ARP ODYSSEY Owner's Manual
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Odyssey Owner's Manual
Introduction
Ws3come to the
ARP
Odyssey, the ultimate iriuEic^ trip.
The ARP
Ctdyssey brings polyphonic electronic music to tbs perfofraing artist-r&ck, pop, soul^ jazz, of avgjtt-garde, It incrludes such state-of-the-art fims as phase -locked aseiHatorsi, di^gital ring modulator, sample
& hold cLfcuits, and most of the functions of a complete studio synthi^siser,
With its ease gf operation and high reliability, youf ARP
Odyssey can produce sn enormous variety of sounds in live perforinance. Everything frcm thund&f and h-ghtciing to gong, fuzz guitar, and feedback disLortion is at your fing^niips with the Odyssey's shder controls and patch switches.
The Odyssey^s foot pedal and foot switch add to your expfessive control.
lEs two-voice, 37 -note keyboard has a nine-octave range.
The Odyssey is compatible, and can be interfaced with all other
ARP synthesizers.
And, of course, the famous ARP filters and oscillators give you drift-free accuracy for professionaJ.' quality reoordirtgs.
ssey
Owner
s
Manual
.
7
Contents
Gening Stifttd
.
_
Exttnul Ampliruir
wi
SpcakR'
What Kind of Amp
Wofhi Best
Let's Qe^in
How yoiw Odyisey WorNi
Scaad Soufcn
Experuum
1
.
LottiUe^ to
Wawfof sit
£Kp«rimein
2,
PuIm
V/id!h
Modulation
ExperinKnt
5.
PhiisQ Synchronization
Exporimont
4, NoJSfl
Experiment
5.
Ff«iu*ncy
ModuUtbn
Modifitrj
,
Ejcp4riixtent: 1.
Expwimeni
2.
RJn^ htodvlacKHi
TU
VCA
Exptdnwnt
3.
Th«
Hi^jh
Pas
Filur
.4
^ .
.5
S
6
7
.10
11
14
IS
.17
1
19
20
21
22
ExpeiimeaE
A,
Tht VCF
Controlkfs.
Keyboard siid Pedals
ADSR and
AR
Envalopo GonBj-aior
Sample and Hold
Low
Fivqutncy Oi^ilbtoct
Pitdi Bend Control
Exiefiial Ai«Jio Input.
.
Interf
A«
Jflcki
.
^
Panel Conlrol Dtiiertptjon Chflrt
Hintiori Using Your Odyi$ey
Initint
Odyscy
P*idi«
22
,....,.. 25
29
30
35
36
..,.,.,,
36
.37
37
39,
40
.^
.41
SpKiltcatioas
, ,
Giva Your
Odyuty
i Littla Brother
, .
42
_
.43-54
Back
5S, 56
Com
Copyright 1976 by ARP
Instnuneati, Inc.
320 Needbam StrHt
Nflwton, Massjchuioits
Second Edition
Firn PrimiaQ
.
Mjrch, 1976
The
Odysey
b^loTigs to tho class of Variable synttiDsiscrs.
A variable svnlhedzer, as opposed to a Preset synthesiaer, allows attack you to shape every aspect of a sound, from the and decay to tha harmonic struciurc.
Your
Odyssay is equipped with precisaly shape each rantrols that will let you and every parameter of the sound you are creating.
Synthesizers create sounds electronically in same fashion that any naturaE sound is much created the acoustically.
There are definite Q[ementsof sound which, when put together in diffeient combinatioiis, will predsely repraduce anything from a clarinet to a jadthammer, The Odyssey is a tnusical instrunwnt comprised of a number of different electronic circuits; each one is designed to control an element of sound.
This manual is an operational guide for the Odyssey, but it should atso give you a working knowladge of electronic jnusic functions.
Checklist:
«
Fill out your warranty card and send
\k in.
• Save the crarton (It can be used to protect your Odyssey until you get a carrying case),
* Place the Odyssey on a suitable pUying surface (Don't worry about ventilation: it won't get hot).
'
EXTERNAL
AMPLIFIER
AND SPEAKER
The Odysse/,
Jike alt electronic musjeal instniments, i& designed to be connected to an amplifier artd
IcHid speaker system. This external equipment (amplifier and l-oudsp&aker} niay be a guitar amplifier, P.
A. system, an electronic organ^ recording console, or even a high fidelity or stereo system.
Two
outputs ar$ provided on the reat panel of the synthcsizer-a phono fack labeled
"Low' and a sma^lef phono jatk labeled "High." Use the outputs in the following manner:
*
If you are planning to plug your synthesiser into a guitar amplifier, use the synthesiser's
"Low"
output.
A
standard (juitar oaicd can be used for this connection.
«
If you're using the synthesizer with an Organ Or a hi-fi amplifier, use the output marked
"High.''
An
input jack is already available On most organ models.
In the event your organ is
Sacking this input, it will only take a serviceman a few moments to install one.
Ask him to vn.ts
the jacks so the volume of the synthesiser can he controlled by the expression pedal of the organ.
WHAT
KIND OF AMP WORKS
BEST?
The whole idsa of a syniheazer is to give you the capability to
^pe
and oontrol every aspect of a musical
S3und using the synthesizer's controls.
Therefore the ideal amplification system for synthesizers should introduce SS little distortion or coloration as possible, for this reamn,
P.A, systems usualJy produce the cleanest ssund with
^nthesisers. Likewise a bass guiter amplifier is probably the worst kind of amplification for synthesizers because
ba^
guitar amps usuaUy have poor high frequency response.
Some lead guitar amps alio have a lot of distortion and coloration.
If you play your synthesizer through such an amp, your sounds will tend to be characteristic of the amplifier rather than the synthesizer.
Sometimes, however, the combination of the synthesizer and an amplifier with a great deal of its
own
coloration will produce just the sound you might be looking for.
Also, don't be afraid to use accessory devices, sych as phasers, fu£z-wow pedals, equalizers and so forth with your Odyssey.
You can get interesting results.
"Hie
Odyssey can also be used as an accessory deviM for other electronic musical instruments through use of the external audio input
Jack.
Let's
Begin
By
now
your curiosity ts probably beginning lo eicert itself, d.nd
you may wish to start playing immadiateiy.
In this ease, simply
tum
to pisge 39, iraad tha bri&f dsseription of the control functions, and than sat up any of the patches darling on page 43.
V/hile thase patctias provida some basic ideas of the vast potential that lies v/ithin the
Odyssey, you'U ultimateiy discover an ever greater number of new and exciting sounds and effecrts on your own, if you prefer to systematioaUy examine each control of your Odyssey before playing, continue on to the information which folEovfs.
