Multimoog Musical Instrument Manual de Serviço descarregar pdf (Página 18)

guided

synthesizer

tour

This

section

has

two

parts.

SOUND

AND

SYNTHESIS

deals

with

general

features

of

the

synthesizer

and

discusses

how

it

creates

and

controls

sound.

GUIDED

TOUR

presents

specific

features

of

the

Multimoog

and

presents

exercises

that

illustrate

those

features.

SOUND

AND

SYNTHESIS

Before

we

look

at

specific

features

of

the

Multimoog,

let's

talk

about

sound

and

how

synthe

sizers

make

it.

The

dictionary

says

that

sound

is

"mechanical

radiant

energy

that

is

transmitted

by

longitudinal

pressure

waves

in

a

material

medium

(as

air)

and

is

the

objective

cause

of

hearing."

The

key

word

is

mechanical.

The

body

of

a

violin,

the

bell

of

a

trumpet,

or

a

loudspeaker

all

serve

the

same

function:

they

are

mechanical

devices

used

to

disturb

air

molecules

(radiate

energy).

Air

molecules

that

disturb

the

mechanism

of

your

ear

affect

your

brain

and

cause

you

to

perceive

sound.

Sound

is

sound

There

is

no

such

thing

as

an

"artificial"

sound—only

sound

or

silence.

A

synthe

sized

sound

is

not

a

replacement

for

a

"real"

sound;

all

sounds

are

real.

Although

both

acoustic

and

electronic

musical

instruments

ultimately

make

sound

mechanically,

in

one

sense

the

synthesizer

is

very

different

from

acoustic

instruments.

This

difference

lies

in

the

way

the

performer

can

deal

with

the

properties

of

sound.

A

musical

sound

is

traditionally

defined

as

having

the

properties

of

pitch,

timbre

(tone

color),

loudness,

and

duration.

If

we

think

of

duration

as

simply

the

timing

of

loudness,

it

is

simpler

to say

that

musical

sound

has

pitch,

timbre,

and

loudness.

Performers

have

traditionally

given

little

thought

to

the

individual

properties

of

sound,

because

acoustic

instruments

generally

don't

allow

control

of

sound

properties

independent

of

each

other.

The

physical

construction

of

acoustic

instruments

dictates

that

control

of

sound

properties

is

somewhat

integrated.

For

example,

because

of

its

construction,

the

clarinet

has

a

characteristip

timbre

for

each

pitch

register.

It

would

be

difficult

to

play

high

notes

with

the

timbre

normally

associated

with

the

low

register.

The

trumpet

has

a

built-in

relationship

between

timbre

and

loudness:

soft

sounds

tend

to

be

mellow

and

loud

sounds

are

brilliant.

For

thousands

of

years

musical

instruments

have

had

this

characteristic

integration

of

control

of

the

properties

of

sound.

You

just

can't

tear

instruments

made

of

metal

and

wood

apart

easily

to

allow

independent

control

over

sound

properties.

Maybe

that's

why

most

musicians

have

had

little

interest

in

the

science

of

sound—so

little

could

be

done

about

it.

Electronics

is

changing

that.

The

rise

of

electronic

technology

has

revolu

tionized

our

concepts

about

sound.

Now,

with

electronic

means

we

can

override

some

of

the

physi

cal

tendencies

of acoustic

instruments—hopefully,

for

artistic

purpose.

For

instance,

screaming-loud

trumpets

can

be

recorded

and

reduced

to

a

low

level

in

the

final

mix.

In

this

case,

we

have

achieved

independent

control

of

loudness

and

timbre

to

create

a

brilliant,

but

quiet

trumpet

sound.

Maybe

this

is

what

early

composers

tried

to

achieve

when

they

wrote

"off

stage"

trumpet

parts?"

The

synthesizer

uses

electronics

to

maximize

segregation

of

the

properties

of

sound.

The

whole

idea

is

that

you

can

tear

the

synthesizer

apart

elec

tronically,

reconfigure

its

functions,

and

create

many

sounds

through

the

independent

control

of

sound

properties.

The

very

word

"synthesize"

means

to

create

a

whole

through

the

combination

or

composition

of

individual

elements.

The

modern

synthesizer

was

developed

in

the

early

1960's;

the

acknowledged

pioneers

are

Donald

Buchla

and

Robert

A.

Moog.

In

particular,

Moog's

designs

and

basic

ideas

have

become

archetypal

for

the

synthesizer

industry.

Early

versions

weremodu/ar

a

modular

synthesizer

has

separate

modules,

like

components

of

a

stereo

system,

that

offer

indepen

dent

and

variable

control

over

sound

properties.

These

modules

handle

electrical

signals;

modules

may

be

interconnected

in

different

ways

to

create

a

variety

of

sounds.

An

inexpensive

and

reliable

way

to

connect

modules

is

with

cables

called

"patchcords."

(Even

though

you

don't

use

patchcords

with

the

Multimoog

to

connect

its

sections,

a

given

control

panel

setting

is

still

often

referred

to

as

a

"patch.")

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