damp High Damp stands for High
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Before we leave the delay section l
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All this theory explains why the to
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The Flanger Having explored the tec
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Section 3 Distortion Effects Distor
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Bit Crash Although the Bit Crash ef
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Section 4 Reverb and Boost Reverb I
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Section 5 First Effects Here is a P
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Lesson 11 Combining TONES - Part Th
Page 147 and 148:
From the description of the Electri
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Now for the body of the Electric Pi
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Pad TONE 2 Now that we have our sol
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Final Touches There are just two mo
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Now let’s look at the Spectrum of
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Section 4 Using Noise waveforms In
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Lesson 12 Global Review In this fin
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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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