ARP2600 - Fundamentals of Music Technology - Cyborgstudio.com

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SECTION FIVE: NOISE GENERATOR - 041REVIEW QUESTIONS FOR SECTION FIVE:1. Which parameters of the noise generator can be modulated?2. Can the noise generator be a carrier? Can it be a modulator?3. Name the parameters of the noise generator.4. State why white noise sounds like it does. Include in your answer a discussion of harmonic contentand level as well as human hearing.5. State why the noise generator will be of great importance later on.6. Draw a picture showing a patch in which the noise generator frequency modulates VCO-2. Numberand list the parameters of this patch.7. Draw a picture showing a patch in which the noise generator is modulating the pulse width ofVCO-2. Number and list the parameters of this patch.8. What sorts of sounds generally benefit most from the addition (or use) of noise?9. State which parameters in a PWM and FM patch involving VCO-2 and the noise generator have amaster-submaster relationship.10. To which inputs on VCO-1, 2, and 3 is the noise generator normalled?11. Give an example of the noise generator’s output being used as a control signal and being used as anaudio signal.TERMS TO KNOW:FilterLow Frequency NoiseNoiseNoise GeneratorPink NoiseWhite Noise
SECTION6VCFA BRIEF INTRODUCTION TO SUBTRACTIVE SYNTHESISThe filter is unlike the rest of the modules mentioned thus far in that its primary function is not toproduce sound, although it can be used for this purpose. Rather, it is used to change and shape othersounds being made by the other modules of the synthesizer.The Voltage Controlled Filter (VCF) is perhaps the single most important part of a synthesizer, becauseit determines the overall sound of the synthesizer and opens the doors to a new method of synthesis:subtractive synthesis. Subtractive synthesis is a method of synthesis which starts with one or moreharmonically rich waveforms from which some harmonics are then removed. An oscillator usuallyproduces this harmonically rich waveform, (usually a saw or pulse wave, but sometimes a trianglewave) but it is the filter that performs the task of eliminating some harmonics. The filter has severalaudio inputs, so the outputs of several oscillators can be connected to just one filter using patch cords.The oscillator’s outputAny VCOOutputNAudioInputVCFAudioOutputTo amplifierand speakersis filtered, and thencomes out of the filter’soutput jack. A blockdiagram of a subtractivesynthesis patch canbe seen in Figure 6-1.Notice that every VCOhas an output normalledto the filter.Figure 6-1: A basic subtractive synthesis patchIt is important to understandthat filtering is not like frequency modulation. The two can easily be confused since the FM jackson the VCO’s are aligned perfectly with the audio inputs on the filter. Both also have attenuation slidersabove them, which only adds to the confusion. However, in FM, an incoming control signal modulatesthe frequency of the oscillator, but does not pass through the oscillator. On the filter, signals cominginto the audio inputs are actually modified by the filter and then passed through to the speakers oranother module as shown by the dotted line in Figure 6-1. Notice also that both modules are outlinedwith green, indicating that there is no modulator in this relationship. Notice also that the signal flowingfrom the VCO to the VCF is an audio signal, not a control signal.BASIC PRINCIPLES OF FILTERINGFiltering, by definition, means to remove certain elements from others. A filter on a synthesizer is adevice which removes some harmonics. As an example, if one fills a glass with water and then placesmarbles into the glass, we have a perfect analogy of a harmonically rich waveform. Say the marbles arethe harmonics that one wishes to remove, and the water represents the harmonics one wishes to preserve.When the contents of the glass are poured through a handkerchief, the marbles are not permittedthrough. They are filtered, while the water is allowed to pass through, mostly unchanged.042
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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
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 50 and 51: SECTION FOUR: VCO-3 - 035REVIEW QUE
Page 52 and 53: SECTION FIVE: NOISE GENERATOR - 037
Page 54 and 55: SECTION FIVE: NOISE GENERATOR - 039
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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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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