GAIA Exploring Sound (PDF) - Roland Corporation Australia

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Section 4 Tempo Sync and Key Trigger Before we move on to some more powerful controllers on the GAIA we should mention yet another “secret” function; Key Trigger. As you know, by pressing the Shift key on either the GAIA or computer we can access more functions. The Amplifier Level becomes a Level Velocity Sensitivity (affects the volume dynamics.) The Cutoff becomes Envelope Velocity Sensitivity (affects the tone color). The Detune becomes a Pan control. Most importantly, the Tempo Sync becomes a Key Trigger control. Let’s discuss these two controls. Tempo Sync Initialize the Patch and raise the Pitch Depth in the LFO section to about 20. Now if you play a note you will hear a wide vibrato. If you then switch on the Tempo Sync, so that its light is red, you will hear a vibrato but at a different rate. This is because the rate is now being controlled by a master clock within the GAIA. example, that would mean we could synchronize the vibrato to an arpeggiator. We will discuss the arpeggiator in a later lesson. For now, with Tempo Sync switched off you will find that the Rate control sweeps smoothly over a range of vibrato rates. However, with Tempo Sync switched on the Rate control seems to step through the range. Try it. The rate control is definitely not sweeping smoothly as before. This is because it is now musically related to the master clock. This master clock, for example, may be ticking away at 120 beats per minute. So now the Rate control can select intervals like; quarter note, eighth note, or eighth note triplet. This can be very useful for a range of musical styles, particularly for electronic dance music. This master clock can then determine the rate of the LFO, and the rate of other functions in the GAIA at the same time. For 73
Key Trigger You now know that by pressing Shift and Tempo Sync you can switch on a function called Key Trigger. To understand this function try the following: Initialize the Patch and raise the Pitch Depth in the LFO to maximum. Then lower the Rate to about 50. Play low C several times, randomly. You’ll find that the vibrato seems to start at a different pitch each time. Now switch on Key Trigger (Shift and Tempo Sync). Playing the note will always start the vibrato from the bottom part of the Triangle wave shape. The wave of this vibrato is triggered by the key! So why would we need this feature. Imagine our trumpet player. He is most likely to always add a “human” element to the music, some creativity freedom. It is therefore highly unlikely that he or she would introduce vibrato at exactly the same time for each note. So it would make sense to not use Key Trigger for most acoustic instruments. This becomes even more apparent later, when we discuss combining tones. For example, if we wanted to mimic the effect of a trumpeter playing with a saxophonist, we would want to make things as human as possible. We might use slightly different vibrato rates for each. We might introduce the vibrato at slightly different times (vary the fade times). However, in electronic music the idea of being able to predict the vibrato is very powerful. If you play low C again with Key Trigger switch on you will find you can create some interesting “Rap” type sounds by simply playing different rhythms on the keyboard. Try this same effect with the square wave (in the LFO). You will find that the result is most unpredictable with Key Trigger switched off, but can be very musical with it switched on. Most importantly, using Key Trigger makes it very clear when you are using a positive level, or negative. Try the following: 1. Initialize the Patch and set the LFO rate to about 50. 2. Set the Pitch Depth in the LFO to maximum. 3. Set KEY TRIGGER on (SHIFT and TEMPO SYNC). 4. Play several notes and listen to the sound. It always starts by climbing in pitch. 5. Try the Sine wave. The Sawtooth wave. The Square wave (All in the LFO section). The same result; the pitch always climbs first. 6. Now lower the Pitch Depth to its minimum. The pitch always moves, or starts, lower. 74
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
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TONE versus Tone Throughout this bo
Page 9 and 10:
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
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would oscillate. It created an elec
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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 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: What’s Wrong With the Trumpet Sou
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
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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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