Roland "D-50 Book"
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| A-11. Acoustic Guitar A-12. All PCM A-13. Syn-Strings Hi 1 A-14. Gamelan 03 A-15. Bohemian A-16. Chorus A-17. Poly-Synth A-18. H-Organ After LFO |
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| A-21. Ac-BS Ac-Pf split A-22. A-23. A-24. A-25. A-26. A-27. A-28. |
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Patches comments (as published in the book):
11. Acoustic Guitar: this
is a simulation of an acoustic guitar with nylon strings. Both partials are
created with PCM generators using Structure 6. EQ plays a further part in
simulating the resonance of that particular instrument. While it is shown here
using WHOLE mode, employing this sound for both Tones in DUAL mode adds thickness
to the effect if slight alterations are made to one Tone’s fine tuning and
timbre. This reduces the instrument to 8 voices, but then again real guitars
only have six strings! Also remember other performances aspects that will lend
realism to the effect. In order for this patch to sound like a guitar, you have
to think like a guitarist! They don’t have things like sustain pedals and
LFO’s, for example. Since guitars and keyboards are completely different
architecturally, sequencers like the MC-500 are often useful in getting
intonation ans chord arrangements just right.
12. All PCM: as if you hadn’t guessed, this sound is also created completely with PCM sounds on all four Partials. While PCM sounds are usually individually recognizable, the blend of the four timbres creates an entirely new effect. This sound works well in the background with a variety of other instruments. In also quite effective at doing ostinato lines and other sequenced effects.
13. Syn-Strings Hi 1: this patch is targeted at the strings programs on the SUPER JX and other analog synths. While digital synthesizers are sometimes characterized as having thin string sounds, this Patch has a fuller sound as a result of mixing the elements of acoustic instruments together with synthesized strings. By combining different PCM and synthesized Partials, the D-50 can create anything from a realistic string quartet to a cheezy string machine. In this particular case the PCM sounds provide both a core effect and an overall polish.
14. Gamelan 03: once again PCM waveforms are used to simulate realism in this metallic instrument. Rather than producing the clear tone of a bell, the gamelan has more of a rich and complex effect. The biggest lesson in this Patch is the way in which Key Follow is used with the various Partials’ WG Pitch. The KF settings are programmed differently for each Partial in such a way that only one plays a regular scale. If you listen to a variety of folk and ethnic music from around the world, it soon becomes apparent that there is plenty of music that cannot be realized using the western scale. Experiment with this same technique when simulating ethnic instruments in your own programs.
15. Bohemian: in this patch the PCM sound of two woodwind attacks are combined with synthesizer sounds in such a way that they don’t attract attention as being woodwinds. Instead, they contribute to the whole. The P-ENV is also employed to subtly alter the pitch during the attack. Structure 1 is used in the Upper Tone to create a completely different effect for the remainder of the sound. The end result works well in the melodies and harmonies. The added touch of those PCM wind attacks also adds a nice effect when playing staccato chords.
16. Chorus: this patch does things a bit differently than in our previous examples. Structure 7 is used in both Tones to combine PCM with ring modulation. Most of the sound comes from Partial 1 in each Tone, with just a little ring modulation coming from the other Partial. In addition, each Tone has its own Chorus setting and the interaction between them provides plenty of action in this sound. Several other things are worth taking not of in this example. First, the TVA Bias controls are set up in such a way that Upper Tones are played by the lower end of the keyboard and Lower Tones are contolled from the high range. Secondly, notice how the settings of the two EQ sections are applied to different ranges.
17. Poly-Synth: this patch gets its name by default, yet the timbre is quite different from those found on other instruments. The sharp attack sound that is so hard to attain on conventional synthesizers is easily produced using the D-50’s PCM transients for the first stage of the event. As a result, this Patch can be used for a variety of tasks including backing chords, solo and bass.
18. H-Organ After LFO: this Patch makes no attempt to be anything other than a traditional organ sound. The main effect to consider here is the way in which aftertouch is routed to simulate the movement of a rotating speaker. Since there are three LFO’s for each Tone, LFO-2 and LFO-3 could also be put to use doing something else. Tone is focused on the PCM sounds, especially the key clique or popping sound associated with percussive organ sounds. This has also been clusive with the analog synthesizer and since you just don’t see too many organs anymore, maybe the world is waiting for you to resurrect the killer organ sound!
