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It opens many invaluable sound design secrets in form of deep but easy-to-read, illustrated articles on synthesis, effects processing and sampling. Additionally provided are lots of example patches, templates, raw sample materials and audio demonstrations. The Fantom Tweakbook covers an overwhelming amount of topics, including subtractive, additive and vector synthesis, ring modulation, analog sound replication, envelope, LFO and matrix modulation, using effect processors as synthesis blocks, sampling and re-sampling, advanced processing of internal and external sounds, using in conjunction with other gear and much beyond.
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It opens many invaluable sound design secrets in form of deep but easy-to-read, illustrated articles on synthesis, effects processing and sampling. Additionally provided are lots of example patches, templates, raw sample materials and audio demonstrations. The Fantom Tweakbook covers an overwhelming amount of topics, including subtractive, additive and vector synthesis, ring modulation, analog sound replication, envelope, LFO and matrix modulation, using effect processors as synthesis blocks, sampling and re-sampling, advanced processing of internal and external sounds, using in conjunction with other gear and much beyond.

Roland Fantom Torrent

Combined with featured dictionary and parameter map, it is a great knowledge resource for both newbie and hardcore Roland users. Copyright All contents and materials of this book are copyright Artemiy Pavlov, all rights reserved. Redistribution or publishing of this book in whole or part, in any form, without an agreement with the author is strictly prohibited and is subject to prosecution by law.

About The Author Artemiy Pavlov was born in in Kharkov, Ukraine, in a family of an electronics engineer and a math teacher, both of which were also musicians. He naturally paid a lot of interest in sound both as an art and as a physical phenomenon, and nowadays its both his passion and profession.

In the eld of sound design and development, Artemiy worked with companies like Roland, Native Instruments and Spectrasonics, and created a number of successful products for his own Sinevibes, such as books, sound libraries and software plug-ins.

He also is a PhD student at the Kharkov National University of Radioelectronics, doing research in the eld of electromagnetism and articial structures. Artemiy is married since , with two daughters born and You can read more about Artemiy Pavlov at these sites: Also, it is assumed that words and abbreviations like envelope, LFO and lter are in your vocabulary.

To help you out, there is a little Dictionary, as well as a Parameter Map at the end of the book. Before you start creating a patch by following the steps described in a given article, you must rst clear initialize it, so that all parameters get reset to their default values.

Example patches and templates The example patches and templates for this book come in three different formats, and you can choose the one thats most appropriate for you. Please remember to back up your data before loading these patches, otherwise you may loose some important work. SVD format: Librarian format: MIDI le: To recreate the Solo Synth patches, simply open up the Solo Synth editor screen and enter the parameters from the table.

Waveforms In many of the articles we will be using the so-called “basic” waves to synthesize sounds. In general, the basic waves are: In the wave ROM bank A of Fantom-based series there is a vast selection of basic waves, with lots of variations per wave for example, there is over a dozen saw waves. Wave variations are similar in shape, but derive from different sources and have their own unique spectrum and character.

Note that not all synths offer the ADSR shortcuts, so you should know these correspond to envelope parameters Time1, Time3, Level3 and Time4, respectively. In order to make things more simple, the structures include only those blocks e.

For example, when we use just a wave and a lter, the TVA, LFO and other “bricks” are not pictured because their settings are left default.

This doesn’t mean that, for instance, TVA doesn’t take part in synthesis of this given sound – it certainly does, but for simplicity it is omitted from the structure drawing s. Also, for the shown synthesis blocks and effects units, only those parameters are given which have values different from the default. Everything Out Of Nothing Creating great new sounds with simple tools. Unisonic The rst thing we will do, and the most simple way to create a new sound, is mix and detune several different waveforms.

Just by adding a lter with an envelope, you can get a wide variety of classic analog-type sounds. As you may know, detuned waves cause the so-called “beating” effect that adds amplitude modulation to the sound at a frequency equal to the difference of the detuned waves this effect appears anywhere two waves oscillate, not only in a Ring Modulator. The more waves you mix up and the more widely you detune them, the thicker and more pulsating the sound gets.

In analogue and virtual analogue synthesizers, when two or more waves are detuned, it is also called a “unison” mode. Start away and create a simple unison sound: Set the waveforms of tones 1 and 2 to saw.

Increase the Fine Tune of tone 2 slowly while auditioning the patch, and hear how the resulting sound changes as the frequency ratio grows. But, let’s do a little research. Do you hear that the very beginning of the sound is kind of weak?

Why is that? The thing is that in analog synthesizers, oscillators always generate sounds, and they are always out of phase.

But in PCM-based synthesizers like the Fantom, a generator starts playing a sample only when you press a key thus, with very same waveforms being detuned, the rst few cycles appear to be almost in phase, there is not much detuning happening and the sound is not as rich as we’d want it to be.

Fortunately, there is a way to go away from this: Roland engineers put multiple variations of saw, square and other basic waveforms, and since they all have different spectral characteristic, there will be no weakening effect at the beginning. Basically, this way you can create many analog-type synths, basses and pads.

