Arp Odyssey User Manual

Introduction

Welcome The ARP Odyssey brings polyphonic electronic music the performing avant-garde. phase-locked oscillators, digital ring modulator, sample & hold circuits, and most studio synthesizer.

to

the ARP Odyssey, the ultimate musical trip.

artist-rock,

It

includes such state-of-the-art firsts as

pop, soul, jazz,

of

the functions

of

a complete

or

to

With its ease Odyssey can produce an enormous variety live performance. Everything from thunder and lightning to

gong, fuzz guitar, and feedback distortion fingertips with the Odyssey's slider controls and patch switches. The Odyssey's foot pedal and foot switch add your expressive control. Its two-voice, 37-note keyboard has a nine-octave range. The Odyssey is compatible, and can be interfaced with all other ARP synthesizers. And, course, the famous ARP filters and oscillators give drift-free accuracy for professional-quality recordings.

of

operation and high reliability, your ARP

of

sounds in

is

at

your

you

to

of

2.

THE ARP ODYSSEY

the sound actually a mechanical filter and corresponds Voltage Controlled Filter (VCF) characteristic resonances its distinctive tone quality. The fingerboard, like the keyboard on your Odyssey, determines the pitch sound. The movement Envelope Generator, determines the attack and decay characteristics

Interconnecting the various functions shown in Figure A is

known as creating a illustrated in Figure A Similarly, it play of functions each function contributes

of

these vibrations. The body

of

the

body

of

the

bow, like

of

the sound.

"patch."

is,

of

course, a violin patch.

is

possible

on

the Odyssey. Actually, this visual representation

a patch permits you

of

the synthesizer are being employed and how

to

diagram any patch

to

better

to

the finished sound.

of

the violin

on

the Odyssey. It

that

give

the

The block diagram

that

understand what

to

the

violin

of

ADSR

you may

is

the

7.

FIGURE

A.

VIOLIN

BOW

DRAWN

ACROSS

STRING

CAUSING VIBRATIONS (Signal

Source)

BODY

OF VIOLIN AS A

RESONATOR

THE

ACTS

FILTER/

(Modifier)

I--+-

OUTPUT

VIOLIN SOUND

8.

I

FINGERS

CONTROL

BY

THE

AGAINST

FINGERBOARD

PITCH

PRESSING

STRING

THE

AXXE

I

KEYBOARD

CONTROLS

PITCH

+

OSCILLATOR WAVEFORMS

AND

NOISE

(Signal

Source)

t

I

MOVING

FINGERS

AND

FORTH

PRODUCES

VIBRATO

(Controller)

I

LFO

PRODUCES

VIBRATO

(Controller)

BACK

CONTROLLED

VOLTAGE

FILTER

(Modifier)

t

I

DRAWING

ACROSS

STRINGS

ATTACK

DECAY

(Controller)

i----.

I

ADSR

ENVELOPE

GENERATOR

(Controller)

BOW

THE

SHAPES

AND

OUTPUT

VIOLIN SOUND

NOISE

GENERATOR

..

i--.,

.____

AND

I

[ I

I

-1

SAMPLE

HOLD

MIXER

CONTROLLED

~

OSCILLATORS

- - - -

11-

VOLTAGE

j'

'

--

- - - - -

-

'

,_

RING

MOD

SAMPLE

AND

HOLD

' .

u

-

FREQUENCY

OSCILLATOR

TRIGGER

AUDIO MIXER

~

T

LOW

VOLTAGE

..

CONTROLLED

FILTER

'

VOLTAGE

CONTROLLED

-

AMPLIFIER

..

HIGH

PASS

FILTER

'

ADSR

AND

AR

PEDAL

ENVELOPE

GENERATORS

•

t

FIGURE

The figure above and internal connections in with our discussion be able to see exactly how the different functions interact.

B..

is

a block diagram

your

on

the

Odyssey's functions,

of

all the functions

Odyssey.

As

we

you

proceed

will

9.

The Voltage Controlled Oscillator produces electrical waveforms (saw-tooth, pulse, and square waves) which are used sound timbres. If a signal generated the same waveform instrument,

Different waveforms have different sounds. Your Odyssey is

capable

Sawtooth wave; full, brassy

Square wave; clarinet-like

both

of

as

a sound created

will sound the same.

creating six basic waveforms, plus noise:

on

your Odyssey

to

create a wide range

by

an oscillator has

by

a traditional

of

Pulse wave; bright, nasal

Modulated pulse wave; chorus-like, rich

Sine wave; pure, whistle-like

Various phase-synced waveforms; bright, rich

EXPERIMENT 1. LISTENING TO WAVEFORMS

1. Hook up your ODYSSEY to a speaker and amplifier

as

described

tone controls

PORTAMENTO

[

PITCH BENO

on

!.

page 3. For the time being, set all

on

your

amplifier for

"flat"

response.

2. Set all the controls positions shown in Figure settings before proceeding.

LFO

VCF

'.

i

[I

on

your ODYSSEY to match the

C.

Double check the

c:Ji~

VCA

r::vGe7

GENERATOR

] J Ii

FIGURE C

11.

FIGURED.

CC:il.flSE FINE

,:::~I e

i~o Hz

~

~"'

I

VOLTAGE CONTROLLED OSCILLATOR

1

3. The controls on your ODYSSEY are now set you

will be able to hear

the

different

"raw"

so

that

waveforms from the ODYSSEY'S VOLTAGE CONTROLLED OSCILLATOR (VCO) whenever

play the keyboard. Locate

the

three slide controls

under the AUDIO MIXER (white, green, and blue)

you

..

4. Raise the blue slider under the AUDIO MIXER and

play a few notes

JU1

hearing

is

on

the keyboard. The sound

the

raw, unprocessed sawtooth wave.

you

are

12.

!

