ARP2600 - Fundamentals of Music Technology - Cyborgstudio.com

More documents

Recommendations

Info

SECTION FOURTEEN: PATCH DIAGRAMMING AND ANALYSIS - 117FINAL THOUGHTSPatch analysis is not as difficult as most people make it out to be. It is important to recall what was saidin Section 3 about complex patches: they are really just a collection of simple patches which are alloccurring at once. When one stops to consider a large patch such as the ones presented in this section,they seem much less intimidating when one considers them as a simple FM patch, a switching patch,etc.There are some patches which are very difficult to predict, even if one can figure out how they work.Examples of these patches include series modulation, cross modulation, patches which use sidebands,and patches which include feedback of audio signals as control signals into the patch. Sometimesseveral of these techniques can be combined to produce results that no one could have predicted! (CDtrack 83) In situations like these, if one is asked to describe the patch, one is much better off justdescribing the processes which are occurring and summing up one’s observations with a guess at whatthe patch will sound like.Perhaps the most important thing to remember is to state the reasons that a particular sound shouldsound the way it does. In a testing situation, a teacher can give no credit for a description of soundwhich is totally incorrect, but partial credit could be given if the processes which are at work aredescribed along with the sound.If one is learning the art of patch analysis for an academic setting in which one is going to be tested,beware the “John Cage” patch. John Cage was a composer whose most notable work is one composedentirely of rests, and the players play in silence. It is very easy to create a very elaborate-looking patchwhich will produce no sound at all. This sort of trick question is easiest to pull off when a patch isdictated as text rather than in diagram form, but a clever person can make a diagram look convincingwhen it is really not.
118 - SECTION FOURTEEN: PATCH DIAGRAMMING AND ANALYSISEXPERIMENTS FOR SECTION FOURTEEN:1. Practice creating several patches on the ARP, and then diagram them using at least two differentmethods. The methods described here in the book can be used, or better yet, new ones can becreated.2. Create several patches on patch sheets, and then analyze them. Try to determine how they willsound, and then check your work by trying them on the 2600.REVIEW QUESTIONS FOR SECTION FOURTEEN:1. What is the purpose of patch diagramming?2. Name three ways to diagram patches.3. What are three steps to follow when analyzing a patch?4. How can patch diagramming and analysis help a user to become a better synthesist?
Page 3 and 4:
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
Page 14 and 15:
THANK YOUThis book is and has been
Page 16 and 17:
SECTION1 GENERAL CONTROLSINTRODUCTI
Page 18 and 19:
RELEASETIMESUSTAINVOLTAGEDECAYTIMEA
Page 20 and 21:
SECTION ONE: GENERAL CONTROLS - 005
Page 22 and 23:
Page 24 and 25:
Page 26 and 27:
SECTION2 VCO-1ALL ABOUT OSCILLATORS
Page 28 and 29:
SECTION TWO: VCO-1 - 013MODULATION:
Page 30 and 31:
SECTION TWO: VCO-1 - 015KBDCVOUTPUT
Page 32 and 33:
SECTION TWO: VCO-1 - 017REVIEW QUES
Page 34 and 35:
SECTION THREE: VCO-2 - 019NOT JUST
Page 36 and 37:
SECTION THREE: VCO-2 - 021A NOTE AB
Page 38 and 39:
SECTION THREE: VCO-2 - 023THE BLACK
Page 40 and 41:
SECTION THREE: VCO-2 - 0251. VCO-1
Page 42 and 43:
SECTION THREE: VCO-2 - 027beats are
Page 44 and 45:
SECTION THREE: VCO-2 - 029REVIEW QU
Page 46 and 47:
SECTION FOUR: VCO-3 - 031tion, two
Page 48 and 49:
SECTION FOUR: VCO-3 - 033THE MASTER
Page 50 and 51:
SECTION FOUR: VCO-3 - 035REVIEW QUE
Page 52 and 53:
SECTION FIVE: NOISE GENERATOR - 037
Page 54 and 55:
Page 56 and 57:
Page 58 and 59:
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 73 and 74:
Page 75 and 76:
Page 77 and 78:
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 and 130: 114 - SECTION FOURTEEN: PATCH DIAGR
Page 131: 116 - 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
show all

ARP2600 - Fundamentals of Music Technology - Cyborgstudio.com

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?