HOW
YOUR ODYSSEY WORKS
Generally speaking, all the sEeclronic circuits in your
Odyssey perform one of thiee ba-sic funCEions:
L
Sfgnal sources: lh«
"raw" lonea ot noise which will ultimatfrly be shaped into musical sounds;.
2.
Signal Modifiers: the
"raw" K>unds ate passed through signal modifiers where the timbre (or tons quality) 15 changed to produce the desirsd sound, and
Z.
ConLrollers; devjoes which detemtme the op^rfttng characteristics of the signaJ sources and the signal modifiers.
For instance, the keyboard is a controllef which produces a voltage to leH the oscillator what pitch lo create.
Sinrulajrly, the
ADSR envelope genarator creates an attack and decay signal that controls the Voltage Controlled Filter fVCF) so that the final musical sound has an attack and decay.
Alt mechanical instruments work in a similar vny.
A violin, for instance, has a vibraiin^g string which would he a agnaS souTce.
The vibrating string corresponds to the
Oscillator in your Odyssey.
The vibrations from the string are transmitted to the body of the viohn which modifies the sound of these vibrationsL
The body of the violin is actually a tnechanical filter and corresponds to the
Voltage Controlled Filter
(VCF) on the Odyssey.
It is the characteristic resonances of the body that give the violin its distinctive tone quality.
The fingerboard, like the keyboard on your Odyssey, determines the pitch of the sound.
The movemanl of the bow, like the
ADSR
Envelope Generator, determines the attack and decay characteristics of the sound,
Interconnecting the various functions shown in Figure
A is known as creating a "patch."
The block diagram illustrated in Figure
A is, of course, a violin patch.
Similarly, it is possible to diagram any patch that you
may
play on the Odyssey.
Actually, this visual representatton of a patch permits you to better understand what functions of the synthesizer are being employed and
how
each function coniributes to the finished sound.
IS
FIGURE
A.
comtrol
pitch by pressing
THE 3TR3WG
AGAINST THE
FINGER
eOARD
GOIV
DRAWN
ACROSS 5TPBNC
CAUSING
V[ERAriONS
1-~L
MOV]t:0
F3WGER3 BACK
AND FORTH
PRODUCES
ViBRATO
:
Co;; crolLL'ii
BODY OF
THE
VIOLIH ACTS
AS
A
F1L1TH/
RESONATOR
(Modifzer)
-
OUTPUT
VIOLIN
SOUND
ZL
UKAV.'LNn FJOW
ACROSS
Tire
STRINGS SHAPES
ATTACK AND
DECAY
(Con(ioli!6fl
OSCILLATOR
WAVEFORMS
AND
NOISE
(Signal Souros] j~[:
Voltage
COWTROI-LE^D fCLTRR
-
OUTPUT
VIOLIN
SOUHD
LFO
PRODUCES
VIBRATO
(Co rj;rol]i?i
i
1
FIGURE
B.
The figure above is s block dit^ram of all the functions and iiriternaE eonnections in your Odyssey, As
w&
proceed with our discusuion on the Odyssey's functions, you will be abl^ to see ajtactly
how
th& different functions interact.
The Voltage CcmtroSled Oscillator on your
Ody^cy
produces electrical waveforms [saw-tooth, pulsSj and square waves) which are used to er&ate a wide rang& of sound tiiTkbr&s.
if a signal ^en&rated by an oscillator has the same waveform as a sound cr&ated by a traditionat instrument, both will sound the sartse,
Different waveforms have different sounds.
Yovt Odyssey is capable of (Treating sIk bade waveforms, plus noise:
Sawtooth wave; full, brassy
r^r^^r^
Square wave; clarinet-like
Pulse wave; bright, nasal
Modulated pulse ivavc; chorus-like, rich
XAJTTT
Sine wave; pure, whistle-like
Various phase-synced waveforms; bright, rich
1
Sound Sources
EXPERIMENT L
LISTENING
TO
WAVEFORMS
1
,
Hoot
up your
0T5YSSEY to a speaker and amplifier as desHibed on pag* &.
For the time being, set all lone controls on your amplifier for
"flat" responsa.
2.
S*t aU the oontrob on your
ODYSSEY to match the posjtion^ shown in
Figure C.
Double check the settings before proceeding.
I
T\'-~.
I t tt f» ft ft tY f
I ttl 4^ ii
-L i
-I
*
_
-L
-
""
"" z •'
"
1
7'
"
1
1 f-|
The controls on youf
ODYSSEY are
now
Bet so that jrou will be able to hear the different ''raw'' waveforms ffom the
ODYSSEY'S
VOLTAGE
CONTROLLED OSCTLLATOR (VCO) whenever you play the keyboard. Locate the three slide controls under the
AUDIO MIXER
(white, green, and blue).
Raise the blue glider under the
AUDIO MIXER and play a few notes on the keyboard.
The sound you are hearing is the raw, unprocessed sawtooth wave.
The pitch of this tone cg.n
be varied mantially through use of the
COARSE and FIHE turtin^ slideira.
Thesfi sliders are located in the pari of the panel marked
VOLTAGE CONTROLLED OSCILLATOR
I.
(Figure D),
Mold a note down and push each of these sliders through its range.
The COARSE sliderallows tuning
Ehrough a good part of the audio spectrum, while the
FINE tuning shder allows a range of about one octave.
When
you are tuning the voltage contirolled
OEcillators, either to musical instrument:, one another or to another you will first tune the
COARSE slider to the approximate range, and then use the
FINE slider to find the pitch exactly,
The slide switch next to th& tutiing sliders lowers the frequency of
VCO
1 by a factor of about one hundred when this switch is placed in its L,F.
poation.
TTiis is far below the r^nge of hmnan hearing: cons&quentiy you will not h^ar any continuous tone but only a more or less rapid series of clicks.
The rate of this low frequency signal is not controlled by the keyboard, but can be vaned by adjusting the timing stiders.
Return th& tunirtg sliders to the center of their range, and set the slide switch hdck to the audio range.
Now change the slide switch under the blue slider of the
AUDIO MIXER to the bottom position. Again, pjay the keyboard and you will
now
he hearing the sound of a raw unprocessed square wave. Notice
how
the square wave, especially et tow pitches, has a hollow, clarinet-like sound.
The squere weve on your into another
ODYSSEY can be turned waveform called a
PULSE WAVE
by raising the blue slider labelled
PULSE
WIDTH located under the
VOLTAGE CONTROLLED OSCILLATOR
1 bo^.
Raise this shder to the halfway mark and again play on the keyboard, Nocioe
how
the pulse wave sounds brighter, more nasal, than the square wave.
An
even narrower pulse wave can be created by raising the
PULSE
WIDTH slider alt the way to the
MIN
marking.
This waveform is very bu2zy and thin.
At the
MIN
marking, the top part of the pulse waveform is
Only about five percent of the total waveform.
