GAIA Exploring Sound (PDF) - Roland Corporation Australia

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PW and PWM So now we can easily describe the first two sliders in the Oscillator. One, marked PW, can set the Pulse Width. The second, PWM, sets the amount of Pulse Width Modulation. Can you guess why they are shown the other way around? Placing the PWM control next to the LFO controls makes more sense. By following the steps above you have created a sound much like an electronic organ. Try raising the attack and release controls in the amplifier. This sound might also be used as a type of string synthesizer sound. So you can see why such a simple control can also be very versatile. 81
Lesson 7 The Action List In Lesson Six we introduced the Action List. In this lesson we will experiment further with that powerful software tool. This will enable you to create and save patches in a way that can be easily understood by teachers and friends. It will also allow us to provide ready made patches for your analysis, and a way to test your progress.
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
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Section 3 The Basic Building Blocks
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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
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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
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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 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: Section 7 Pulse Width Modulation Th
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
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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
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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GAIA Exploring Sound (PDF) - Roland Corporation Australia

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