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BASIC
METHOD
OF
SOUND
SYNTHESIS
BASIC
PATCH
8-
Br
I
^a
1
'
"
«...
-
="
= H
\
ll
w
*
BIQ
=
•
HJj'jjJ
^1,1"
3";jj
gWt
BASIC
PATCH
vco
HPF
VCF
VCA
SOUND SOURCES
TONE
COLORATION
VOLUME
AUXILIARY
CONTROLS
COMPLETE)
fl
)
RANGE
£) WAVE FORM
'3)
CUTOFF FREQUENCY
4)
RESONANCE
5)
ENV-1
.6)
KYBD-CV
/
7)
HOLD
8)
ENV-1
orENV-2
(9)
PORTAMENTO
10)
AUTO BEND
11)
LFO RATE
12)
LFO CONTROL
The
above diagram
shows what
could be
called a
"basic" patch.
Unmarked
controls
can be
left in
any
position.
This patch produces
a
continuous
square
wave
output.
The
frequency
of
the square
wave
will
depend
on which key on
the
keyboard
was
last
pressed.
Since
continuous
sound
is
produced,
this
patch
is
useful
as a test
pitch for
setting
up
stage
or studio
equipment.
To
produce
sound
only with
key
depression,
lower the
VCA HOLD
control
and
raise
the
"S"
(SUSTAIN)
control of
ENVELOPE GENERA-
TOR
1.
For
a
more
in-depth
study of
synthesizer theory,
we recommend
the
series
of
instruction
manuals
designed
for
the
Roland System 100
Synthesizer.
The
information contained
in
these
manuals,
and
the patch
diagrams (sound
settings)
are
easily
adapted
to
the
SH-7.
^\WAVEFORM
RANGE
^
\
TRIANGULAR
WAVE
n_
n
i
SAWTOOTH
WAVE
SQUARE
WAVE
ASYMMETRICAL
SQUARE
WAVE
PWIV
1WAVE
4'
WHISTLE
-
XYLOPHONE
HARPSICHORD
-
8'
-
TRUMPET
VIOLIN
-
OBOE
ACCORDION
(LFO)
FUZZ GUITAR
(ENV-1)
16'
-
TROMBONE
HORN
CELLO
CLARINET
SAXOPHONE
-
32'
-
TUBA
-
BASSOON
(BASS
GUITAR)
(ENV-1)
21
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