ARP2600 - Fundamentals of Music Technology - Cyborgstudio.com

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RELEASETIMESUSTAINVOLTAGEDECAYTIMEATTACKTIMELEFTOUTPUTINITIAL GAININITIAL FILTER FREQUENCYINITIAL OSCILLATOR FREQUENCYINITIAL OSCILLATOR FREQUENCYINITIAL OSCILLATOR FREQUENCYPAN10 100 1KHz 10KHz10 100 1KHz 10KHz.03 .3 3.0 3010 100 1KHz 10KHz.03 .3 3.0 3010 100 1KHz 10KHz.03 .3 3.0 30RANGEFINE TUNEX1000X100X10INFINE TUNELEFTINPUTFINE TUNEFINE TUNE0GAIN MAXRESONANCEMIN MAXRIGHTINPUTPULSE WIDTH10% 50% 90%PULSE WIDTH10% 50% 90%PREAMPLIFIERSAWTOOTHTRIANGLE SAWTOOTHSAWTOOTHOUTMIXERVOLTAGECONTROLLEDAMPLIFIERA D S ROUTOUTPUTVOLTAGECONTROLLEDFILTER/RESONATORVCFOUTPUTSOUTPUTENVELOPETRANSIENTGENERATORDECAYSUSTAINRELEASEVOLTAGECONTROLLEDOSCILLATORVCO-3OUTPUTSVOLTAGECONTROLLEDOSCILLATORVCO-2OUTPUTSVOLTAGECONTROLLEDOSCILLATORVCO-1PULSEPULSESINESQUAREOUTRINGMODULATORENVELOPEFOLLOWERRELEASETIMEOUTPUTMANUALSTARTATTACKTIMEPWMREVERB-ERATORATTACKRELEASE ENVELOPETRANSIENTGENERATOROUTAUDIOKBD ONKBD OFFAUDIOKBD ONKBD OFFAUDIOKBD ONKBD OFF2ATTACKKEYBOARDGATE/TRIGL FL FL FCONTROLAUDIOLINEAR EXP’LAUDIOA RCONTROLAUDIOFM CONTROLPULSE WIDTHMODULATIONFM CONTROLFM CONTROLAUDIOTRIGGATEDCMIXEROUTVCAVCFRINGMOD AR ADSRVCFS/HGATE3VCOKBDCV ADSRVCO VCO VCO1 2NOISEGENRINGMODVCO2KBD NOISECV GEN ADSRVCO1NOISEGENKBD S/HCV OUT ADSRVCO2KBD S/HCV OUT ADSRVCO2VCO1PRE-AMPPOWERSAMPLE & HOLD1-10VRIGHTSPEAKER2NOISE GENERATORALEFTSPEAKERKBDCVELECTRONICSWITCHNOISEGEN3MAXKBDCV4WHITEOUTARP MODEL 2600BINTCLOCKOUTINVERTER5+10VS/HOUT6INVERTERCENV FOLLNOISEGENOUTPUTPINKMULTIPLESTEREOPHONESLEVEL RATE INTERNALCLOCKEXTCLOCKIN7 LAGLOWFREQMINThis is a good time to be sure that signal is really coming from the oscillators, ring modulator, and noise generator.One can see that all of the oscillators are indeed in the audio range, both sliders are up on the ring modulator, and thenoise generator’s level is set at full. Indeed, all of these sources are producing sound, and this patch will producesome sound.EXT.VIBRATOINLFOPORTAMENTOFOOTSWITCHLFO LFODELAYUPPERVOICEINTERVALLATCHKYBDSINGLESTEP TWOOne can see that there is some serious modulation taking place in this patch. To begin, the S/H module is frequencymodulating all three oscillators, and at a fairly good depth. The S/H module is sampling the keyboard LFO’s triangleoutput. It is sampling at a fairly good rate; probably three to four times per second. This means that it is producingstepped control voltages which are gradually increasing and decreasing.AUTOMULTIPLEVIBRATODEPTHVIBRATODELAYLFOSPEEDREPEATTRIGGERMODEON2 OCTAVESUPOFFMOMEN.2 OCTAVESDOWNPITCH BENDIn addition to being frequency modulated by the S/H module, VCO-3 is being frequency modulated by somethingelse: the keyboard’s UPPER VOICE output. This patch is a duophonic patch, which is easily discernible because ofthe patch to the UPPER VOICE jack.PORTAMENTOTRANSPOSEFigure 14-4: A morecomplex patch115
116 - SECTION FOURTEEN: PATCH DIAGRAMMING AND ANALYSISAbove and beyond all of this, the keyboard’s LFO is elbowing into the picture, adding some vibrato ata slow speed. There will be a long delay between the time the key is pressed and the time this vibratobecomes apparent, however.The VCA’s gain is being modulated by the AR generator, which is set for a very short attack andrelease. These settings are mirrored in the ADSR generator, which is controlling the VCF. It seems thatthis patch is going to consist of short bursts of sound as the EG’s momentarily open and close both theVCF and VCA.VCF appears to have another source controlling it’s cutoff, however. This patch comes from the lagprocessor, whose slider is set to about 1/3 open, which translates to about 1 second of lag, perhaps a bitmore. The lag processor’s input has the envelope follower normalled to it. The envelope follower hasits level raised this time, and the preamp has been patched to its input. This is a redundant patch, andshould throw up a red flag for