LFO

.fUl

~

AOS.i

~

5. The pitch

use sliders are located in

of

this

tone

can be varied manually through

of

the COARSE and FINE tuning sliders. These

the

part

of

the panel marked

VOLTAGE CONTROLLED OSCILLATOR 1

(Figure

Hold a note down and push each

D~

of

these sliders through its range. The COARSE slider allows tuning through a good part FINE tuning slider allows a range octave. When oscillators, either to one another musical instrument, you will first slider

to

the approximate range, and then use

FINE slider

to

of

the audio spectrum, while the

of

about one

you

are tuning the voltage controlled

or

to

tune

the COARSE

find the pitch exactly.

another

the

6. The slide switch next frequency hundred when this switch

position. This hearing; consequently continuous of

clicks. The rate

controlled adjusting

of

VCO 1

is

far below

tone

but

by

the keyboard,

the

tuning sliders.

of

to

the

tuning sliders lowers the

by

a factor

you

only a more

this low frequency signal

of

about one

is

placed in its L.F.

the

range

of

will

not

hear any

or

less rapid series

but

can be varied

human

is

not

by

9. An even narrower pulse wave can be created raising the PULSE WIDTH slider all MIN marking. This waveform At

the MIN marking, waveform waveform. A square wave, as its symbol implies, has

a

top

percent

is

only about five percent

part

of

its waveform

of

the

total waveform.

the

top

the

way

is

very buzzy and thin.

part

of

the pulse

of

the

that

is

exactly fifty

by

to

the

total

7. Return and set

Now change

the AUDIO MIXER

play the keyboard and sound the hollow, clarinet-like sound.

8. The square wave on your ODYSSEY can be turned into

raising

under

1 box. Raise this slider play

sounds brighter, more nasal,

the

tuning sliders to

the

slide switch back

the

slide switch under the blue slider

to

of

a raw unprocessed square wave. Notice how

square wave, especially

another

on

waveform called a PULSE

the

blue slider labelled PULSE WIDTH located

the

VOLTAGE CONTROLLED OSCILLATOR

the

keyboard. Notice how the pulse wave

the

center

of

to

the

audio range.

the

bottom

you

will now be hearing

to

the halfway mark and again

position. Again,

at

low pitches, has a

WAVE

than

the square wave.

their range,

the

by

of

SQUARE

PULSE

WAVE (25%)

NARROW

FIGURE

WAVE (50%)

PULSE

WAVE

E.

L

(5%)

13.

14.

EXPERIMENT 2. PULSE WIDTH MODULATION

1. Lower

2.

3. The ODYSSEY has special PULSE WIDTH

the

PULSE WIDTH control slowly thereby gradually increasing the width until it becomes a square wave again with WIDTH slider all the way down.

If you move the PULSE WIDTH control up and down while holding down a low note, changing pulse width creates a kind effect. The faster control, the more pronounced the effect. or

"modulating" the pulse width while

you

are creating another waveform called the

"MODULATED PULSE WAVE."

MODULATION controls of

the modulated pulse waveform. Bring the blue PULSE WIDTH control all the pink LFO PULSE WIDTH MOD control all the way up. Play the keyboard and which

is

similar

moved

If

slider,

the

you

lower the pink LFO PULSE WIDTH

the

effect will diminish and finally disappear.

you

move

to

the effect

pulse width control

of

the

pulse wave

the

you

will hear

of

chorus-like

the

PULSE WIDTH

By

you

that

facilitate the generation

the

way down, and raise

you

will hear a sound

you

created when

by

hand in step 2.

PULSE

that

the

changing

play,

you

MOD

Notice

that

the pink LFO FREQ control

of

the

Low Frequency Oscillator

speed

of

the chorus-like sound.

4. Experiment with different combinations of

the blue PULSE WIDTH control, PULSE WIDTH FREQ control.

MOD

control, and

U'O

....

box

changes the

the

FIGURE F.

:It

to

the right

of

settings

pink LFO

EXPERIMENT 3. PHASE SYNCHRONIZATION

FIGURE G

Now look

1.

CONTROLLED OSCILLATOR 2. VOLTAGE CONTROLLED OSCILLATOR 2 1 except for two things:

at

the

part

of

the panel marked VOLT AGE

is

exactly like

• VCO 2 does operating range.

• VCO 2 can be SYNCHRONIZED to

not

have a low-frequency

vco 1.

Lower the blue slider under

and raise the green slider. Now play the keyboard.

You are now listening to VCO 2.

2.

VCO

2 can be switched between sawtooth wave and

square wave VCO varied in the same manner. VCO 2 also has pulse

width modulation like that

were done above

3. Phase-synchronization accomplished

labelled SYNC OFF/ON.

the

2, when it

by

same as VCO 1, and

is

not phase-synchronized, can be

the

VCO

L Try

on

VCO

of

the

switch at

AUDIO MIXER box

the

experiments

1 with

VCO

two oscillators

the

top

right

VCO

frequency

2.

is

of

VCO

of

SYNC

STEP

3.

VOLTAGE CONTROLLED OSCILLATOR

~.

.n.n.

'

2

15.

16.

PHASE-SYNCHRONIZED

FIGURE

H.

STEP

4.

J_ J_ J_

FIGURE

I.

AUDIO

MIXER

'GE~fk~~o-;-,

I

+O

~I~

~

NOISE VC0-1 VC0•2

~

! =

""'

,,.._,

MOO

.~,

.f"l.IL .n.n..

FIGURE J.

When this switch is forced is

again,

waveform. This Figure and pulse waveforms

It

VCO 2 will vary sliders for VCO 2 are changed, even though the basic frequency remains the same

You can hear this effect in its raw form VCO 1 the 100 Hz mark) and slowly moving tuning control range from SYNCHRONIZATION Switch Experiment also with changing the frequency

VCO 1 while leaving VCO 2 in about its range. Some spectacular sound, unique

4. At this point, should practice tuning VCO 1 and VCO 2 musical intervals

third sliders under the audio mixer.

to

done

by

or

restart whenever VCO 1 begins another

H,

is

for this reason

to

some relatively low audio frequency (near

is

on,

the

audio signal from

conform

causing the waveform

and

of

bottom

to

the

frequency

is

shown for sawtooth waves in

the

same principle applies

as

well.

that

the

harmonic sound

as

the COARSE and FINE frequency

the waveform does

as

VCO 1

).

of

VCO 2 through its entire tuning

to

top

after turning

of

the patches make use

to

the ODYSSEY.

too

, with

the

SYN SWITCH off,

by

opening

both

of

VCO 2

not

change (it

by

the

of

VCO 2 on.

the

second and

VCO

middle

VCO

to

square

setting

coarse

PHASE-

of

this

to

various

1.

This

begin

of

you

2

EXPERIMENT 4. NOISE

EXPERIMENT

5.