For instance, let’s make a classic 3-oscillator bass sound with two detuned saws and a square one octave down: Just three oscillators, three lters, and a classic synth bass is ready Take a square wave for tone 1. And a fat, rich synth bass sound is ready!

As you will see in further, using this technique, and a few tricks you’ll learn in the next articles, you can recreate a large part of the whole spectra of classic analog synthesizer sounds. You can layer several unison patches in performance mode and have several dozen detuned oscillators for a really huge sound.

Listen to Trance Saw Same. Wave arithmetics, part 1 As you understood from the previous article, mixing and detuning waves can produce some interesting results.

However, another tweak-worthy thing is to mix two of the same waves, one usual and one phase-inverted, at different pitches. Let’s hear and see what happens if you detune them. Set tone 1 and tone 2 to saw and inverted saw waves, respectively. You can play this patch and hear a very silent saw wave in an ideal situation, the product of mutually inverted saw waves would be silence.

Press a key, and start detuning one of the tones with Fine Tune while hearing what an interesting morphing saw you get – simply because the two base tones are phase-inverted. What you hear now can remind you of a sound common to the Juno series synths from Roland and you can view the new waveform you’ve just created below. Summing differently-pitched phase-inverse saw waves can give some interesting results note that ROM waveforms all start from 0 amplitude value The Juno Lead patch is just a sum of a saw wave and inverse saw wave one octave down, with some additional ne-detuning and vibrato added by LFO1.

Audition this patch in JunoLead. Addi c tive synthesis Without any doubt, one of the most widely-used sounds on a sample-based synthesizer like Fantom or Juno-G is Hammond organ like that of the famous B3 model. It’s sound, in a nutshell, was formed using what is now called additive synthesis – the tone wheels generated signals close to sine waves and then several of them pitched at different frequencies were mixed with the drawbars to get the nal sound.

At the beginning of each key press, a so-called percussion section also added a short sound tuned at a fth an octave or two above the rst drawbar. You may not know it yet, but it is possible to create a very convincing B3 organ emulation using your synth, and all you need is Set all tones to sine waves. Tone 4 will be used as a percussion generator but also will sustain to be the fourth tone wheel.

So create a falling envelope with a little sustain for it: Using the TVA Level parameters of the tones as the drawbar sliders, form your own Hammond organ sound. Now route this patch to Rotary MFX and you’re done. As you hear now, you got a very realistic Hammond organ.

Try different tone levels and coarse tune settings to get other variations of this sound. The rst one lets you set up a tone play on key release instead of playing on key press, and the second allows for creating delay effects right on patch level plus it can be synchronized to the MIDI clock. Let’s see how these can be used. Filling the gaps with a reversed tone One interesting trick with Tone Playback Mode is making one tone with a falling lter and amplier envelopes playing normally, another tone with reversed envelope times and set to play on key release: Set tone 1 waveform to a super saw.

Create a slightly longer falling TVA envelope: Now copy this tone to tone 2 and reverse both envelopes by swapping their Decay and Attack parameters. The patch Bell Strums quickly plays several bell sounds as a strumming sound. Flange ensemble You may not know this yet, but the anger effect essentially is a delay line whose delay time is controlled by an LFO.

It produces periodic spectral changes because the original signal and the one delayed appear out of phase and eventually with inverse phases. One of the many secrets Roland’s PCM synths hide is that you can create a very similar effect on the patch level, but not using the tone delay feature. If you take a waveform with a rich spectrum, like a super saw synth, or a percussion loop, assign it to two tones and then slightly detune them, you will already hear a ange-like effect this is due to the fact that one of the samples is played back slower and thus it appears that each portion of it sounds delayed compared to the rst sample that is faster.

As you keep holding the key, the delay time will increase and after a few seconds the ange effect will go away leaving you with a usual delay effect. But to make it work like a anger, you should simply use an LFO to detune one of the tones cyclically.

For example, creating a simple synth sound using this trick takes just two steps: Set tone 1 and 2 to a super saw waveform. Not much on the picture, but quite some in your ears Flangy Ens demoed in Flangy Ens.

Since the Ring Modulator applies amplitude modulation to one input signal using another, the resulting spectrum contains many high-frequency harmonics not present in any of the input sounds.

So, the common concept for creating bell sounds is to use a middle-frequency sine which be the base-frequency signal and a high-frequency sine to add a metallic sound. Let’s see how really simple it is. Set tone 1 and 2 to sine waves. Set tone Structure Type to 7. Increase the Coarse Tune of tone 2 while listening to the sound and hear how the resulting sound changes. Tweak the TVA Level of tone 2 to vary the amount of modulation in applies to tone 2 and notice how the sound can change from smooth metallic to distorted.

For smooth bell sounds, set TVA Level to Create a falling TVA envelope for tone 2 with decay time equal to release , and you have a simple yet nice and fresh synth bell sound ready.

By setting the TVA Level of tone 1 and Coarse Tune of tone 2 to different values and also using different lters for tone 1 and 2, you can create a really wide variety of melodic and non-melodic bell and metallic sounds, from tubular bells and various percussion sounds to electric pianos and beyond.

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