test-taking purposes that someone is going to great trouble to convincethe reader that this patch is authentic. In this particular patch, there is even a level set on the preamp,although nothing is connected to it, so all in all, it is just one very long dead end. This brings up animportant point: If something is not drawn on a patch sheet, do not assume it is there.STEP THREEIn this patch, there is very little left to examine, but the patch deserves looking over one more time.Upon closer inspection, one can see that the S/H GATE switch has been moved to its lower position, sothat the keyboard will no longer trigger the EGs and now the internal clock will cause the EGs to fire.This makes sense, because the clock is going at a fairly fast rate, and a long attack or release timewouldn’t have much effect on the VCA and VCF, so they had to be kept short. Many times, differentparts of a patch will reinforce each other and make it obvious that the reader is on the right track. Ifthings seem to conflict or contradict each other, stop and question the authenticity of each signal beingfollowed.One final item is the resonance level on the VCF. Normally, this could help to create a filter sweepsound, but the filter is going to be opening and closing too quickly to perceive an actual sweep. Instead,this level of resonance will produce a rather bubbly, rounded tone.SUMMING UP PATCH TWOIf one was asked to describe the sound of patch two, one might say that patch two is a duophonic patchwith a sawtooth timbre with some noise and a bit of the high-frequency ring modulation peekingthrough. The pitch will continually rise and fall, but will do so in steps rather than a continuous smearin frequency. If the keyboard is played, vibrato will be introduced after a few moments, but the internalclock is causing the EGs to fire in short bursts, which are rather ‘burbly’ because of the resonance.Finally, the sound pulses on and off in time with the S/H module because the electronic switch isswitching between the patch and silence. This sound can be heard on CD track 82. Again, if anythingseems unfamiliar or unclear about the explanation of this patch, take a few moments to go back into theappropriate section to review.
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Secret Society ProductionsFundament
Page 5 and 6:
TABLE OF CONTENTSTable of Contents.
Page 7 and 8:
CD TRACK LISTINGTrack Page Note(s)
Page 10 and 11:
CD TRACK LISTINGTrack Page Note(s)
Page 12 and 13:
PREFACEto the first editionThis boo
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THANK YOUThis book is and has been
Page 16 and 17:
SECTION1 GENERAL CONTROLSINTRODUCTI
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RELEASETIMESUSTAINVOLTAGEDECAYTIMEA
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SECTION ONE: GENERAL CONTROLS - 005
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Page 24 and 25:
Page 26 and 27:
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
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SECTION SIX: VCF - 045buzzy sound.
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048 - SECTION SIX: VCFreason for th
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050 - SECTION SIX: VCFTHE ROLE OF T
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052 - SECTION SIX: VCFEXPERIMENTS F
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054 - SECTION SIX: VCFREVIEW QUESTI
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056 - SECTION SEVEN: ADSR AND AR GE
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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 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 129: 114 - SECTION FOURTEEN: PATCH DIAGR
Page 133 and 134: 118 - SECTION FOURTEEN: PATCH DIAGR
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
Page 159 and 160: 144
Page 161: BY USING THIS CD, YOU INDICATE YOUR
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