FREQUENCY MODULATION

1. Lower the blue and green sliders under the AUDIO MIXER box and raise notes on the keyboard and listen are hearing what

is

known

the

white slider. Play a few

to

the

sound. You

as

WHITE NOISE. This noise contains all frequencies in the audio spectrum in equal amounts, and noise you hear between stations on the

is

harmonically identical

FM

to

radio

band.

2. There

is

a noise generator switch located in the upper left hand corner position

of

this switch

the ODYSSEY. Change the

to

PINK and again play a few notes on the keyboard. Whereas contains equal amplitudes NOISE contains equal energy

of

each frequency, PINK

of

WHITE

NOISE

each frequency. Physically, this means that the higher frequencies are present PINK NOISE noise because it sounds balanced

at

lower volumes than the lower frequencies.

is

the most musically useful kind

to

the ear, neither

of

too high and hissy, nor too low and rumbling. You will see later how ODYSSEY

to

use the

to

turn noise into a wide range

other

functions

on

of

exciting

the

sounds.

the

The pitch Oscillator (VCO) on your ODYSSEY

of

the

Voltage Controlled

is

controlled by the

VOLTAGE

CONTROLLED

I

OSCIU.ATOA

1

,..,,._,,.

.nn

keyboard. You know this from the previous experiments and also see connected diagram, page 9.

that

to

the

keyboard VCO As

experience, you can also change pitch

or

frequency

of

you

can

is

on

the

block

you will now

the

VCO

by bringing in ''control voltages'' from other devices on the ODYSSEY.

1. To begin experimenting with Frequency Modulation, again set the controls exactly shown in Figure

2. Raise the blue

C.

VCO

FIGURE

as

1 slider under the AUDIO

K.

MIXER.

You will now hear

the

sawtooth wave again when

you play the keyboard.

3. Hold down a note on the keyboard and slowly raise

the pink LFO control next

to

the TRANSPOSE

17.

SWITCH. Notice that

becomes deeper as

that

a slow vibrato

you

is

introduced

raise this control.

4. With this LFO control up about 1/4, adjust the LFO FREQ control and observe how the vibrato rate can be changed from very slow

to

very fast. About

3/4

should provide a pleasing vibrato rate.

you

raise the yellow S/H slider,

the

wider the pitch variations. At least one S/H Mixer slider must be raised in order for the yellow S/H control activated.

8.

Bring the yellow S/H slider back down, and lower the white S/H Mixer slider.

to

be

18.

5. Change the first slide switch from LFO LFO

nn

LFO

nn

this slider,

and the

. Instead

of

produces a trill. Notice

the

bottom

top

note moves depending

note

a smooth vibrato, the

of

the trill stays

J"'v"

that

on

the setting

as

you

the

to

raise

same

of

the slider. Try tuning the trill for different intervals, like a fifth, octaves, etc. If SPEED control,

the

trill can become a useful musical

timbre, especially when

the

you

increase the LFO

trill

is

tuned

to

simple

intervals, like octaves.

6. When

you

have finished experimenting with trills,

bring the LFO

FM

slider back down.

7. Now raise the white slider under the S/H Mixer box. While holding down a note

on

the

keyboard, slowly

raise the yellow S/H control under the VCO. Notice

that this control causes pitch

of

the

VCO

to jump

around in a completely random manner. The higher

9. Now set the slide switch under the yellow knob the ADSR position, and then raise the yellow slider. Notice how the pitch rises. Leave this control set that

you have raised the pitch about an octave.

10. Now bring up all the way the four red ADSR ENVELOPE GENERATOR CONTROLS (located in the lower right hand corner

11. Again play of

the The settings speed

on

the keyboard. You will hear the pitch

sound rise and fall each time

of

the ADSR controls will determine

of

the

pitch change. You will learn more about

these controls when

11

Controllers.''

you

of

the panel).

get

to

you

hit a key.

the section on

to

so

the

Modifiers are electronic devices and change its sound. Consequently a modifier must have an input and an simple modifier since it changes the nature signal

that

output.

passes through its circuitry.

A tone control

that

can process a signal

on

a hi-fi set is a

of

the

sound

The ARP ODYSSEY contains four modifiers, the Voltage Controlled Filter (VCF), the Voltage Controlled Amplifier (VCA), the High Pass Filter (HPF), and the Ring Modulator. Any signal AUDIO MIXER, i.e., Noise, through the VCF, HPF and the output

of

the ODYSSEY.

that

is

introduced into the

VCO

or

VCO

VCA

before reaching the

must pass

19.

EXPERIMENT

1.

RING

MODULATION

20.

Lower MIXER BOX, and raise position Noise

switch for VCO 2 and listen listening shown in Figure controls VCO 1 and VCO 2, a single complex contains all frequencies. This means

the

blue and green sliders

the

white slider again. Change

of

the slide switch

to

RING MOD. Make sure

is

to

the

RING MODULATOR. While

to

it

you

should

L.

of

its own. It produces, from

the

sums and differences

• The raw sound produced from modulator VCO 1 and VCO 2; and

under

the

that

off. Play a few notes

think

of

The RING MODULATOR has

that:

depends entirely

to

nn

VCO2

I

MODULATOR

-

vco

1

I

nn

under

the

white slider

the

PHASE SYNC

on

the

block diagram

the

pulse

output

of

the

two oscillator

the

on

the

a lesser

RING

AUDIO

the

from

the

keyboard

you

are

no

outputs

signal which

ring

tuning

of

extent

on

of

VOLTAGE

CONTROLLED

FILTER

FIGURE

the

pulse

width

settings for each one. Experiment with these. Note in particular sounds from necessarily have any standard musical pitch in relation they

are synchronized

VCO 2;

• The overtones signal will standard harmonic series. extremely complex, like those gongs, and All

of

further

lator

signal. Some

L.

the

RING MODULATOR

to

the

pitch

of

either oscillator. (Unless

by

try

that).

of

the RING MODULATOR

not

necessarily conform

other

metallic

these, in fact, can

modifications

HIGH

PASS

FILTER

of

the

SYNC switch

They

of

a bell, chimes,

or

percussive sounds.

be

simulated

a suitable ring

patches illustrate this.

