ARP2600 - Fundamentals of Music Technology - Cyborgstudio.com

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SECTION TWELVE: VOLTAGE PROCESSORS - 095EXPERIMENTS FOR SECTION TWELVE:1. Discover the first voltage processor’s ability as an audio mixer. Connect the square wave outputfrom VCO-1 and 2 to inputs two and four on the first voltage processor. Connect the processor’soutput to the mixer. Raise the attenuation sliders on the voltage processor to control the level ofeach VCO. Is it possible to hear that the waveforms are being inverted?2. While conducting experiment #1, bring up these VCOs in the filter, open the filter completely (noresonance is needed), and then route the VCF’s output to the remaining input on the mixer.Compare the uninverted signal with the inverted signal by bringing up the level of one then theother in the mixer. What occurs when both are up at the same time? Why is this occurring?3. Invert the keyboard’s CV. Open the slider to the right of input four, and connect the first voltageprocessor’s inverter to the keyboard CV input on VCO-2. Bring up both VCO-1 and 2 in thefilter. Play a note around which a melody can be centered on the keyboard, then tune theoscillators in unison. Now play a melody. What occurs and why? Try playing a different note onthe keyboard, tuning the oscillators, and playing the melody again. Why does this sound different?CD track 694. Put VCO-1 into LF mode and connect its sawtooth output to the second voltage processor’s input.Fully open the slider on voltage processor 2, and connect its output to an FM input on VCO-2and raise the corresponding slider. While monitoring VCO-2 in the mixer, does the VCO’s pitchascend or descend? Why does this occur? CD track 715. While VCO-1 is still in LF mode, connect its sawtooth output to input 4 on the first voltage processor.Fully open the slider next to input four and connect the output to an FM input on VCO-2.While listening to VCO-2, raise the slider to the right of input 2. What happens to VCO-2’spitch? Why is this occurring?6. Route the output of the ADSR generator to the input on the voltage inverter, then use the inverter’soutput to modulate the Fc on the filter. Route the filter’s output to the VCA for gating using theAR EG. Where should the filter’s initial Fc be set for this experiment to be successful? Whereshould the modulation depth be set? What settings on the filter give the optimal results? CDtrack 707. Repeat experiment #5, but this time, allow the inverted output of the ADSR EG to modulate theVCA’s gain. Route a VCO to the VCA, and then route the VCA’s output to the filter for gating.Use the AR EG to control the VCF’s Fc. Where should the VCA’s initial gain be set to completethis experiment successfully? CD track 708. Patch the keyboard’s CV output to the lag processor and patch the lag processor’s output to themultiple. Route the signal to all three VCOs tuned in unison. Bring up all three VCOs in the
096 - SECTION TWELVE: VOLTAGE PROCESSORSfilter and route this to the mixer. Use the VCF to gate the oscillators under the control of theADSR EG. Create portamento by gradually increasing the amount of lag time. What settingsbecome more obvious as smaller intervals are played on the keyboard? What settings are moreobvious when larger intervals are played? CD track 729. Patch VCO-1’s square wave output in LF mode to the input in the lag processor, and patch the lagprocessor’s output to an FM input on VCO-2. Listen to VCO-2 either through the filter ordirectly in the mixer. Gradually increase the amount of lag time and listen to the change whichis apparent. Repeat this experiment with the saw wave output on VCO-1. CD track 7310. Patch a VCO in audio mode to the lag processor, and patch the lag processor’s output to the mixer.What effect does increasing the lag time have on the audio signal? Why does this happen?11. Patch VCO-1 in audio mode to the lag processor, and patch the lag processor’s output to an FMinput on VCO-2. Open the slider on the FM input fully. Patch VCO-2 to the mixer so that it canbe heard. What happens when the lag time reaches a great enough amount? Why does thisoccur?
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Secret Society ProductionsFundament
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TABLE OF CONTENTSTable of Contents.
