ARP2600 - Fundamentals of Music Technology - Cyborgstudio.com

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SECTION FOUR: VCO-3 - 035REVIEW QUESTIONS FOR SECTION FOUR:1. Compare and contrast VCO-1, VCO-2, and VCO-3.2. Do all synthesizers have 3 oscillators? Why would manufacturers make synthesizers with feweroscillators? What are some of the advantages to having three oscillators?3. Draw a simple diagram showing a basic double modulation patch. If you wish, you can use coloredpencils to indicate the relationships of the different oscillators4. Draw a simple block diagram showing a basic cross modulation patch.5. Draw a simple block diagram showing a basic series modulation patch.6. Discuss the main differences between cross modulation, double modulation, and series modulationand tell what kinds of sounds each one is good for producing.7. Explain the master-submaster relationship and give two examples.8. Explain when an oscillator can be a carrier and a modulator at the same time.9. Give at least two examples of tuning tricks that can be done only with three oscillators.TERMS TO KNOW:Cross ModulationDouble ModulationMaster-Submaster RelationshipSeries Modulation
SECTION5NOISE GENERATORA NOISY PARTNERSo far, three different sound producing modules have been explored.VCO-1, VCO-2, and VCO-3 all had several things in common. Eachcould produce a variety of timbres by producing different waveformsand each could be frequency modulated from an external source. Thenoise generator is very different from all of these modules, but is stilla highly useful tool.The most obvious thing one can see when first looking at the noisegenerator is what it lacks. It has only an output, and no inputs whatsoever.Because it has no inputs, it is impossible to modulate any parametersof the noise generator. It does have one output, which can bepatched to the mixer so that it may be heard. Unfortunately, this is notof much use, as sustained noise is only slightly less interesting to listento than the raw output of an oscillator. CD track 18Figure 5-1: The Noise GeneratorTHE NOISE GENERATOR’S PARAMETERSIt is clear just by looking at Figure 5-1 that the noise generator has two different parameters: The firstparameter is level or amplitude. The noise generator has a dedicated slider (the right one) to determineits output volume. (Level, volume, and amplitude all mean the same thing.)The second parameter is the noise generator’s harmonic content. Understanding this parameter requiressome understanding of what the noise generator does. The noise generator produces noise. Thismuch is obvious, but what is noise really? Noise can be defined as any unpitched sound. That is, alistener cannot hear any single pitch or tone when listening to the sound since it has so many frequenciespresent in such high amounts. The waves studied so far have had a very organized series of harmonics,and the harmonics were all present in relatively small amounts. In noise, there are millions ofharmonics, all at a relatively high level. One example of noise is the static sound a television makeswhen it is unplugged from the antenna or cable.WHAT COLOR IS THAT NOISE?Not all noise is the same however, and electronic musicians describe the frequency content of noiseusing colors. White noise is a random amount of all frequencies simultaneously. Humans tend to hearsome frequencies better than others, specifically those most used in human speech. White noise, whichhas all frequencies will tend to sound like it is predominantly 1-2 kHz, because that is the range humanshear best. It is important to think of the noise generator and white noise as a random source. There willbe times in the future when a random source is needed to carry out other tasks, and this is an area wherethe noise generator is perfect.036
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 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 52 and 53: SECTION FIVE: NOISE GENERATOR - 037
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 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
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086 - SECTION ELEVEN: PREAMP, ENVEL
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092 - SECTION TWELVE: VOLTAGE PROCE
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SECTION13KEYBOARD CONTROLSA KEYBOAR
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100 - SECTION THIRTEEN: KEYBOARD CO
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110 - SECTION FOURTEEN: PATCH DIAGR
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SUSTAIN RELEASEVOLTAGE TIMEDECAYTIM
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120 - SECTION FIFTEEN: THE ARP SEQU
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126 - GLOSSARYATTENUATION - The act
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128 - GLOSSARYENVELOPE FOLLOWER - A
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130 - GLOSSARYLINEAR TO EXPONENTIAL
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132 - GLOSSARYPOLYPHONIC - A musica
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134 - GLOSSARYSUPERSONIC - A tone w
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INDEXAADSR 57Amplitude Modulation 8
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BIBLIOGRAPHYColbeck, Julian. Keyfax
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Appendix One:ADDITIONAL RESOURCESBO
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142 - ADDITIONAL RESOURCESYamaha Sy
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144
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BY USING THIS CD, YOU INDICATE YOUR
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