-

that

do

not

on

to

the

may be

by

modu-

OUTPUT

t

VOLTAGE

CONTROLLED

AMPLIFIER

EXPERIMENT 2. THE VCA

Set the controls

1. ODYSSEY to match the settings in Figure time, raise the white NOISE slider under the AUDIO MIXER. you keyboard, you will hear

noise sound.

While

2.

on the keyboard, gradually lower the red ADSR slider under the this slider acts like a volume control. Bring this control all the way down and the

sound will

disappear.

With this ADSR control all

3.

the way down, slowly raise

As

hit a note

holding down a note

on

before, when

on

VCA.

Notice

completely

C.

your

This

the

that

FIGUREM.

fCA.

.,.,.

l

STIP3

J

t

l

STIP2.

~

J_

l

..

,,_

~

....

.I'--..

the black control also acts like a volume control. The difference between GAIN control is obvious. The ADSR control depends playing the keyboard. The nothing allows a certain amount at

all times. Bringing up

signal pass through only when

Actually,

voltage produced by GENERATOR to through. The settings GENERATOR controls will determine the speed with which the four ADSR ENVELOPE GENERATOR controls observe this effect.

VCA

GAIN control. Notice how this

the

operation

to

do with

to

VCA

the

be more specific,

"open"

opens and closes. Experiment with the

of

the

ADSR slider and

VCA

GAIN control has

keyboard. The

of

signal

the

red ADSR control will let the

the

ADSR ENVELOPE

the VCA and let signal pass

of

the ADSR ENVELOPE

VCA

GAIN control

to

pass through

the

keyboard is used.

ADSR slider lets the

the

VCA

the

to

on

VCA

21.

EXPERIMENT

3.

THE HIGH PASS FILTER

EXPERIMENT 4. THE VCF

22.

The HIGH PASS FILTER (HPF} modifier. HPF "Boominess" from low bass notes, and in simulating certain instrumental sounds. The HPF controlled. Try moving range while holding down a low

It

attenuates frequencies below

cutoff

frequency slider.

the

HPF control slowly over its

is

another signal

the

setting

It

is useful in eliminating

is

not

voltage

note

on

the

keyboard.

FIGUREN.

of

""

tl

its

The Voltage Controlled Filter (VCF) important modifier responsible for taking Modulator, and the Noise Generator and shaping into useful musical sounds.

The VCF in pass filter." Low-pass means audio frequencies below a certain point ( called the off

point")

point.

1.

Set Figure VCO MIXER. Also, that any signal passing through heard.

2. Play a have

control and listen gets brighter and louder as does so because

of

frequencies pass through.

your

and will filter

the

controls

0.

is

entering the VCF through the AUDIO

note

to

hold it down. Slowly raise

the

filter,

on

any synthesizer. The VCF

the

raw signals from

ODYSSEY

out

on

your

In this setting,

the

VCA GAIN control

in

the

middle

to

the

you

are raising

thereby

letting more and more high

is

technically called a

that

all frequencies above this

ODYSSEY according

the

of

the

effect. Notice how

you

is

the

most

the

VCO, Ring

the filter will pass all

sawtooth wave from the

is

raised

the

VCF will be

keyboard. You

the

VCF FREQ

the

raise this control. It

the

cut-off frequency

is

them

"low

"cut-

to

so

don't

sound

PORTA.MENTO

n ·

il

"'"

PITCH BENO

'GE=f~~\ofi7

TRANSPOSE

2 ocr,wEs

..

2 OCTAVES

i

"'

DOWN

COARSI!

FINE

~

L...-.

:i:-~.

r[

·:•

I

COARSE

"~

.

~

"'

VOLTAGE

CONTROLLED

OSCILLATOR

2

SVNC

~

o,

I

JVL

LOW

YCF YCF

'-'O

FREQ

FRl.0

]

l

RESONANCE

,.

AUDIO MIXER

u•

,~

VOLTAGE

CONTROLLED

FILTER

FIGURE

3. Slowly lower the VCF FREQ control. The highs will

4. Lower the blue

0.

fade and finally the whole signal will be filtered

VCO

1 slider under the AUDIO

MIXER and raise

the

white NOISE slider. Again open

out.

and close FREQ control.

5. Notice how the noise can be made by opening and closing the filter slowly. Raise the

the

VCF

by

raising and lowering the VCF

to

sound like surf

23.

FIGURE

STEP

P.

4.

STEP

VOLTAGE

CONTROLLED

FILTER

5.

RESONANCE slider about half way up and same experiment. Notice how the noise now takes a whistling quality. This pitch-like whistling by

the

resonance

a narrow band

frequency. The more resonance

emphasis, and consequently

of

the filter. Resonance emphasizes

of

frequencies just

at

the filter

you

add, the more

the

more pitched the

sound becomes.

6. Lower the noise slider and listen again

to sawtooth wave. Again move the VCF FREQ control up and down slowly with different settings

RESONANCE control. Notice

resonance

actually hear

is

between

the

individual harmonics

1/2

and

that

when

3/4

marks you can

of

you slowly sweep the VCF FREQ up and down.

7. ff

you

leave the RESONANCE control about half way up, and sweep the VCF FREQ up and down, can create a

"wow"

type

of

sound. Leave FREQ control all the way down and raise the red ADSR slider under the VCF all you

hit a key on the keyboard, the ADSR

the

way up. When

ENVELOPE GENERATOR produces a signal which

try

the

is

caused

cutoff

the VCO

of

the

the sound

the

VCF

on

as

you

24.

will open a

"wow" the ADSR slider will show the response ADSR slider under the VCA.

8. Lower the RESONANCE slider and experiment with the VCF. Try changing the settings ENVELOPE GENERATOR controls.

and

close the VCF automatically, producing

sound. Experimentation with

of

this control and the response

different settings

of

the

similiarities between

ADSR slider under

of

the

four ADSR

setting

of

the

of

.~~~

,:"~;::½:~

-

~,

~

1•

MIN

STEP

CONTROLLED

FIGUREQ.

9.

VOLTAGE

FILTER

9. Lower the ADSR control again, and set FREQ control about half way up. Now, set switch under the yellow slider yellow LFO tremolo effect

and increase the LFO SPEED until good tremolo sound.

