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Exploring Sound WITH THE ROLAND GAI
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Welcome to the exciting world of so
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Section 1 Terminology Before we beg
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TONE versus Tone Throughout this bo
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Section 3 The Basic Building Blocks
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Or more correctly as shown in Figur
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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: Section 6 Lesson Five Assignment 1.
- 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
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- 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
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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