A square wave, as its symbol implieE, has a top part of its wavefomn that is exactly fifty percent of the total waveform,
PULSE
SQUARE
WAVE
(50%} ^^_^_^
WAVE
(2!i%J
NARROW PULSE WAVE
(5%)
FIGURE
E.
EXPERIMENT
2.
PULSE WIDTH MODULATION
1.
Lower the
PULSE
WIDTH eontrol slowly thereby gradually increasing Lh$ width of the putse wdv« untU il becomes a square wave again with the
PULSE
WIDTH slider all the way down.
2.
If you move the
PULSE
WI DTH cont rol up and
down
while holding] down a low note, you will heat thai the ehaniginq puEse width creates a kind of chofus-like effect.
The fasier you move the
PULSE
WIDTH control, the more pronounced the effect.
By changing or "modulating" the pulse width while you play, you are creating another waveform called the
"MODULATED
PULSE
WAVE.
"
S.
The ODYSSEY has special
PULSE
WIDTH
MODULATION controls that facilitate the generation of the modulated pulse waveform, Bring the blue
PULSE
WIDTH control all the way down, and raise the pink
LFO
PULSE
WIDTH
MOD
control atl the way up.
Play the keyboard and you will heair a sound whith is similar to the effect you created when you moved the pulse width control Ijy hand in step
2,
If you lower the pink
LFO
PULSE
WIDTH
MOD
slider, the effect will diminish and finally disappear.
Notice that the pink
LFO FREQ control to tfte right of the
Low
Frequency
Oscillator box changes the speed of the chorus^iike sound.
Experiment with different combinations of settings of the blue
FULSE
PULSE
WIDTH
WIDTH control, the pink
LFO
MOD
control, and the pink
LFO
FREQ control,
J,.4
tt'
^
FIGURE
F.
.
EXPERIMENT
3.
PHASE SYNCHRONIZATION
1
Now look at th& part of the panel marked VOLTAGE
CONTROLLED OSCILLATOR
2,
VOLTAGE
CONTROLLED OSCILLATOR 2 is exactly like
VCO
1 except for two things:
• VCO 2 does not hav^ a low-frequency operating range,
«
VCO
2 can be
SYNCHRONIZED to
VGOL.
Lower the blue slider under the
AUDIO MIXER box and raise the green sJider.
Now play the keyboard.
You
are
now
listening to
VCO
2.
2.
VCO
2 can be switched between sawtooth wave and square wave the same a$
VCO
1
, and the frequency of
VCO
2, when it is not pha^e-synohroniaed, can be varied in the same manner.
VCO 2 also has pulse width modulation hke VCO
1-
Try the experiments that were done above on VCO
1 with
VCO
2.
Phase-synchronisation of the accomplished two oscillators is by the switch at the top right of
VCO
2 labelled
EYNC
OFF/ON.
:
.
.
I
VC0
2
NNNMxNh
NOT
PHA£E-3THCHKOH[ZED
[VjVJVJVv
PHASE-STHCHPOH IZED
I
1
I
!!.!
;h
When
this switch is on, the audio signal from VCO 2 is forced to conform to the frequency of
VCO
1
.
This is done by causing the waveform of VCX!J 2 to hsgid a9ain, or restart whenever VCO
1 begins another wavefofm.
This is shown for sawtooth wave?
in
Figure H, and the sanoe jjrinciple applies to square and puSse waveforms as we!].
It is for this reason that the harmo-nic sound of
VCO
2 will vary as the
COARSE and FINE frequency sliders for
VCO
2 are changed, even though the basic frei^juency of the waveform does not change
(it
TEniains the same as
VCO
1 ).
You
can hear this effect in its raw form by setting
VCO
1 to some relatively low audio frequency (near the 100 Hi mark) and slowly moving the coarse tuning control of
VCO 2 through its entire tuning range from bottom to top after turning the
PHASE-
SYMCHRONIZATION
Switch of VCO
2 on.
Experiment also with changing the frequency of
VCO
1 while leaving
VCO 2 in about the middle of its range,
Some of the patches make use of this spectacular soynd, unique to the
ODYESEY.
At this point, too, with the should practice tuning
SYH SWITCH
off, you
VCO
1 and
VCO
2 to various musical intervals by opening both the second and third sliders under the audio mixer.
EXPERIMENT
4.
NOISE
Lower the blue and gt&en sliders under the
AUDIO
MIXER boji
5nd raise She white slider.
Play a few notes On the keyboard and list&n to th& sound.
You
are hearing what is
known
as
WHITE NOISE.
This nois& contains all frec^usncifis ufi the ^udio spectrum in equal amaunts^ aitd is hanuorticaUy IdentLC^ to the noise you hear between stations on the
FM radio band.
Thepe is e noise generator svntcb located in the upper left hand Corner of the
ODYSSEY.
Chartg^ the position of this switch to
PINK
and again play a few notes on the keyboard.
Whereas WHITE
NOiSE
contains equal amplitydes of each frequency,
PINK
NOISE
contains equal energy of each frequency.
Physically, this means that the higher frequencies are presenE at lower volumes than the lower frequencies.
PlMK
NOISE
is the most musically useful kind of noise because it sounds balanced to the ear, neither too hi9h and hissy, nor coo low and rumblmg.
You
will see later
how
to use the other functions on ihe
ODYSSEV to turn noise into a wide range of exciEing sounds.
EXPERIMENT
5,
FREQUENCY MODULATION
The pitch of the Voltage Controlled
Oscillator
(VCO) on your
ODYSSEY is controlled by the keyboard.
You
know
this from the previous experirMnts and you can also 5ee that the keyboard is connected to the
VCO on the block diagram, page 9.
As you will
now
experience, you can also change the pitch or frequency of the
VCO hy bringing in "control voltages" from o-ther devices on the
ODYSSEY.
ill
I.
To begin experimenting with
Frequency Modulation, again set the controls e:cactly as shown in Pigure C.
Raise the blue
VCO
1 slider under the
AUDIO
MIXER.
You
vjiU
now
hear the sawtooth wave again when you play the keyboard.
Hold
down
a note on the keyboand and slowly raise the pink
LFO oontial next to the
TRANSPOSE
SWITCH.
Notice that a slaw vibrato is introduced that becomes deeper as yau raise this contiroK
With this
LFO control up ahout 1/4, adjust th$
LFO
FREQ control and observe
how
the vibtato rate can be changed from very slow to very fast.
About 3/4 should provide a pleasing vibrato rate.
Change the HfsE slide switch from LFO -y\y^ to
LPO
J~LJ~L
.
Instead of a smooth vibrato^ the
LFO
J~i_n_ produces a trill.
Notice that as you rais& this slider, the bottom note of the triil stays the same and the top note mo'ites depertding iS'rt ths settin^g of the slider.