10. Lower labeled this slider will allow keyboard.

.../'J"'

the

LFO slider, and raise the black slider

KYBD

slider under the VCF. Notice

that

is created. Lower

CV

S/H under the VCF. Normally

you

to

control

to

LFO and raise

the

you

the

VCF

the

LFO slider

achieve a

VCF from the

25.

FIGURER.

~'i~

,:ESO~•:"':.

-

OK

~

1t

IIIIN

~

STEP 11.

VOLTAGE

CONTROLLED

FILTER

11. Let's

try

controlling the VCF with the keyboard.

Set

the

controls

you

play on the keyboard, the pitch

on

the panel as above. Now when

noise will follow the note played

If

you

lower the black KYBD slider under

the keyboard will have no effect

12. Raise the yellow slider all

the the white slider under the S/H Mixer keyboard. Notice

the

random changes in

frequency.

of

the

filtered

on

the

keyboard.

the

VCF,

on

the pitch.

way up again, and raise

box.

Play

the

filter

26.

13. Plug the pedal into of

your ODYSSEY. When the pedal is plugged in,

the

appropriate jack

on

the S/H Mixer is disconnected from the VCF. Set the switch under The PEDAL can now be used VCF. The range the setting

the

black slider

of

the pedal will be determined

of

the

black slider under

to

the

Pedal position.

to

open and close

the

VCF.

the

back

the

by

14. The VCF can also function as an oscillator. Raise the yellow slider under the VCF all

15. All three sliders under the AUDIO MIXER should be down. Turn the RESONANCE all tune the resulting Set the switch under the black slider back position. You can now hear a pure sine wave generated by the filter.

tone

with

the

way.

the

way up and

the

VCF FREQ control.

to

the

KBD

FIGURES.

AUDIO

MIXER

VOLTAGE

CONTROlLED

FILTER

!

~l_.._,

STEP

15.

[[[~[[

J_ J_

"°'"

i

a

VC0-1

MOD

.nn.

J_ J_ J_ J_

~

i

""

~

.a

P.

~

J1.fL

l!Jll.R

..

PEDAL

e

/Vv

r,_,.

27.

Controllers are devices on

to

create electrical signals which in and sources on obvious controller keyboard produces a voltage which controls can control the VCF. Other controllers are the sample and hold, ADSR ENVELOPE GENERATOR, HPF, LFO, PITCH BEND CONTROL, and FOOTPEDAL.

By

this time you have had an opportunity with each functions

the

on

of

these controllers,

of

each

of

the

synthesizer which are used

turn

control modifiers

synthesizer. For instance,

the ODYSSEY

the controllers.

is

the

on

the

to

so

let's just review

keyboard. The

the

most

the

VCO

ODYSSEY

experiment

the

and

KEYBOARD AND PEDALS:

The KEYBOARD produces two CONTROL VOLTAGES. These voltages are

depressed the key played.) control voltage corresponds and depressed.

The first control voltage unless VCO 1 is set

keyboard

control voltage is VCO 2 has SYNC switched on,

connected directly control its frequency, content,

(Try it.)

The first keyboard control voltage can also be connected

to

the VCF; This was investigated during the VCF.

It is memory, which holds the last

on

keyboard,

the

second control voltage corresponds

is

to

as

do

VCF

by

important

the

same

if

none

or

one

the

keyboard.

the

control voltages correspond

If

two

or

to

disconnected from VCO

always_

VCO 2, although in this case

the

tuning sliders for VCO 2 in this case.

raising

to

know

(If

no

keys are depressed

more notes are depressed,

to

the lowest

is

always connected

the

L.F..

mode, in which case

connected

the

but

the

appropriate slider under

the

that

the

ODYSSEY has a built-in

note

key

1.

The second

to

VCO 2. When

keyboard is still

rather its harmonic

experiments with

played

key

to

the

depressed,

to

the

highest

to

VCO

it

does

on

the

is

on

last

first

1;

the

not

the

keyboard. This keeps

the

RELEASE cycle

generators, as we shall see. The keyboard

associated with it. These include slider and PORTAMENTO SWITCH. The TRANSPOSE SWITCH will shift exactly two octaves. The PITCH BEND control will be discussed in a separate section.

PORTAMENTO ODYSSEY under the PORTAMENTO pedal, raise slider and listen supplied with PORTAMENTO. Thus

slider for a certain glide speed and with

When the foot pedal ODYSSEY, VCO 2 and the VCF can be controlled (The signal from disconnected earlier.) Several for wah-wah and

as,

the

VCF.

the

foot switch.

shown in Figure

your

by

on

the

is

a "sliding

As

you

to

the

ODYSSEY

the

inserting

of

the

other

the

pitch information around during

of

the

AR and ADSR envelope

ODYSSEY has several controls

the

PORTAMENTO

pitch

of

the

keyboard

effect."

M.

Raise

play

on

the

keyboard, hold down

the

resulting effect. The foot switch

is

used

you

can set

is

plugged

S/H Mixer

the

patches make use

effects.

the

then

into

the

is

foot pedal jack as explained

up

or

down

Set

up

your

the

ADSR control

PORTAMENTO

to

turn

on

the

PORTAMENTO

turn

it

on

and

back

of

your

by

automatically

of

the

foot pedal

off

it.

29.

ADSR AND AR ENVELOPE

GENERATOR:

Each time a note

keyboard generates a "trigger" signal

attack from the ADSR. A complete cycle

ENVELOPE GENERATOR looks like this:

J

When a key is depressed, the a speed determined by the setting control. This attack is represented above by "A." automatically turns around and begins heading down again at a rate controlled

30. part

is

pressed

---

When

of

KEY

DEPRESSED

KEY

RELEASED----.

the

attack has reached its peak, it

by

the cycle is represented as

on

the

output

the

"DECAY"

keyboard,

that

initiates an

of

the

ADSR rises at

of

the ''ATTACK''

the

control:

the

letter

"D."

the

letter

The

This

Output eventually reach the Sustain Level until the rate determined This release portion letter

The AR envelope generator is just like generator except level the ADSR generator with minimum and complete cycle looks like this:

of

the ADSR ENVELOPE GENERATOR will

the

keyboard

output

of

"R."

is

the maximum level. This gives

,..,.