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CD TRACK LISTINGTrack Page Note(s)
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CD TRACK LISTINGTrack Page Note(s)
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PREFACEto the first editionThis boo
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THANK YOUThis book is and has been
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SECTION1 GENERAL CONTROLSINTRODUCTI
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RELEASETIMESUSTAINVOLTAGEDECAYTIMEA
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SECTION ONE: GENERAL CONTROLS - 005
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SECTION2 VCO-1ALL ABOUT OSCILLATORS
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SECTION TWO: VCO-1 - 013MODULATION:
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SECTION TWO: VCO-1 - 015KBDCVOUTPUT
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SECTION TWO: VCO-1 - 017REVIEW QUES
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SECTION THREE: VCO-2 - 019NOT JUST
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SECTION THREE: VCO-2 - 021A NOTE AB
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SECTION THREE: VCO-2 - 023THE BLACK
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SECTION THREE: VCO-2 - 0251. VCO-1
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SECTION THREE: VCO-2 - 027beats are
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SECTION THREE: VCO-2 - 029REVIEW QU
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SECTION FOUR: VCO-3 - 031tion, two
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SECTION FOUR: VCO-3 - 033THE MASTER
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SECTION FOUR: VCO-3 - 035REVIEW QUE
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SECTION FIVE: NOISE GENERATOR - 037
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SECTION SIX: VCF - 043This analogy
Page 60: SECTION SIX: VCF - 045buzzy sound.
Page 63 and 64: 048 - SECTION SIX: VCFreason for th
Page 65 and 66: 050 - SECTION SIX: VCFTHE ROLE OF T
Page 67 and 68: 052 - SECTION SIX: VCFEXPERIMENTS F
Page 69 and 70: 054 - SECTION SIX: VCFREVIEW QUESTI
Page 71 and 72: 056 - SECTION SEVEN: ADSR AND AR GE
Page 79 and 80: 064 - SECTION EIGHT: THE VCATHE VCA
Page 81 and 82: 066 - SECTION EIGHT: THE VCAOF LAWS
Page 83 and 84: 068 - SECTION EIGHT: THE VCAEXPERIM
Page 85 and 86: SECTION9 MIXER SECTIONTHE MIXERThe
Page 87 and 88: 072 - SECTION NINE: THE MIXER SECTI
Page 89 and 90: 074 - SECTION NINE: THE MIXER SECTI
Page 91 and 92: 076 - SECTION TEN: S/H MODULECLOCK
Page 93 and 94: 078 - SECTION TEN: S/H MODULEYet an
Page 95 and 96: 080 - SECTION TEN: S/H MODULEEXPERI
Page 97 and 98: SECTION11 PREAMP ET ALTHE PREAMPFig
Page 99 and 100: 084 - SECTION ELEVEN: PREAMP, ENVEL
Page 107 and 108: 092 - SECTION TWELVE: VOLTAGE PROCE
Page 109: 094 - SECTION TWELVE: VOLTAGE PROCE
Page 113 and 114: SECTION13KEYBOARD CONTROLSA KEYBOAR
Page 115 and 116: 100 - SECTION THIRTEEN: KEYBOARD CO
Page 125 and 126: 110 - SECTION FOURTEEN: PATCH DIAGR
Page 127 and 128: SUSTAIN RELEASEVOLTAGE TIMEDECAYTIM
Page 135 and 136: 120 - SECTION FIFTEEN: THE ARP SEQU
Page 141 and 142: 126 - GLOSSARYATTENUATION - The act
Page 143 and 144: 128 - GLOSSARYENVELOPE FOLLOWER - A
Page 145 and 146: 130 - GLOSSARYLINEAR TO EXPONENTIAL
Page 147 and 148: 132 - GLOSSARYPOLYPHONIC - A musica
Page 149 and 150: 134 - GLOSSARYSUPERSONIC - A tone w
Page 151 and 152: INDEXAADSR 57Amplitude Modulation 8
Page 153 and 154: BIBLIOGRAPHYColbeck, Julian. Keyfax
Page 155 and 156: Appendix One:ADDITIONAL RESOURCESBO
Page 157 and 158: 142 - ADDITIONAL RESOURCESYamaha Sy
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