Try tuning the trill for different intervals,
ILite a fifth, octaves, etc.
If you increase the
LFO
SPEED
control, the cdl!
can become a useful musical timbre, especially when the triJ] is tuned to simple intervals, like octaves,
When you have finished experimenting with trills, bring the
LFO FM slider back down.
How raise the v\^ite slider under the S/H rnlixer box.
White holdirvg
down
a note on the keyboard, dowly raise the yellow 5/H control under the VCO.
Notice that this control causes pitch of the
VCO to jump around in a completely random manner.
The higher you raise the yeUow S/H sHdsr, the wider the pitch variations.
At least one S/H Mixer sUder must be ra,[sed in order for the yellow S/H control to be activated.
8.
Bring the yelEov S/H slider back down, and lower the white S/H Mixsi slider.
9.
Now set the slide switch under the yellow knob to the
ADSR position, and then raise the yellow slider.
Notice
how
the pitch rises.
Leave this control set so that you have raised the pitch abaut an octave,
10,
How bring up all the way the four red
ADSR
ENVELOPE GENERATOR CONTROLS
(located in the lower right hand corner of the panel).
11, Again play on the keyboard.
You
will hear the pitch of the sound rise afid faH each time you hit a key.
Tlie settings of the
ADSR controls will determine the speed of the pitch change.
You
will learn more about these controls when you get to the section on
"Controllers."
Modifiers
Modifiers are electronic devices that can process a signal and change Us sound. Consequently a modifiermust have an input and an output.
A tone coriErol on a hi-fi set is a simple modtfiei: sincG it changes the nature of the sound signal that passes through its circuitry.
The
ARP
ODYSSEY contains four modtfieirs, the Voltage
ControUed Filter (VCF), the Voltage Conttolled
Amplifier (VCA), the High Pass Filter
(HPF), and the
Rin9 Modulator.
Any
signal that is introduced into the
AUDIO
MIXER,
i.e.,
Noise.
through the VCF,
VCO or
VQO must pass
HPF
and the
VCA hefore r&aching the output of the
ODYSSEY.
19,
EXPERIMENT
1.
RING MODULATION
Lower ihe blue and green sliders under the
AUDIO
M!XER
BOX, and raise the white slider sgaift.
Changs the position of th& slide switch under the while slider front
Noise to switth for
RING MOD.
Make sure thai the
PHASE
SYNC
VCO 2 is off.
Play a few notes on the keyboard and
IJEEen to the
RING
MODULATOR.
While you ar« hstening to it you should think of the block diagram shown in Figure L.
The
RING MODULATOR
has no oontroSs of its own.
It piroduoes, from the pulse outputs of
VCO
1 and
VCO
2f a single complex output signal which contains all the sums and differences of thie two oscillator frequencies.
This m'Satis that:
« The raw sound produced from the ring modulator depends entirely on the tuning of
VCO
1 and VCO
2; and to a lesser extant on
VCO
2
J-LTL
KING
MODULATOR
VQLTAGE
CONTROLLED
FILTER the pulse width settings for each one.
Experiment with these.
Note in partitular that sounds from the
RING MODULATOR
do not necessarily have any standard musical pitch in relation to the pitch of either oscillator.
[Unless they ate synchronised by the
SYNC switch on
VC0
2;Lry that).
The overtones of the
RING MODULATOR
signal will not necessarily conform to the standard harmonic series.
They
may
be extremely complex, like those of a bell, chimeSj gongs, and other metalhc or percussive sounds.
All of these, in fact, can he simulated by further modifications of a suitable ring modui^Eor signal.
Some of the patches iEustrata this.
HICK
PASS
FtLTEK
VOLTAGE
CONTROLLED
AMPLIFIER
VCOl
J-LJ-L
EXPERIMENT
2.
THE VCA
1.
Set the oonlrols on your
ODYSSEY to match the seltings in Figure C, This lim&, raise tb& white
NOISE
slider under the
AUDIO
MEXER.
As before, when you hit e not& on the kej-board, yOu will hear the noise sound.
2.
While hotting down a note on the keyboard, gradually
[ower the red
ADSR slider under the VCA.
Notice that this slider acts lite a volume control.
Bring this control all the w5y
down
and the sound will completely disappear,
3.
With this
ADSR controJ aHl the way down„ sbwly raise
\
FIGURE M.
the black
VCA
GAIN
control.
Notice
how
this control also acts like a volume control.
The difference between the operation of the
ADSR slider and the VCA
GAIN control is obvious.
The ADSR control depejids on playing the keyboard.
The VCA GAJN control has nothing to do with the keyboard.
The VCA
GAIH
control allows a certain amount of signaJ to pass through the at all times.
Bringing up the red
VCA
ADSR control will let the signal pass through only when the keyboard is used.
Actually, lo be nxre specific, the
ADSR slider lets the voltage produced by the
ADSR ENVELOPE
GENERATOR to '^open" the
VCA and let signal pass through.
The settings of the
ADSR ENVELOPE
GENERATOR controls will determine the speed with which the four
VCA opens and cIoms.
EKperiment with the
ADSR ENVELOPE GENERATOR controls to observe this effect,
EXPERIMENT
3.
THE HIGH
PASS FILTER
The
HIGH
PASS
FILTER
[HPF)
Ib another signal madifief.
It attenuates frequencies helow the Betting of its
HPF
cutoff frequency slider.
It is u^ful in eliminating
"Boominess" froiti low bass notes, and in simulating
Certain instrumental sounds.
The
HPF
is not voltage controlled.
Try moving the
HPF
control slowly over its range v?hile
holding down a low note on the keyboard.
EXPERIMENT
4.
THE VCF
The Voltage Controlled Filter
(VCF) is the most important modifier on any synthesizer. Thfi
VCF is responsible for taking the raw signals
Pfom the
VCO, Ring
Modulator, and the Noise Generator and shaping them into useful musical sounds.
The VCF in your
ODYSSEY is technically called a
"low pass ftlter."
Low-pass means that the filter wiU pass all audio frequencies below a certain point (called the "cutoff point") aitd will filter out all frequencies above this point.
1.
Set the controls on your
ODYSSEY according to
Figure O.
In this set ting
^ the sawtooth wave from the
VCO is entering the
VCF through the
AUDfO
MIXER.
Also, the
VCA GAIN control is raised so that any signa] passing through the
VCF will be heard.
2.
Play a note in the middle of the keyboard.
You
don't have to hold it down.
Slowly raise the
VCF FREQ control and listen to the effect.
Notice
how
the sound gets brighter and louder as you raise this control.
It does so because you are raiding the cut-off frequency of the filter, thereby letting more and reiore high frequencies pass through.