__

is

released. Upon release

the ADSR will

by

the setting

of

the cycle is represented

that

there is no decay, so

the

"Sustain'' control at maximum. A

KEY

DEPRESSED

KEY

RELEASED---~

"S''

drop

back down

of

the Release Control.

the

"Decay"

and stay there

of

the

key,

to

zero

by

the

ADSR

that

the

sustain

same effect as

control at

at

a

PORTAMENTO

n

...

il

""

PITCH BENO

FIGURE T.

TRANSPOSE

2

O~TPAVE.'!',

COARII!

FINI!

[!

COARSE

FINE

SYNC

~

OH

~

~J

LOW

~o

YCF VCF CUTOFF

FREQ

AISONANCI!

K,.,

o•c

" l

i

1t

..

AUDIO

MIXER

""

MIN

]

VOLTAGE

CONTROLLED

FILTER

""

FRIO

K~

"l

It

..

r-::vQ7

GENERATOR

GAIN

ATTACK

A,

..

,

~

I

OUTPUT

With

your

ODYSSEY controls set as in Figure T, depress any key AR generator a little way and depress a key again. Continue a little more until

on

the keyboard. Raise

to

do

this, each time raising

it

is all

the

attack

slider

the

attack

the

way up. Then move it down

on

the

control

again and repeat

slider.

Now experiment with VCA control

generator; move

the

whole procedure using

the

selector switch under

by

the

release

ADSR

VCA

31.

FIGURE

U.

VOLTAGE

CONTROLLED

FILTER

control attenuator down and four ADSR controls.

try

various settings

of

the

32.

FIGURE

V.

By closing the VCF freq slider and opening attenuator under the VCF all you

can

give

yourself a similar introduction AR control combinations

of

the VCF. Experiment

of

the VCF freq and control attenuator

the

way as in Figure

too

with various

settings, and with various mixes (by means attenuators and

VCO

Up

to

generators only from

switches trigger three switches down and set the

ODYSSEY for AR as in Figure

slider from low the second switch up, a series (triggered)

This

is

to

the audio mixer)

of

signals from VCO 1

2.

now

you

have been triggering the envelope

the

keyboard. By means

at

the

bottom

the

envelope generators with

V.

Now

to

by

the LFO,

right

of

or

ADSR control

try

different settings

Figure

other

V,

the

LFO. Move all

controls

of

the VCF

of

high. With the first switch down

of

events will

but

only when a key

useful in simulating banjo-picking and strumming.

the

to

ADSR and

of

the

of

you

can also

of

the

LFO freq

be

produced

is

depressed.

third

input

the

your

or

VCA

and

U,

three

SAMPLE AND HOLD

The sample and hold mixer (S/H mixer) selects and combines signals These signals can also be routed

VCF. Under each

labeled

plugged into the Odyssey, switches selects control

disconnected from

switch position selects control by the mixer.

''S/H

to

mixer

be fed

to

the sample and hold circuit.

to

control

of

these two functions is a switch

or

pedal.'' When the foot pedal

the

lower position

by

the

pedal;

the

back

of

the

VCO

if

the

foot pedal

Odyssey,

output

of

the

2 and

these

same

S/H

is

the

is

FqfQUENCV

COARSE

FINE

.,..c

...

~

ON

[[

VOLTAGE

CONTROLLED

OSCILLATOR

,..,

.n.n_

2

LOW

I.FO

....

]

FIGURE

W.

The sample and hold circuit to control VCO hear what it does listen first before and Figure

W.

By "sampling" the

S/H mixer, the sample and hold circuit produces a

series

of

voltage levels. If these in a VCO, the sample and hold circuit selects either keyboard

(Figure

you

the

X},

press a key. Using this with

1,

VCO 2, and/or the VCF. In order

then

experiment with the controls indicated in

at

a given instant the signal voltage from

result

is

a series

as

a triggering source. If

then

a new sample will

is

a controller;

to

VCO 2 as

turn

of

pitches. The switch under

the

be

the

it

is used only

you

have done

are used

the

LFO

keyboard

taken every time

S/H going into the

to

control

or

is

selected

to

the

B

~e

~R

..t-,._

""'"

./'-,..._

J'\J'L

.nn.

TIIIG

33.

SAWTOOTH

INPUT

RANDOM

NOISE

INPUT

I

l

~

~l

J_ J_

VC0-1

NOISE

,,,

I g

a

.Q.

.I\.I1..

I'\J'1.

FIGURE

VCF can LFO

is intervals corresponding LFO.

When voltage levels will be random and so pitches produced from VCO 2; sampled are regular and periodic (any combination

VCO 1 and VCO 2 signals),

J_

rn•

Tfl1G

X.

give

you

selected,

the

signal sampled

random timbres

then

I I I I

I I I I I I I I I I

COMMAND PULSE1 1 1 I I I

1111111

I I I I I I

1 I I I I

HJjd

Musical

effect.

l~J

new samples will be taken at regular

J f J J J J f J

on

each

note.

If

to

the

frequency setting

is

primarily noise,

of

but

if

then

the

output course will be the

signals being

output

from

of

the

of

the

1 I I I I I I I I I

COMMAND

11

Musical

JI

sample and hold circuit will

also.

extremely simple. VCO 1 sawtooth into the S/H mixer. hold through halfway up, and should hear a descending "staircase" scale passage freq and hear

l~J

It

may be an extremely complex one,

output

to

the

audio mixer. Set

or

PULSE

1111111111

effect.

J J r J J J J J

tend

For

an example

control VCO 2 and listen

the

VCO

1 freq

an arpeggio (Figure Y). Speed

the

repeating patterns.

I I I I I I

to

be a repeating

or

of

a simple one, switch Use

the

to

LFO freq

at

about 2 Hz.

of

pitches, like a

pattern

it may

be

sample and

VCO 2

to

about

You

up

VCO 1

I

r

FI

34.

LOW

FIGURE

Z.

VOLTAGE

1

output

of

N-.t

EB]

.I'-....

lag slider (Figure

voltage from

"min"

CONTROLLED

O'lCILU.TOA .n.n

The changes the same patch slowly from

:i

VOLTAGE

CONTROUED

OSCILLATOR .n.n..

-~E1l

'"""

you

~

2

..t-....

have been listening to, move the slider

to

"max"

./'-... ..n.n, .11.IL

Z)

"smoothes

the

sample and hold circuit. With

and back again.

TIIIG

out"

J

J_

"o

a

FIGURE Y.

sudden

35.

