GAIA Exploring Sound (PDF) - Roland Corporation Australia

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Section 4 Odd Harmonics Harmonic Exercise Let’s explore the theory of Harmonics a little more. Figure 3.16 Recreated Square We had the Fundamental at full volume, the 2nd Harmonic at half volume, the 3rd at a third the volume. What would happen if we had used only odd numbers? That is, the 1st, 3rd and 5th Harmonics. To help with this experiment try the following: Initialize the Patch Turn all TONES on, and set to Sine wave. Change the Pitch of TONE 1 to minus 12 semitones. Change the Pitch of TONE 2 to plus 7 Semitones, and a Volume Level of 33. Change the Pitch of TONE 3 to plus 16, Level 20. Play the second C note from the bottom and watch the Viewer. What wave shape do you think you are beginning to recreate? As a hint, compare this new shape with the one that you created in Figure 3.11. Audio 3.7 Harmonic Square Wait until the wave shape appears a little flatter on the top and press Run/Stop. 39
Harmonics Charts Let’s review the Harmonics we have been working with. Firstly, a Sawtooth wave with a first Harmonic (Fundamental) of 100Hz. Frequency 1st 2nd 3rd 4th 5th 6th 100 200 300 400 500 600 Frequency 100% Level 1st 3rd 5th 7th 9th 11th 100 300 500 700 900 1.1K 1 1/3 1/5 1/7 1/9 1/11 Level 1 1/2 1/3 1/4 1/5 1/6 75% 100% 50% 75% 25% 50% 0% 100 300 500 700 900 1100 Hertz 25% So what do you think the figures would be for a Pulse wave? We will explore the answer to that question in the next lesson. 0% 100 200 300 400 500 600 Hertz Then the same type of data for a Square wave with a Fundamental of 100Hz. We have now spent a lot of time concentrating on the Harmonic series. However, it is essential that you have a reasonable understanding of these graphs. They will make the study of the next two lessons so much easier. 40
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: Harmonic Series Let’s look again
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
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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
Page 115 and 116:
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
Page 127 and 128:
Delay Experiment One Before we expl
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High Damp High Damp stands for High
Page 131 and 132:
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
Page 167 and 168:
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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