'
^.-;
=
^
'i
"
"^f~
11 -U' jl Jl a ...
11= i'
11"
Jl It ll jl"
It x-'s^'
'1
II it'
1 ft
1 1
:
^'-~.
"fr
IT ff ft fi fl
1T
1
^
.^^».5.=s".;
1
'.-:
•
•
*
:
1, i 4
-J-
4 i i i
,1
4 1
™"-™i '--
.|H
5ii|.ii
i.p
1
Z.
Slowly lower the
VCF FREQ control.
Ths highs will fade snd finally th& whole signal wLli be filt^rfid ovi.
4.
Lower the blue
VCO
1 slider under th$
AUDIO
MIXER and raise ih& white
HOISE
slider,
Again open and close the
VCF hy raising and lowering the
VCF
FREQ control.
5.
Notioe
how
the noise can be made to sound like surf by opening and closing the filter slowly. Raise the
FIGURE P r
H
S,
I fl
S
D
RESOW/U*CE
slider about h^tf way up and try the same experiment.
Hotic«
bow
the noise
now
takes on a whistling quality.
This pitch-like whistling is caused by the resonance of the filter.
Remnance emphasizes a narrow band of frettuendes just at the filter cutoff fr«{Ufincy.
The more resonance you add, the more emphasis, and consequently the more pitched the sound becomes.
Lower the noise shder and listen again to the
VCO sawtooth wave. Again move the
VCF FREQ control up and
down
slowly with different settings of the
RESONANCE control, Notice that when the resonance is between the 1/2 and 3/4 marlis you can actually hear the individual harmonics of the sound as you slowly sweep the
VCF FREQ up and down.
If you leave the
RESONANCE coflttol about half way up, and sweep the
VCF FREQ up and down, you can preate a
"wow"
type of sounnj.
Leave the
VCF
FREQ control all the way
down
and raise the red
ADSR slider under the
VCF all the way up.
When
you hit a key on the keyboard, the
ENVELOPE
ADSR
GENERATOR produces a signal which
vnilopan and close the
VGF automatically, producing a
"wow"
sound.
ExperJTn&ntateoni with thssatEin^ of tli&
ADER slider will show the simsliarit ies between ihe response of this control and the rMponse of the
ADSR dider under the
VCA.
Lower the
RESONANCE sSid&r
^nd ejcperiment with the different settings of the
ADSR slidet under the
VCF.
Trv changing the settings of the ffiur
ENVELOPE GENERATOR controls.
ADSR
Lower the ADSR conirol again,
^nd set the
VCF
FREQ control about half way up.
Now.
set the switch under the yellow slider to
LFO and raise the yellow
LFO ^.y\^^ stider under the
VCF.
Notice the iremolo effect that is created.
Lower the
LFO slider and increase the
LFO SPEED until you adiicve a good tremolo sound.
>.
Lower the labeled
LFO slider, and raise the black slider
KYBD
CV
S/H under the
VCF.
Normally this slider will allow you to control the
VCF from the
]c ay beard,
B
1
1
^'-,
1
V
1
•
-f
|t|
ill
u
uu
1 1 1
1 i i s H
1 i
!
FIGURE
Q.
11.
Let's try contralling the
VCF with the keyboard.
Set th& contrcils on the pan&l ss above.
Now when you
pky
on the keyboard, the pitch of th& filtered noise will follow the note played
on
the keyboard.
If you lower the black
KYBD slider under the VCF, the keyboard will have no effect on the pitch.
12.
Raise the yellow slider all the v;ay up again
^ and raise the while slider under the S/H MiJter box.
Play the keyboard. Hotice the random changes in the filter frequency.
1 3.
Plug th& pedat into the appropriate jack on the baek of your
ODYSSEY, When
the pedal is plugged in, the S/H Mixer is disconnected ftono the VCF, Set the switch under the black sUder to the Pedal position.
The PEDAL can
now
be used to open and close the
VCF, The range of the pedal will be determined by the setting of the black slider under the
VCF.
14.
Th&
VCF can also function ss an oscillator.
Raise the yellow sltder under the
VCF all tti$ way.
L5.
All three sliders under the down.
AUDIO MIXER should be
Tum the
RESONAHCE all the way up and tune the resuming tone with the
VCF FREQ controL
Sat the switch und&t the bEack sMeir back to the
KBD position.
You can
now
hear a pnjre sirte wave ganetated by the filtat,
Controllers
Controllers are devices on the syrthesizer which are
u^d
to artd
CTeaie el&ctrical signals wbieh in
tum
control modifiers sources on the synlhesiser.
For instanc:*, the mos obvious oonlroUeron the kejrboard
ODYSSEY is the keyboard.
The produces a voltage which controls the
VCO and can control the
VCF, Other controllers on the
ODYSSEY are the sample and hold,
ADSR ENVELOPE
GENERATOR, HPF, LFO,
PITCH
BENE) CONTROL, and
FOOTPEDAL.
By this linte you have had an opportunity to experiment with each of these eontroHers, so let's just review the functions of each of the controllers.
KEYBOARD AND
PEDALS-
The KEYBOARD producei two CONTROL VOLTAGES.
Th«sc voluicief are The time if rrane or
oM
key is do pressed on the keyboard.
(If no keys ate d&ptes56d on thi^ keyboard, tha control voltages correspond tc the last kffy playedO
K two ot nwre notes are depresa»d, the first contfDl volt^i ooTFesponds to the lowest ittey depressed^ and the second oottirol voltage corfssponds to the highest depffl^ed.
The first oonirol voltage it always connected to
VCO
1, unless
VCO
1 is set to the
L.F-^ rtiode, in which case the keyboard is disconnected fronj control voUa^e i?
always
VCO
^nnecied lo
L
Th?
seooftd
VCO
2.
When
VCO
2 has
SYNC switched on, the keyboard js still connected to
VCO
2, although in this case it does not directly control its frequency, but rather its harmonic content, ax do the tuiurigi itklecs for
VCO 2 in this cast.
(Try it.)
The first keyboard control vohage can abo be connected to the
VCF by laisiiag the appropdtte dider under the
VCFr This was investigated during the esperitnents with the
VCF.
It is iinpoitant to
knaw
that the
ODYSSEY has a buOt in memory, which hoWa the last note played on the keyboard, This kteps the pitch information around during the
RELEASE cycle of the
AR and AC^R envekjpe generators, as
wo
shall see.
The keyboai^ On the associated uriih it.
ODYSSEY has several «jntrols
These include the
PORTAMENTO slider and
PORTAMENTO SWITCH.
The
TRAMSPOSE
S
WITC H
wiU shift the pitch o f t he keyboard up o r down ejucily two octAves.
The
PITCH
BEND control will be discussed in a sep^arate sectton.
