GAIA Exploring Sound (PDF) - Roland Corporation Australia

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Section 4 Envelope Experiments Experiment One Try lowering the Attack of both the Filter Envelope and the Amplifier envelope to their minimum settings. Does it sound like a trumpet now? Experiment Two Lower both Sustain control to a minimum. What instrument does it sound like now? Experiment Three Raise both Decay controls to about 80. A type of guitar sound, perhaps? Experiment Six Try all of these different Filter Settings. a. Different Cutoff b. Different Filter Envelope Depth c. Different Resonance Experiment Seven Try using the envelopes with oscillator set to noise. See if you can re-create the effect of ocean waves. Perhaps add Resonance for a wind effect. Experiment Four Raise both release sounds. Sustained guitar? Experiment Five Experiment with many different settings of the ADSR controls. How many different instruments can you start to create with just these controls? Before starting the next section we’d like to remind you that the factory settings of the GAIA include one that removes any dynamics from the sound, much like a 1970s synthesizer. Since the next section is about dynamics, or velocity sensitivity, please refer to pages 19 and 51 of the owner’s manual to make sure Keyboard Velocity is set to REAL. 61
Section 5 Dynamics The Shift Key Just before we finish this lesson there are a few “secret” functions to explore. Press the SHIFT key (on the GAIA or on your computer) and you will notice that four controls will change their names in the software. The changes are: Without Shift With Shift Tempo Sync Detune Cutoff Level Key Trigger Pan Envelope Velocity Sensitivity Level Velocity Sensitivity Using these hidden functions allows the GAIA to access more functions without the complication of extra controls. Dynamics For this lesson we concentrate only on the Sensitivity controls. To understand these controls let’s start by experimenting with the Level Velocity Sensitivity. Adjust this control while playing several notes. Can you hear the changes? It seems the volume of the sound can now vary with the velocity of each key strike, but this is more obvious when set to maximum. Indeed, at its minimum level the velocity of the key strike makes no change at all. That’s why we call it a Sensitivity control. Now let’s try the Envelope Velocity Sensitivity control. Firstly, notice that this control is in the Filter section so we would expect it to have a similar effect on the tone color of the sound. So try these steps (also illustrated on the next page). 1. Initialize the Patch. 2. Lower the Cutoff to its minimum. 3. Raise the Envelope Depth to its maximum Press the Shift Key 4. Lower the Level Velocity Sensitivity control to its minimum. (This will disable the effect of any volume changes, and make our results more obvious) 62
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: ut that doesn’t mean you have hot
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
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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
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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
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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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