LOW

FREQUENCY

OSCILLATOR

PITCH BEND

CONTROL

36.

The LFO on your ODYSSEY, is

used

to

create voltages which produce vibrato, trill, tremolo, and to the

output

used

to

wave

is the ADSR ENVELOPE GENERATOR, via the REPEAT SWITCHES.

other

effects when these voltages are applied

VCO

or

VCF. The LFO produces

and a square wave

create vibrato and tremolo effects and the square

used

to

create trills. The LFO

as

output.

you

have already seen,

both

The sinewave

is

also hooked

a sinewave

output

up

is

to

The Pitch Bend knob is a live performance control for bending notes. It also extends extra octave beyond normal. This control permits realistically of

effects and create sounds

traditional instruments.

When recreating the effect instruments, however, limit the pitch deviation approximately one half-step. This common effect employed who work with rock groups. Notice position for the pitch bend knob "dead zone" where turning the knob slightly either way results in little "feel" to

look at

By taking advantage is exactly up

BEND CONTROL as an auxiliary TRANSPOSE switch,

you

can use it as a guitar "string pull" effect with a hard stop when the instrument is exactly in tune switch all the way This is very similar to a "Tremolo Bar"

on

both

"bend"

the normal position while playing, without having

the

instruments actual change

pitches in order

or

no pitch change. This feature lets

panel.

of

or

down an octave,

to

the

tuning range up

to

recreate

that

are

not

imitative

of

the pitch bend

is

the most useful and

by

guitarists, including those

that

the normal

is

in the center

the fact

that

the range

you

can use

left and playing an octave higher.

on

is

in frequency.

to

you

the

kinds

of

traditional

to

of

you

of

this now

the

PITCH

by

turning

a guitar, although

an

a

to

or

the

EXTERNAL AUDIO INPUT

INTERFACE JACKS

On the back ''EXTERNAL AUDIO INPUT.'' This jack an external signal, such piano, VCF INPUT has a fixed sensitivity. The sensitivity for use with most electronic instruments. However, some

very low level signals, like dynamic microphones and

low level guitar pickups, may have to be preamplified before entering the ODYSSEY. Many guitar amplifiers have a separate preamp purpose.

Once an external signal has been brought into the ODYSSEY, it can be processed through footpedal

since the VCF can be made to perform like a wah-wah

pedal, with adjustable range and resonance.

At

the

you

can also add in signals from

generator,

texture by combining both the external signal and a signal generated GENERATOR, and then filtering the combined signal with the

of

your ODYSSEY

as

other

synthesizers, etc., into

in

your

ODYSSEY. The EXTERNAL AUDIO

output

is

especially useful in processing external signals

same time you are processing an external signal,

so

it

is

possible

by

the

ODYSSEY VCO's

VCF.

you

will see a jack labeled

is

used

the

output

to

create a rich and complex

of

an organ, electric

the

Audio Mixer and

is

that can be used for this

the

VCF. The

the

VCO's and noise

or

NOISE

to

adequate

bring

Your ODYSSEY synthesizers and synthesizer accessories. equipped with input and ODYSSEY controlled by other ARPs. For instance, ODYSSEYs together and play both keyboard. Or you can hook up your ODYSSEY an AXXE, LITTLE BROTHER, if you already own a 2600 or String Ensemble, remotely The possibilities created by the ARP INTERFACE JACKS are endless.

If relationship where one keyboard, simply connect the jacks labeled "CV OUT," "CV IN," "GATE IN," and "TRIG IN" jacks on the Slave.

If another, the second slave ODYSSEY first the master, i.e., GATE, and TRIG IN. See diagram Generally the Audio Outputs connected

slave

you wish to hook up two ODYSSEYs in a master-slave

you

wish

slave

is

one member

to

control other ARP synthesizers or

your ODYSSEY to the 2600's keyboard.

is

to

slave more than one ODYSSEY from

in

the same way

CV,

GATE, and TRIG OUT to

to

the input

of

a whole family

output

jacks

that

you

of

them

or

2600 model. Similarly,

controlled by

is

hooked up

that

the first

of

some other unit.

is

on

the following page.

Little Brothers are

As

allow

the

hooked up

of

ARP

such, it

can use two

from one

your

to

control

you

can

other's

to

CV,

is

be

the to

37.

38.

Both Slaves will be controlled

by

Master's keyboard

"Y"

adapters

INTERFACE JACKS

"Y"

adapters

Master

both

will

Slaves

control

PANEL CONTROL DESCRIPTION CHART

The

Noise

Generator:

noise

generator

white

and

which

is

used unpitched thunder,

Portamento Portamento to

glide

from

the

next. determines the

glide.

portamento

this

effect

Pitch

Bend:

bends

notes

octave

sharp

center

"dead facilitates addition tuning

synthesizer

an

Bend to simulating bend" by

extra

control

bend

many

to

range

octave,

individual

techniques

produces

pink

in creating

effects

surf

and

:

The

allows

one

This

control

the

speed The

pedal

on

and

This

control

up

to

or

flat.

zone"

tuning.

extending

of

up

and

the

permits

the

"pitch

guitarists.

The

noise

like

wind.

you

note

turns

off.

one

The

In

the

down

Pitch

notes,

used

to

of

the

you

the

PORTAMENTO

n

...

ll

...

PtTCH BEND

Voltage

slide

tuning

TRANSPOSE

2 OCHI.YH

"'

§

J OCTAVES

DO

..

Pulse shifting"

Controlled

controls,

VOLTAGE VOLT AG£ f =

CONTROLLED CONTROLLED

[

O'K:'\LATOR

1 t

~ ~

L.::..fM.J

B

Width

Modulation

quality.

Oscillators

the

keyboard,

.nrt

r.:!SL

-1:!:

~]

.a

produce

1-

n.e.E

I''-

gives

pitched

tones.

the

Pitch

Bend

knob,

OSCIL2LAT:

1 f f

~ ~

L_,

-011

......

n

n..

r~

WN)TI47

~]

__ =-.J l. L 1 1

..,........._

the

pulse

~

as~afi

.I'"

--..

JVl.

wave a

"phase-

The

pitch

of

the

oscillators is

and

other

controllers.

·-

LOW

~~

OUENCY

LL.ATOR

~

]

Jl.J1...

