My thought process for every electronic instrument is simple, Ill enjoy it if it sounds good, and its fun to use.Sometimes a synth or drum machine will sound great but is such a pain to be.Ive not used it up until now as I didnt have time to read through the manual, well now I do.
![]() Guitar and vocals were added later on the zoomr24, where it was also mixed and mastered. Todays suggestion was to improvise something completely from scratch. So I took it upon myself to create a sound and record something as. Thanks to Anthony Coates for co-writing and proofreading the lyrics on this one Digitone is sequencing the PEAK, CP and the EX5 and playing all of its 4 FM tracks here. I wanted to record the whole thing in one take, but found I needed to add some more drums (ARQ96) and piano (EX5) and a second vocal track. For some reason, the sample is looped for the last half of the sound duration. Roland did not use the term additive, as additive synthesis already refers to a different synthesis method. At the time, re-synthesizing samplers were very expensive, so Roland set out to produce a machine that would be easy to program, sound realistic, and still sound like a synthesizer. ![]() One of the more complex parts of a sound to program is the attack transient, so Roland added a suite of sampled attack transients to subtractive synthesis. As well as the attack transients, Roland added a suite of single-cycle sampled waveforms that could be continuously looped. Sounds could now have three components: An attack, a body made from a subtractive synth sound (saw or pulse wave through a filter) and an embellishment of one of many looped samples. The looped samples also contained a collection of totally synthetic waves derived from additive synthesis, as well as sequences of inharmonic wave cycles. Waveforms from the sound wave generators could be further modified with time-variant filters for cutoff frequency and resonance. Tones could be modified using up to three low-frequency oscillators, a pitch envelope, a programmable equalizer, and on-board effects such as reverberation and chorus. Notably, these also let AWM2 samples be used as transients to Advanced FM (AFM) synth sounds, as looped oscillators in their own right, or even as modulators of AFM carriers. ![]() This was until the Montage in 2016, which combines a later version of AWM2 with FM-X (an offshoot of the FM engine from FS1R, without the latters Formant Synthesis) - though without letting samples be used as modulators, as the 7799 series did. Earlier Casio keyboard models instead use ZPI, a similar but more advanced system.
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