ARP2600 - Fundamentals of Music Technology - Cyborgstudio.com

More documents

Recommendations

Info

SECTION EIGHT: THE VCA - 069REVIEW QUESTIONS FOR SECTION EIGHT:1. Draw a diagram representing the signal path of the most typical synthesizer patch. Why is this patchso important to understand?2. Tell what the VCA does. In what way is a waveform reshaped by the VCA?3. Compare and contrast the VCA and the VCF.4. What does the initial gain setting control, and how does this relate to incoming control voltage signals?What could a sine or triangle wave do to take advantage of this function?5. Describe the differences between the response of the linear and exponential control inputs.6. What legal troubles did Moog and ARP have, and how were they resolved?7. Tell how to create tremolo.8. Tell how the VCA will usually be used, and how one might go about setting it. Be sure to include thesettings and connections for the EG’s.9. List all of the parameters of the VCA, and tell which ones can be modulated.10. Tell what is normalled to each of the VCA’s inputs and where the VCA’s output is normalled.11. Describe the correct envelope settings for the following instruments: Drum, Organ, Piano, Voice(slow crescendo).TERMS TO KNOW:AmplitudedBDecibelDistortionExponentialGainGateInitial GainLinearLinear to Exponential ConverterTremoloVCAVolumeVoltage Controlled Amplifier
SECTION9 MIXER SECTIONTHE MIXERThe mixer section is a module of the synthesizer that has been used almostsince the beginning of this book, but has yet to be explained fully. The mixersection is one of the most simple modules, and easiest modules to understand.The mixer performs a simple task: it combines two different signalsand prepares them for output to the ARP 2600’s internal amplifier. One cansee in Figure 9-1 that the mixer features two audio inputs. Each one featuresan attenuation slider so that the signals can be combined at the desired levels.Note that the outputs of the VCF and VCA are normalled to the mixer’sinputs. This makes sense, since these are the two modules most likely to beat the end of the signal chain of a patch (not counting the mixer section,which has to be at the end of every patch if one wants to hear any sound atall).The mixer’s signal flow is easy to see by following the white lines screenedon the ARP’s front panel. One can see in Figure 9-1 that first, each inputleads to a separate jack. Unfortunately, there is no mention of the function ofthese jacks anywhere in the ARP 2600’s user manual. (A copy of the author’suser manual is available on-line at http://www.EmusicDIY.com/arp/pages.)These jacks aren’t labeled, which makes it rather difficult to discover theirpurpose. Careful inspection of the 2600’s schematics reveal that these jacksare individual outputs. These jacks pass a copy of whatever comes in eachinput back out. However, when a plug is inserted into them, they cut off thesignal flowing to the mixer and then to the amplifier and speakers. One mightthink that this would render them completely useless, but this is not reallyso. They allow either of the sliders on the mixer to be used to attenuate audioor control signals independently of any other module.Figure 9-1: The mixer sectionIt is interesting to note that while the mixer has been used exclusively for audio signals to this point, itis possible to use it to mix control signals as well. This technique is of rather dubious value, however,since the mixer’s ability to mix and attenuate incoming audio signals is lost when it is used with controlvoltages. There are modules better suited to this task which will be explored in the next section.PANNINGIn the next part of the mixer, the white lines converge and meet at one output. This is where the actualmixing occurs. Whatever is input to the mixer’s two channels appears here at this single output. However,this jack is more than an output. It is also an input. Incoming signals are fed to the next part of themixer: the PAN control. Pan is an abbreviation of the term panoramic potentiometer. The PAN controlsimply determines the amount of signal which is going to each output, and to each speaker. When the070
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 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: 068 - SECTION EIGHT: THE VCAEXPERIM
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 135 and 136:
120 - SECTION FIFTEEN: THE ARP SEQU
Page 137 and 138:
Page 139 and 140:
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

Create successful ePaper yourself

Delete template?

Save as template?