ARP ODYSSEY Handbuch - Seite 6

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Figure G

LFO

IV\,

ADSR

,._

Experiment with the pulse wi_dth control on

VCO 1 and then with the pulse width modu-

lation signal attenuator (Figure G ).

Moving the switch shown in Figure H down

lowers the frequency of VCO 1 by a factor of

about a hundred.

This is far below the range

of human hearing;

consequently you will not

hear any continuous tone but only a more or

less rapid series of -clicks (depending on the

coarse and fine frequency settings).

In this

low frequency range VCO 1 is not control led

by the keyboard {if it were, the click-frequency

would double with every keyboard octave),

and can be used as a source of control signals.

Return the controls on the Odyssey to the

positions shown in Figure B. Now open the

third slider under the audio mixer to hear the

raw sawtooth signal from voltage controlled

Page 8 ARP ODYSSEY

Phase synchronization

oscillator 2 (VCO 2). VCO

is exactly like

VCO 1 except for two things:

VCO 2 does not have a low-frequency

operating range.

b. VCO 2 can be synchronized to VCO 1.

Phase synchronization of the two oscillators is

accomplished by the switch at the top right in

Figure I , labeled c'sync off/on."

When this

switch is on, the audio signal from VCO 2 is

forced to conform to the frequency of VCO 1.

You can hear this effect in its raw form by set-

ting \/CO 1 to some relatively low audio fre-

quency (near the "100 Hz" mark} and slowly

moving the coarse tuning control of VCO 2

through its entire range from bottom to top.

Experiment also with changing the frequency

of VCO 1 while leaving VCO 2 in about the

middle of its range. Patches 2, 3, and others·

make use of this spectacular sound.

At this point, too, with the sync switch off,

you should practice tuning VCO 1 and VCO 2

to various musical intervals by opening both

the second and third sliders under the audio

mixer.

AUDIO

COARSE

FINE

ICYBD

: :~ I

- -~M•

- - ~-· l

VOLTAGE

COHTROLLED

OSCILLATOR

.J'\..fl.

Figure H

Figure

*Be sure you have returned

the sync switch to "off"

when you first try

the ring modulator.

Figure

Beginning from the position of Figure B,*

open

the

first slider under the audio mixer

again and

listen·

the ring

modulator.

The

ring modulator is a signal modifier, and when

you are listening to it you should think of

your assembly line as it is shown in Figure

The ring modulator has no controls of its own.

It produces, from the pulse outputs of VCO 1

and VCO 2, a single complex output signal

which contains all the sums and differences of

the two oscillator frequencies. This means that:

a. the

raw

sound produced from the ring

modulator depends entirely on the tuning

of VCO 1 and VCO 2; and to a lesser extent

on the pulse width settings for each one.

Experiment with these.

Note in particular

vco

that sounds from the ring mo(fulator do not

necessarily have any standard musical pitch

in relation to the pitch of either oscillator.

(Unless they are synchronized by the "sync"

switch on VCO 2; try that-)

the overtones of the ring modulator sig-

nal will not necessarily conform to the stan-

dard harmonic series. They may be extreme-

ly complex, like those of a bell, chimes,

gongs, and other metallic or percussive

sounds. All of these,

fact, can be simu-

lated by further modifications of a suitable

ring

modulator signal; see Patch 12.

OUTPUT

RING

VOLTAGE

MODULATORi----CONTROLLED

FILTER

HIGH

PASS

FILTER

VOLTAGE

CONTROLLED

AMPLIFIER

vco

Ring modulator

ARP ODYSSEY Page 9