PORTAMENTO is
5 "sliding effect." Set up your
ODYSSEY as shown in Figure M.
Raise the
ADSR oontro) under the the
VCF.
As you play on the keyboard, hold liovm
PORTAMENTO pedat, raise the
PORTAMENTO slider and listen to the resulting effect
.
The foot switch supplied with your
ODYSSEY is used to turn on the
PORTAMENTO.
Thus you caj^ set ihe glider
PORTAMENTO for a certain glide speed and then turn it on and off with the foot switch.
When
the fool pedal k plugged into the b^ck of your
ODYSSEY,
VCO 2 and the
VCF can be controlled by it.
(The signal from the
SfH Mbcer is automatically diEOOnnected by inserting the foot pedal jack as explained earlier.) Several of the patches make use of t}»e foot pedal for wah-wah and other effect?.
ADSR AND AR ENVELOPE GENERATOR;
Each time d note is pressd on ihe tieyboird, the keyboard qeneriates a '"uigger" ognat thai initiates an attack from th^
ENVELOPE
ADSR.
A oompl&te cycle of the
GENERATOR
(ooks like this;
DECAV
t
"S" StJSTAiN
>^
LEV El
Output of the
AESR EMVELOPE GENERATOR will svemually r«ich the Sustain Level "S" and $tiy there until the keyboard is released.
Upon release of the key^ the Ducput of the
ADSR will drop back
down
(O zero at a
TAie detennined by the setting of the
Retiav Control.
This releatt part»n gf the cyclt ii represented by the latter ''R."
The
AR
envelope generator is jusi
Hke the
ADSR generator except that there is no decay, so that the sustain tflvel is the maKimurr level.
This gives the same effect as the
ADSR generator with the ''Decay" control at n\lnimum
md
the "Sudaki'" contioi at m^xjinun:).
A complete cyul* looks like this:
When
a key i^ depressed, the output of the
ADSR uses dt i speed dfiermined by the setting of the
"ATTACK*'
eontct^l.
ThJE attick is repr«sflnLed above by the letttr
"A." WhetJ the attack has reached its peak, it aulomaTkraily turns, i70und and begins htdding
down
iqsia at i f
*tt conitoUed by the
"DECAY'' control.
This pact of
[hfl cycle ts^ represented &s the letter ''D."
The
=D e s::~ i
I
0-@
I s
#
#,
»
•
4 *
is
1 iii i
FIGURE
T.
With your ODYSSEY controls set as in Figure T, depress any ksy on thekeybo^ni. Rais& the attack sUder on the
AR generator a little way and depress a key again.
Continue to do tbiSf each time raising the attack control a.
little more mitil it is all the
way
up.
Then move it
down
1
U
mill
V
tf tt
I
I
1 1 1 1 1 i.
»;:
I
Irl !
again and npeat th£ whole prooedure using the release slider.
Now experiment with VCA oontfol by the
ADSR generator^ move the selector switch under the
VCA
i
k^
§ is!
* cOfttrol atteniiator
down
atid try various setting; of ths four
ADSR controls.
By
closing the
VCF
Freq slidir and opening the third attenuator under the
VCF all the
way
as ia
Figure U, you can give yourself a similair introduction to
ADSR and
AR
control of the
VCF.
Experinient too with various conibinations of the
VCF freq and control attenuator settings, and with various mixes {by means of the input attenuaEOFS to the audio mixer) of signats from VCO
1 and
VCO
2.
Up to
now
you have been triggering the envelope generator^ Only from thekeybogitl.
By means of the three switches at the bottom right of Figure V^ you car also trigger the envelope generators with the LFO, Move all three switches dowrn and set the other controls of your
ODYSSEY for
AR or
ADSR control of the
VCF or
VCA as in Figure V.
Wow try different settings of the
LFO freq slider from low to high.
With the first switcih dov^m and the second switch up, a series of events will be produced
(triggered) by the LFO, but onty when a key is depressed,
This
Ls useful in simulating banjo-picking and strumming.
SAMPLE
AND
HOLD
The sample and hold mixet (5/H mixei) selects and
Mmbines
sign^s to be fed to the sample and hold carcuii.
These signals c^n also he routed to control
VCO
2 and the
VCF.
Under each of these two funcTtions is a switch labeled "S/H miKer ot pedal."
When the foot pedal is plugged into the Odyssey, the lower position of these switches selects control by the pedal
; if the foot pedal is disconnected from the hack of the Odyssey, the sgine switch position s&lects control by the output of the Bfti mixer.
The sample and hoJd circuit is a controller; it is used only to control
MCO
I,
VCO
2, andVorthe VCF.
in order to hear what it does listen first to
VCO
2 as you have done before and then experiment with the controls indieaiedin
Figure W,
By "sampling" at a given itistant the signal voltage from the S/H nuicer, the sample and hold cjrcuiE produces a series of voltage levels.
If these in turn are used to control a
VCO, the result is a series of pitches.
The switch under tha sample and hold citcutt selects either the
LFO or the keyboard as a triggering source.
If the keyboard is selected
{Figure X), then a new sample will be talten every time you press a key, Using this with the S/H going into the
: ft ft-f-
y
E i
;
FIGURE
W,
1
1
1
34.
SAWTOOTH
INPUT
h>rj> r>^rf>|
RANDOM
NOISF.
ENPUT
'mihiifimpf^M
I
I
I
I
COMM AH D PULSE
I I
I I
'
' ftAH
DOM OUTPUT
'
I I !
1
OUTPUT
1 i
1
1
I
I
1
I I ^
1
I
1
1 1
I
|
I
_
I
I
I
1
III
hrhhrti
i tP
^ J r
J
j
tf
FIGURE
X.
VCF can give you random timbtescn each noie, ]i th^
LFO is wlectfld, then new samples will be tak«n at [-eguJar inurvaJls oortesponding to the fremucflcy s&ttin^ of the
LFO
When
the signal sampled is primarily noise, the voltage levels will be random and s> of output coutm will be the pitches pioduoed from
VCO
2; but if the agnals teing sampled ate regular and periodic {any wmbination of the
VCO
1 and
VCO 2 signals}, then the output from the sample and hold cireuit will tend to be a repeating pattern also.
It
may
be an extremely complex one, or it
may
be extremity ^Tnpl?.
For an example of a simple one, switch
VCO
1 sawtooth Into the S/H mixer. Use the sample and hold output to control
VCO 2 and hsien to
VCO 2 throLtgh the audio nuxer. S?t
the
LFO freq to about halfway up, and the
VCO
1 freq at about 2 Hz.
You
should hear a descending "staircase" of pitches, like a scale passage or an arpeggio (Figure Y)
,
Speed up VCO
1 freq jnd h&ar the repeatiifig patterns:.
