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Resumen del manual
Many of the controls may have to be readjusted in order to produce the sounds of the instruments given. This is because it is impossible to make GROUP 1 - WOODWINDS...................PAGE 23/24 1. FLUTE 2. CLARINET 3. OBOE GROUP 2 - BRASS INSTRUMENTS...............PAGE 25 4. TRUMPET 5. HORN 6. TUBA GROUP 3 - STRING INSTRUMENTS...............PAGE 26 7. VIOLIN 8. FUZZ GUITAR 9. BASS GUITAR GROUP 4- PERCUSSION .....................PAGE 27 10.XYLOPHONE 11. VIBRAPHONE 12.SNARE DRUM GROUP 5 - KEYBOARD INSTRUMENTS............PAGE 28 13.ELECTRIC PIANO 14. HARPSICHORD 15.ORGAN the diagram accurate since sometimes a small change in a control causes a large change in sound. Also, the type of amplifier used will often strongly affect the results. Many of the sounds you synthesize can be greatly improved by using your amplifier tone controls and/or by using a graphic equalizer such as the Boss GE-10. Also, echo and chorus effects can add greatly to the overall effect. GROUP 6- OTHER SOURES...................PAGE 29 16.WHISTLE I 17.WHISTLE II 18.BELL GROUP 7 - SOUND EFFECTS...................PAGE 30 19.STEAM LOCOMOTIVE 20.WIND 21 .GUN SHOTS, THUNDER GROUP 8- USING EXTERNAL SOUND SOURCES......PAGE 31 22.ENVELOPE FOLLOWER 23.ENVELOPE MODIFIER 24.RING MODULATOR MANEUVERING BENDER .....................PAGE 32 GUITAR FUNKY BASS GROUP 1 - WOODWINDS -| FLUTE The flute produces a sound with a very clean and pure tone color. This can be produced on the synthesizer by using the sawtooth wave and highly filtering it with the VCF. Note that the VCF ENV-1 control is raised so that the tone color changes slightly during the production of each note. This is common with wind instruments. You can check the sound of this effect by lowering the ENV-1 control to "0" and raising the VCF CUTOFF FREQ control to about "6”. This will produce a tone color about the same as is produced with sustained notes. If you compare these two sounds, you can hear the subtle effect that envelope control has on this particular sound. Also check the effect of the HPF by playing various pitches and moving the HPF CUTOFF FREQ control up and down between "0" and the setting shown. Note the subtle effect it has on the lower pitches. Note the use of the VCF LFO/S/H control (switch at LFO} to produce what is called growl. In this case the effect is subtle as it would be in a flute sound. Raise this control to "10”, increase the LFO RATE to maximum (and the LFO DELAY TIME to minimum) and you have growl which can be produced only on a synthesizer. Now try the Flute patch as shown, but using the triangle wave. Although the flute and the triangle wave contain few harmonics, the harmonics in the triangle wave are all odd numbered and thus the sound is not very flute-like, but more hollow sounding, like a recorder. This is a good example of how a small change can create a different sound from the same patch. 2 CLARINET Since the square wave ail by itself already sounds much like a clarinet, this is a good place to start in obtaining the clarinet sound. The diagram shows the VCO RANGE switch at 16' for a low register clarinet; use 8' for a higher register (or use the TRANSPOSE switch). As with the flute, we again use the filters to remove some of the harmonics from the square wave, and we use envelope control because the clarinet is a wind instrument. To produce a bass clarinet, change the RANGE switch to 32', and lower the HPF CUTOFF FREQ control to "0". Also, since the bass clarinet is slightly larger, you may want to increase the ATTACK and RELEASE times very slightly. JSr s ■ I «c¡. mi reo» — .rrv lj=ly=. 3 OBOE The pulse wave at 10% modulation (VCO PULSE WIDTH control at "10"; switch at MANUAL) produces a sound with a harmonic content the same as a sawtooth wave, except that these harmonics are much stronger. This rich source of harmonics is a good place to start when synthesizing double reed instruments. The use of the VCF RESONANCE control accents the frequencies at the VCF cutoff point. Try changing the position of the RESONANCE control and note the effect it has on the sound. This particular sound uses no envelope control of the VCF even though the oboe is a wind instrument. This is because the RESONANCE control is not at "0". Using envelope control would cause the filter cutoff point to change during the production of each note, thus producing a sound not normal to most instruments. To hear this effect, move the VCF ENV-1 control up to about "8" and lower the VCF CUTOFF FREQ control to about "4". This produces an articulation of the sound not unlike the articulation produced by human speech. Notice in all of these sounds that the Envelope Generator DECAY control has no effect because the SUSTAIN control is set at maximum, and therefore may be set anywhere. ■ 1 - 1 I 24 GROUP 2- BRASS INSTRUMENTS 4 TRUMPET Most brass sounds can be synthesized by starting with the sawtooth wave. The settings of ENV-1 are typic...