to the Analogue Heaven mailing list. --toph)
Back in 1986, Roland released a 4 volume set of information called
simply "The Synthesizer". The 4 bound volumes were: "A Foundation For
Electronic Music", "Practical Synthesis For Electronic Music" Volume 1,
"Practical Synthesis for Electronic Music" Volume 2, and "Multichannel
Recording For Electronic Music". Chapter 3 in "Practical Synthesis"
Volume 2 is entitled 'Rhythm and effects'. These are the patches I will
describe below and in other posts.
NOTES - The patches in the Roland book use System 100 modules for the
components (ie - VCO, VCF, VCA). You should (with some thought) be
able to use these patches on other, non-modular synthesizers. You may
need to combine 2 synths (using an external input) to get the more
complex patches. These patches should be thought of as a starting
point, not as the definitive way to do it.
Finally, I don't know if this material is still available from Roland.
Here is the information off the back of the small box that holds the books:
Printed in Japan RAM-135 '86 Mar. E-3 AVS
enjoy.
CONVENTIONS:
------------
WHT NZ -- White Noise
PNK NZ -- Pink Noise
LP VCF -- 24 db Low Pass Filter
HP VCF -- High Pass Filter (values are off, 1, 2, 3. Maybe someone with
a System 100 manual can explain the cutoff
frequency associated with each number)
EX VCA -- VCA with Exponential Response
LN VCA -- VCA with Linear Response
ADSR -- 4 stage Envelope
S/H -- Sample and Hold
LFO -- Low Frequency Oscillator
VCO -- Audio Oscillator
DELAY -- Delay module
RM -- Ring Modulator
INV -- Inverter (usually the inverted envelope output of a module)
SEQ -- Sequencer
GATE -- gate signal
TRIG -- trigger signal
KCV -- keyboard voltage signal
parameters used by the above modules:
-------------------------------------
co -- filter cutoff
r -- filter resonance
a -- envelope attack stage (a, _, _, _)
d -- envelope decay stage (_, d, _, _)
s -- envelope sustain stage (_, _, s, _)
r -- envelope release stage (_, _, _, r)
fr -- LFO frequency
lev -- level of the module output
rng -- VCO range (2', 4', 8', ...)
wav -- type of waveform generated (sawtooth, square, ...)
pitch -- VCO pitch knob setting
pwm -- pulse width modulation amount
lag -- S/H lag time
mod -- modulation amount
del -- delay time
FOR ALL PATCHES: if a particular parameter is 0, it will not show up!
the exception is the ADSR settings (for clarity)
FOR ALL PATCHES: the standard notation convention is used for indicating
signal flow. The audio path progresses from left to right. Modulation
enters a block from the bottom. Note that the output of blocks can be
used as signals or as modulation to another block.
FOR ALL PATCHES: if a number appears on a line, it indicates that that
particular signal should be attnuated or boosted to that value. This
can be done at the sending module side (output attenuation) or the
receiving module side (input attenuators). The System 100 modules
attenuate the signal at the receiving module inputs.
FOR ALL PATCHES: the notes that appear under each patch are a combination
of my personal comments and any notes from the Roland manual that I
thought applied to the patch.
Patch #1 - Basic Percussion
---------------------------
WHT NZ ----> LP VCF ----> EX VCA ----> out
co=10 ^
|
ADSR ------|
(0, 2.5, 0, 2.5)
^
GATE + TRIG -----|
notes: gate+trig indicates that the ADSR module can separate inputs for
gate and trigger signals. Normally, non-modular ADSRs do this
internally and simply sending a gate signal is OK.
Patch #2 - Basic Percussion (Oscillating VCF)
---------------------------------------------
LP VCF ----> LN VCA ----> out
co=1, r=10 ^
^ ^ |
|-------------10--| | |
| 1.0 |
KCV | |
ADSR ----|----------|
(0, 1.5, 0, 1.5)
^
GATE + TRIG -----|
Patch #3 - Maracas
------------------
WHT NZ ----> LP VCF ----> LN VCA ----> EX VCA ----> out
co=8, r=5, hpf=3 ^ ^
^ | |
| dynamics |
2.5 from another |
| mod source |
ADSR ----|-------------------------|
(1, 3.5, 0, 2.5)
^
GATE --------|
notes: this patch introduces a crucial concept in making patches come
alive. The introduction of a second VCA allows the overall
patch volume to be governed by the final VCA, while still giving
you a place to introduce small variations in volume. This gives
a percussion patch the ability to sound more natural when played
back from a sequence. The additional modulation source can be
a small amount of cv from an LFO, or better - a S/H module. This
architecture can be found in modular synths, the Xpander/Matrix 12,
and possibly some other non-modular synths.