}
FIGURE Y,
The output lag slider (Figure Z) "smoothes out^' sudden chang&s of voltage froiw the sainple and hold circuit, V^itti the same patch you have been listening to^ mov& the slider slowly from "min" to "maic" and back again.
36.
LOW FREQUENCY OSCILLATOR
The LFOon yoijt
ODYSSEY^
as^ycti have alfead/ seen, is used to Cfeate voltages which produc* vibrato, tfiJl, tremolo, and other effects when these voltages are applied to the
VCO or VCF.
The LFO produces both a -sinew^ve output ^nd a ^uare wave outpLit,
Ths ^inewave output ts used to create vibrato and tremolo effects and the square wave is used to cieate trills.
The LFO is also hooked up to the
ADSR ENVELOPE GENERATOR, via the
REPEAT
SWITCHES.
PITCH
BEND CONTROL
The Pitch Bend knob is a live performance control for bending notes, It also e-xtends ths tuning irange up to art e^rtrai octave beyond rtOfmaL This control permits you to realisticaltiT
"bend" pitches in order to recreate the kinds of effects and create sounds th^t are not imitative of traditional instruments.
When
recreating the effect of the pitch bend of traditional instruments, however, limit the pitch deviation to approximately one half -step, This is the most useful and oonamon effect employed by guitarists, including those
who
work with rock groups. Notice that the normal position tot the pitch bend knob is in the center of a
"dead zone" where turning the knob stightly either way results in Lttle or no pitch change. This feature lets you
"feel" the normal position while playing, without having to
ICNok, at the panel.
By taking advantage of the fact that the range of this
now
is exactly up or
dovm
an octave^ you can use the
PITCH
BEND CONTROL as an auxiliary
TRANSPOSE switch, or you can u^ it as a guitar "string pull" effect with a haid
5top wrfien the instrument is exactly in tune by turning [he switch aU the way to the left and playing an octave higher.
This is very similar to a
'Tremolo Bar" on a guitar, although on both instrun>ents actual change is in frequency,
EXTERNAL AUDIO INPUT
On
ihe back of your ODYSSEY you will see a jack lahelad
"EXTERNAL AUDIO
INPUT.'
'
This jack is used to briftg an externa] signal, such as the output of an Organ, electric piano, other srynthesizciy, etc.
, into the Audio Mixer and
VCF
In your ODYSSEY.
The EXTERNAL AUDIO
INPUT
has a fiKed sensitivity.
The sensitivity is
Adequate for use with most electronic instruments.
However, some very low levej signals, like dynamic:: micirophones and low level guitar pickups,
may
have to J>e preamplified before entering the ODYSSEY.
Many
guitar amphfiem have a separat* preamp output that can be used for this purpose.
Once an external signal has been brought into the
ODYSSEY,
it can be processed through the VCF, The footpedal is especially useful in processing ejrtemal signals sinoe the
VCF can be made to perform like a wah-wah pedal, with adjustable range and resonance.
Ac the same time you are processing an external signal, you can also add in signals from the VCO's and noise generator, so it is possible to create a rich and complex texture by combining both the external signal and a signal generated by the
ODYSSEY VCO's or
NOISE
GENERATOR, and then fLlcering the combined signal with the VCF.
I^F^ERFACE
JACKS
Your ODYSSEY is one
member
of a whole family of ARP synthesizers and synthesizer accessories.
As such, it is equipped with input and output jacks that allow your
ODYSSEY to control other
ARP synthesizers or to be controlled by other ARPs. For instance, you can use two
ODYSSEYs together and play both of them from one keyboard.
Or you can hook up your ODYSSEY to control an
AXXE, LITTLE
BROTHER, or 2600 model.
Similarly, if you already
own
a
2600 or String Ensemble, you can remotely slave your
ODYSSEY lo the 2600's keyboard.
The possibilities created by the
ARP INTERFACE
JACKS
are endless.
If you wish to hook up two ODYSSEYs in a nxaster-slave telationship where one is controlled by the other's keyboard, ?imply connect the jacks labeled
'•CV IN,"
"CV OUT,"
"GATE
IN," and
"TRIG
[N'' jacks on the
Slave.
If you wish to slave more than One another, the second slave
ODYSSEY from
ODYSSEY is hooked up to the first stave in the same way that the first is hooked up to the master, i.e.,
CV,
GATE,
and
TRIG
OUT to
CV,
GATE,
and
TRIG
IN, See diagram on the following page.
Generally the
Audio Outputs of
Little Brothers are tx>nnacted to the input of some other unit.
"Y"
adapters "Y" adapters
INTERFACE
JACK3
Master will control both Skres
Odyssey
,T&
Amp
PANEL CONTROL
DESCRIPTION
CHART
" vAlifl tn^ pin\ii.
naLu whkh
Li ui«] Jn >cv«atmc[ unpjtcti#d effect:!
Like thundic, lurf and wind.
til*
(hfl
Veli^e CoDtTollfd iJide tuEiLDg coBitroli,
OfdHaleH
|prodTJC« pdtctMid ton«i.
TtM pitch of ib* MCiltKOm
1$ eumoUtd by
(he k#ybP3rd, ttie ^Ei;h l^nd ^tiab,
^nd other cqnirotlcrs.
TTia
Low
Frequency
OjdLUtor {LFO) is ecncrcillcr; its output tlgnbl it lited to {ftut vibrtio, tremalo, f«p«ii mi olhtt elfecti.
PcflaRMnEfl «I1aws you i«tUd» ereoa
Aavi»t« to
Ik* tma.
TUt covtroL
AMmnlnH
tht ip^cd Hbf the flSW*.
Th* p«r(«m»nto pedsL turns ihit itfutn on and off.
Fktch 8«n<l
: ti^ caatio]
Iwndi nol>H
QcliM lluup up to oik
m
flat.
TiM
6Ml*f "d**) tenvt" fACittUE*) tijciln^.
In add-on lo axtenduig tbc tuning fingifl of the synthsilUrupaTid down tn
*5(U-< flcSivn, the fhch
Bend ecntf^l pei-miu you to b«nd individual Dot«.
liinuUlLnq thr "pit^ btfld" ttchniEiut?
by nunv f uLtamti.
cStd ihiftiiM|"quahEy,
'[lie Sample jjid
Hn]d li
UMd ta c-zeate a tandem ot r«rulaj urje^
Qf l^nei or accpnti.
"
PANEL CONTROL
DESCRIPTION
CHART
The Volugre Cgncroikd Filter is the hejrt of th* SyothesiWr.
H
is ustd to create indSvWuat charactemtics for ach sound you make.
TK«
VCF can also function a«an QscilSatQi.
The Audio Miner governsche volume of the oscillator and nois« signals going into th« filter.
