GAIA Exploring Sound (PDF) - Roland Corporation Australia

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Now take a look at the GAIA. You can see that it has several very clearly marked sections. Figure 1.2 Roland GAIA Synthesizer You can immediately see a familiar word; Patch. This is where you can begin to have some fun, and experience some of the sonic power of the GAIA. For the next five minutes we’d like you to try the patches. Start by selecting the PRESET PATCH button. Now select one of the NUMBER buttons, and play the keyboard. At first it appears that there are 8 Preset Patches, but there really are 64! Can you find the others? That’s right. The Bank button. You can access the 8 Banks by holding the Bank button and selecting from the Number buttons. 8 Banks by 8 Patches. Please experiment. We only need to concentrate on one section for now. In fact, in later chapters you will realize that the GAIA is even simpler to understand than what it appears to be in this picture. Let’s begin with the area just above the middle of the keyboard, as shown in Figure 1.3. Figure 1.3 The Patch Selectors Before the five minutes are up, please try the first 8 Preset Patches again. Is it possible to play chords with all of them? Would you say they are all musical sounds? Could you give them a name? A description? For further information about Patches in the GAIA please refer to page 18 of the GAIA Owner’s Manual; Selecting Sounds 5
TONE versus Tone Throughout this book we have to rely upon some common terms. Unfortunately, in synthesis a few terms can convey a variety of meanings. One of those is the word; tone. You have heard people refer to the “tone” of a person’s voice, the “tonal character” of an oboe, etc.. However, in synthesis we often use the word “tone” to describe one small part of a sound. In fact, with the GAIA we really have three synthesizers combined into one, and refer to them as the “three TONES”. There is a very simple way to describe the character or brightness of the sound. We can use the words Tone Color. So, throughout this book we will use the following definitions for clarity: TONE, one of the three synthesizers in the GAIA. Tone Color, the character of the sound. Take a look at Figure 1.4, which displays an area to the left side of the GAIA. It confirms that the GAIA includes three TONES. Figure 1.4 The TONE Selectors How are we to distinguish between these two meanings of the word? 6
Page 1 and 2: Exploring Sound WITH THE ROLAND GAI
Page 3 and 4: Welcome to the exciting world of so
Page 5: Section 1 Terminology Before we beg
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
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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
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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
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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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