Patch #4 - Handclap
-------------------
PNK NZ -----|---> LP VCF ---------------> LN VCA ---> EX VCA --> out
| co=8, r=4 --> ^ ^
| ^ | | |
| | | | |
WHT NZ ----> S/H --)--10---| |--> LP VCF --| dynamics |
^ | | co=5 |
| |-----------| ^ |
| | |
(clock input) 5.0 |
| | |
| ADSR ---|------------------------|
| (0, 2.5, 0, 2.5)
| ^
GATE ---------|----------------|
notes: the S/H module is sampling the white noise input only when 'hit'
by a gate signal coming into the external clock input jack. The top
VCF forms the resonant popping sound produced if the hands are
slightly cupped when clapping. The random output of the S/H is used
to alter the VCF 2 cutoff frequency to imitate the random changes
which occur in the sound due to changes in the size of the air
cavity created by the hands. The pink noise module provides input
to both VCFs.
more from Roland's "Practical Synthesis for Electronic Music" Volume 2
Patch #5 - Snare Drum
---------------------
LP VCF -------7-> LN VCA ---> EX VCA --> out
co=4, r=10 |-10-> ^ ^
| | |
| | |
WHT NZ ----> LP VCF ----| dynamics |
co=5, r=2.5, hpf=2 |
^ |
| |
3.5 |
| |
ADSR ------|-----------------------------|
(0, 3, 0, 3)
^
GATE -|
notes: the oscillating VCF supplies the tone produced by the drum itself
while the noise generator supplies the sound of the snares.
Patch #6 - Bass Drum
--------------------
LP VCF ------10-> LN VCA ---> EX VCA --> out
co=2.5, r=10 |--6-> ^ ^
| | |
| | |
PNK NZ ----> LP VCF ----| dynamics |
co=5, r=2.5, hpf=0 |
^ |
| |
3.5 |
| |
ADSR ------|-----------------------------|
(0, 6, 0, 6)
^
GATE -|
notes: decay and release at '6' as shown produces the lingering crash
often used in classical music. For the tighter thudding sound
used in popular forms of music, set the envelope controls the
same as for the snare.
Patch #7 - Rim Shot
-------------------
PNK NZ ----> LP VCF ----> LN VCA ---> EX VCA --> out
co=2.5, r=10 ^ ^
^ | |
| | |
1.5 dynamics |
| |
ADSR ------|-------------------------|
(0, 1.5, 0, 1.5)
^
GATE -|
notes: none
Patch #8 - Tom Tom
------------------
VCO 1 ----> LP VCF ----> LN VCA ---> EX VCA --> out
rng=8' co=0, r=0 ^ ^
wave=tri ^ | |
^ | | |
| | | |
VCO 2 -----------| 7.0 dynamics |
rng=2' | |
wav=square ADSR ------|-------------------------|
pitch=max+ (0, 4, 0, 4)
^
GATE -|
notes: This patch uses a VCO modulated by a second VCO. The VCO frequencies
are not critical.
Patch #9 - Cow Bell
-------------------
LP VCF 1---> LP VCF 2---> LN VCA ---> EX VCA --> out
co=7.5, r=10 co=5, r=0 ^ ^
^ ^ | |
| | | |
VCO -------| 5.5 dynamics |
rng=2' | |
wav=pulse ADSR ------|-------------------------|
man=6 (0, 4, 0, 4)
pitch=max+ ^
GATE -|
notes: An oscillating VCF is modulated by a VCO. VCF 1 acts as the basic
sound source, while VCF 2 controls the tone color. The triangle
wave output of a second VCO could be used instead of an oscillating
VCF.
Patch #10 - Cymbal
------------------
WHT NZ --> LP VCF 1 ---> LP VCF 2 --|------------> LN VCA ---> EX VCA --> out
co=10, r=2 co=9, r=10 |--> DELAY --> ^ ^
hpf=3 hpf=3 mod=6 | |
^ delay=3.5 | |
| res=8.5 | |
1.5 dynamics |
| |
ADSR ----|-------------------------------------|
(0, 6, 0, 2)
^
GATE ----|
notes: An audio delay can be used to approximate the sound of a cymbal.