Thtr High-Pass is used to remove llie low fi^e^uecides of a Ncnuid,
The Envelope GBnerator is used to pjograin the attack and dscay^ of sounds.
The Voltage ContioU^d Amplifier
(VCA) govflins the yolume of the synthesiser's output.
The Ring MfldulatPr iniermodulfltt!
VCO
] and
VCO
2.
The VCF can be j:ontTo]ied hy the
KYBD
or 3/H.
foot pedal ovenldw
Ih* S/H whcii it is p^ujgwl in.
The
Repeat Switch;
The
Repeat Switch has thrc* nwdes;
GATE, Auto R*pe*t, »nd
KYBD
REPEAT.
KVEP
1.
You
may tend at first to think of the oontrot sdiders on the
Odyssey as something like sEOp tatus on an electronic or^an.
That is, you
may
be tempted to set them in 3 certain wgy and then '^play" the
Odyssey only from the keyboard.
Try to overcome this temptation.
Use the shders in performance, Learn to change the ifflundi you are producing while you are producing them.
2.
The patches given in this nrtanua!
are very basic.
Do
not hesitate to search for improvements and variations on your own, In many cases a sUght change in the position of a single control slider or attenuator can make a large difference in the sounds you are producing,
3.
Resist the temptation to merely Op^n as many sliders as possible, as far as possible.
If
you
just
have to
stort
here:
INSTANT ODYSSEY
Set up the sound shown on pa^e 43
(Opposite).
Ptay a two-part piece on iKe keyboard.
If yon he^r two voices with pedal Cfontroi, turn the pag& ^td try more sounds.
If what you hearts nothing like two voices with petial control, or if you don't hear anything, dieck the following things;
1}.
2).
3).
4),
S).
6),
7).
Is the "sync off/on" siwitch turned off?
flop of Oscillatoi2).
If It's on, you'Jl hear only one voios even ihough you press
down
two keys.
Isnhe "audio kbd on/LF kbd off switch turned on?
{top of Oscillator
1).
If it^s off, your first tone source
(VCO
1) will be
way
below what your ear can hear.
Is the "fiPF cutoff" slider alt the way down?
ftop of High Pass Filter).
If it's up, you are cutting off yoyr sound bjr eliminating all but the very highest overtones.
Is the "VCA gain'' sJider down?
(top of Voltage Controlled Amplifier),
If it's up, you'll hear aaund all the time, even v^fhen you take your hand off the keyboard,
Are the "attack, decay, sustain, release" sliders raised partway? (under
\t they're all down, the attack
AD3R Envelope Generator).
& decay of your note wiU make only a tiny btip.
U the Odyssey connected to the right amplification system? (back of instrument).
The "low level" output On the back is fora standard muacal instrument amp; the "high level" output is for a tape recorder, stereo amptifier, or electronic organ.
Is the Odyssey plugged in?
Turned on?
NOTE:
All sliders not itlustrat«d should b« all the woy down,
Switches not iUu5trat«<l da not affect the sound qui put in cither position..
r
"f"
1
I
'="!=
'"T
\ ft
I e
L
1
Ba
fl 13
B\ E Is.
OmOHAL
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VCO
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2 to unison by holding
down
any key.
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2.
Phase-Synchronized
Oscillator
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Timbre chsn^es slightty with each note.
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4.
Trumpet
5.
Tnjmpet Chorus
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Play separate delactied notes.
48
6.
String
Chorus
Single voice.
7.
Flute
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Use
PITCH BEHD to "bend" nocos.
8.
Electric
Boss
1 frit
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VCF
VCF
RESONANCE
FREQUENCY
u
self^Jseillating
10 a fiftll aboje point; the VCOi.
9.
Screomo
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NOTE:
Keyboard will
"tune" metallic: souad; and add off-beat accents.
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Sample
& Hold Percussion
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2.
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VCOs
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2 itj different frequencies for different metallic tUlibr«»
54.
12.
Gong/Chime
specifications
MOISE
GENERATOR
Noise spectrum types:
White and Pink
TRANSPOSE
Positions:
Down
2 octaves, normal, up
2 octaves
PITCH BEND
Frequ&nty shifl:
About +
1 oct.
(exactly
-t-l octave on Odyss&y-II)
PORTAMEMTO
MaMmuin
speed:
About .01
msec/ott.
Minimum
speed: Abotjt 1.5 seooitds/oct.
VOLTAGE CONTROLLED OSCILLATOES
Wawfotms: Sawtooth, Square, Pulse,
Dynamic
Pulse
Frequency range: to
VOO
1 in low freq.
mode,
.2
Ha.
20 Hz.;
VCO
1 and
VCO
2 (audifl range)
20 Hz.
to 20 KHj.
Warm
up drift
:
1/30 semitone from turn on mix.
Pulse width:
S0«
to
5%
Pulse widtii modulation:
ADSR,
f4i%; LFO,+ 1551
Voltage oontroUed tesponsc: 1 V/oct.
Maximum
frequency shifts:
Oct.;
LFO ane wave,
LFO square wave, +1.5
Oct.;
+1/2
ADSR
Note
:
+9on.;S/H '2oot.
VCO
1 is low note priority;
VCO
2 is hi^h note priority
VOLTAGE CONTROLLED
FILTER
Type;
Low
pass
Frequency range:
1
6 Ha.
to 16 KHz.
Maximum
usable Q: 30
Resonance 1/2 to self oscillate
Voltage controlled response:
IV/ott.
VOLTAGE COHTROLLED
AMPLIFIER
Dynamic Range; SOdB.
56,
RING
MODULATOR
Type: DigiEa!
Input signals;
VCO
1 and
VCO 2 square v^aves
SAMPLE AMD HOLD
Cammand
sources:
Keyboard Of
LFO trigger
Sampled signals:
VCO
1 square wave and sawto&ih wave,
VCO
2 square wave and pink noise
ADSR ENVELOPE
GENERATOR
Attack time: 5 m&ec.
to 5 seconds
Decay time:
10 msec, to fl seconds
Systain level; to It^QX otpeat
Release Linw: 15 mesec, to 10 sec.
AR
ENVELOPE GENERATOR
Attack timei 5 msec, to 5 seconds
Release time
;
10 msec, to
S seconds
AUDIO OUTPUTS
High level; 2.5
V
PP max.; lOOK impedance
Low
level: .25
V
PP max,; lOK nnpedanee
INTERFACE
JACKS
Keyboard CV IN/OUT:
1
V/oct.
Gate
OUT;
HO
V, key down;
V
aU keys up
Gate IN: -i-S
V minimum
Trigger
OUT:
+L0 V pulse on key depression,
Trigger
10 microsec.
ducation
IN: +fl
V pulse min., 10 microsec duration
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External Audio Input:
500 millivolts for full
Output
•
1 I t
^

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