21. Ac-Bs Ac-Pf split: this Patch uses SPLIT mode to simulate an acoustic bass/piano duo. Since the piano alone can be a little sparse, the complement of the additional instrument goes a long way. Just add a drum machine and you’re a trio! One of the interesting features of this Patch is that the acoustic bass sound changes depending on the aftertouch. Lower Partial 2 uses a sawtooth wave which jumps an octave when PW is driven to 0 via an aftertouch setting of -07. This lends the harmonic effect of a fretless bass and makes this Patch a natural for all kind of jazz bass application.
12. All PCM: as if you hadn’t guessed, this sound is also created completely with PCM sounds on all four Partials. While PCM sounds are usually individually recognizable, the blend of the four timbres creates an entirely new effect. This sound works well in the background with a variety of other instruments. In also quite effective at doing ostinato lines and other sequenced effects.
13. Syn-Strings Hi 1: this patch is targeted at the strings programs on the SUPER JX and other analog synths. While digital synthesizers are sometimes characterized as having thin string sounds, this Patch has a fuller sound as a result of mixing the elements of acoustic instruments together with synthesized strings. By combining different PCM and synthesized Partials, the D-50 can create anything from a realistic string quartet to a cheezy string machine. In this particular case the PCM sounds provide both a core effect and an overall polish.
14. Gamelan 03: once again PCM waveforms are used to simulate realism in this metallic instrument. Rather than producing the clear tone of a bell, the gamelan has more of a rich and complex effect. The biggest lesson in this Patch is the way in which Key Follow is used with the various Partials’ WG Pitch. The KF settings are programmed differently for each Partial in such a way that only one plays a regular scale. If you listen to a variety of folk and ethnic music from around the world, it soon becomes apparent that there is plenty of music that cannot be realized using the western scale. Experiment with this same technique when simulating ethnic instruments in your own programs.
15. Bohemian: in this patch the PCM sound of two woodwind attacks are combined with synthesizer sounds in such a way that they don’t attract attention as being woodwinds. Instead, they contribute to the whole. The P-ENV is also employed to subtly alter the pitch during the attack. Structure 1 is used in the Upper Tone to create a completely different effect for the remainder of the sound. The end result works well in the melodies and harmonies. The added touch of those PCM wind attacks also adds a nice effect when playing staccato chords.
16. Chorus: this patch does things a bit differently than in our previous examples. Structure 7 is used in both Tones to combine PCM with ring modulation. Most of the sound comes from Partial 1 in each Tone, with just a little ring modulation coming from the other Partial. In addition, each Tone has its own Chorus setting and the interaction between them provides plenty of action in this sound. Several other things are worth taking not of in this example. First, the TVA Bias controls are set up in such a way that Upper Tones are played by the lower end of the keyboard and Lower Tones are contolled from the high range. Secondly, notice how the settings of the two EQ sections are applied to different ranges.
17. Poly-Synth: this patch gets its name by default, yet the timbre is quite different from those found on other instruments. The sharp attack sound that is so hard to attain on conventional synthesizers is easily produced using the D-50’s PCM transients for the first stage of the event. As a result, this Patch can be used for a variety of tasks including backing chords, solo and bass.
18. H-Organ After LFO: this Patch makes no attempt to be anything other than a traditional organ sound. The main effect to consider here is the way in which aftertouch is routed to simulate the movement of a rotating speaker. Since there are three LFO’s for each Tone, LFO-2 and LFO-3 could also be put to use doing something else. Tone is focused on the PCM sounds, especially the key clique or popping sound associated with percussive organ sounds. This has also been clusive with the analog synthesizer and since you just don’t see too many organs anymore, maybe the world is waiting for you to resurrect the killer organ sound!
21. Ac-Bs Ac-Pf split: this Patch uses SPLIT mode to simulate an acoustic bass/piano duo. Since the piano alone can be a little sparse, the complement of the additional instrument goes a long way. Just add a drum machine and you’re a trio! One of the interesting features of this Patch is that the acoustic bass sound changes depending on the aftertouch. Lower Partial 2 uses a sawtooth wave which jumps an octave when PW is driven to 0 via an aftertouch setting of -07. This lends the harmonic effect of a fretless bass and makes this Patch a natural for all kind of jazz bass application.
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