The

Low Oscillator controller; signal is

vi

bra to,

and

other

The

Sample

circuit

is a

is

used random of

or

tones

controlled

Frequency

(LFO)

its

used

tremolo, repeat

effects.

and

controller

to

create

regular series

or

accents.

output

to

create

Hold

by

is a

.

a

It

39.

PANEL

The the

heart used characteristics make. as

an

The

volume

signals going

CONTROL

Voltage

Controlled

of

the

to

create

The

VCF

oscillator.

Audio

Mixer governs

of

the

into

synthesizer.

for

oscillator

DESCRIPTION

Filter

It

individual

each

sound

can

also

function

the

and

noise

the

filter.

is

you

-~•-

.·.~."~""'~_;,

AOOIO

MIXER

CHART

\l'OLTAQE

CONTAOlLED

FILTfR

I

The

I-Pf'

•

.::.::•~~~•

"'t____,

High-Pass is

•""'"'~....,"''

m~"""

VOLTAGE

cONTRou•o

Allf't.lf&EA

11

•

used

to

remove

r::VQ7

Gl!NEAATOR

"'~'""'---+--The-Enve-lope

--------.f-..;._

the

low

frequencies

to

program

of

sounds.

The

Voltage

(VCA) governs

synthesizer's

_____

of a sound.

the

attack

G-enera-tor

Controlled

the

volume

output.

....;;_

_____

and

decay

is-used

Amplifier

of

the

_

40.

[[[~[[

J_

J_ J_

...,.

•gco,

;::-,•

,

,..,

The

Ring

modulates

Modulator

VCO 1

and

inter-

VCO

8 E B 8 E

2.

--------------•==~z-~

The

VCF

can

be

footpedal

controlled

overrides

the

S/H

by

when

the

KYBD

it

is plugged in.

or

S/H.

""

8

The

J_

~

[[~[~

J_

,

'°

ft,_

~~~

Repeat GATE,

.. ,

E''~

..

Switch: Auto

""',

The

Repeat

Repeat,

,

..

7

"""

Jl

JUl

and

KYBD

Switch

has

three

REPEAT,

modes:

KYBD

1.

You may

on

tend

at

the Odyssey as something like

electronic organ. That

them in a certain way and only from temptation.

the

Use change the sounds producing them.

first

to

think

of

the

control sliders

stop

tabs

on

is,

you

may be tempted

then

keyboard. Try

"play'' to

the Odyssey

overcome this

the sliders in performance. Learn

you

are producing while

you

to

an

set

to

are

2. The patches given in this manual are very basic. not hesitate variations in

the

can make a large difference in the sounds

on

position

to

search for improvements and

your

own. In many cases a slight change

of

a single control slider

or

attenuator

you

producing.

3. Resist the temptation

to

merely open

as

many sliders

as possible, as far as possible.

Do

are

41.

If

you

INST

ANT ODYSSEY

Set up

the

Play a two-part piece

If

you

hear two voices with pedal control, turn the page and

If

what

you

1

).

Is

the

If

it's

2).

Is

the "audio kbd

If

it's

3).

Is

the

If

it's up,

4).

Is

the

If

it's

5). Are

If

they're

6).

Is

the Odyssey connected The "low level" the "high level"

7). Is the Odyssey plugged in? Turned on?

just

sound shown

on

hear is nothing like two voices with pedal control, or if

"sync

off/on"

on, you'll hear only

off, your first

"HPF

cutoff"

you

are cutting

"VCA gain" slider down? (top up, you'll hear sound all the time, even when

the

"attack,

all down,

have

on

page 19 (opposite).

the

keyboard.

switch turned off?

one

voice even though

on/LF

kbd

off"

switch turned on? (top

tone

source (VCO 1) will

slider all

decay, sustain, release" sliders raised partway? (under ADSR Envelope Generator).

the

output output

the

way down?

off

your sound

of

attack & decay

to

the

right amplification system? (back

on

the

back

is

for a standard musical instrument amp;

is for a tape recorder, stereo amplifier,

to

(top

Voltage Controlled Amplifier).

of

start

of

Oscillator 2).

you

be

way below what your ear can hear.

(top

of

by

eliminating all

your

note

here:

try

more sounds.

you

don't

press down two keys.

of

Oscillator 1).

High Pass Filter).

but

the

very highest overtones.

you

take your hand

will make only a

of

or

electronic organ.

hear anything, check the following things:

off

the keyboard.

tiny

blip.

instrument).

42.

NOTE: All sliders not illustrated should be all

Switches

not

illustrated do not affect

the

way down.

the

sound

output

in either position.

PORT~AMEN~T•~

TRANSPOSE.

2

OCT

AV[~

"'

~

O\,;l,Of~

DOWN

""

Tune VCO 1

and VCO 2 holding down any key.

to

unison

OPTIONAL VIBRATO

by

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..

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iz~

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Filter

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43.

'G•~~\o-7

Single voice with pedal control.

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44.

2.

Phase-Synchronized

Oscillator

0

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ij

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PITCH

r-.,~~\o,1 ,i

BENO

Timbre changes slightly with each note.

ij

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;

:"

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OPTIONAL VIBRATO

...

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Guitar-Leslie

45.

__.--VIBRATO

SPEED

'n•~~\o.--,

Single voice

,~o:::;,~;,~[~I

CONTROLLEO CONTAOLLED

OSCILU.TOA

[ [

~

lFO

tr i ""-"""'"8

B

l •~

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~~

I

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~

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1

WIDTH

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i [

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i-

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PEDA4.

OPTIONAL

VIBRATO

!

PULSE

WIOTH

I I == I 1 I I t L I

7

-

[]

i i ] [ [

j_ j_ j_ 1 j_ j_ j_ j_ j_ j_ j_ •

uro

VC0-1 NOISE LFO

~

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...

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i "

... ...

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oumn

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om

.g.

46. 4. Trumpet

PORTAMENTO

""

~

""

PITCH

BEND

Two voice

rnANSPOS,

1

OCU~fS

"'

~

1 0.:1..,vn,

POW'-

SLIGHTLY OUT

OF

UNISON

5.

Trumpet

Chorus

47.

SLIGHTLY OUT

OF

UNISON

PORT~AME:A~ TRANSPOSE

2 OCTA~ ~

"'

'>

~

1

O~l,.Vf$

OOWH

"'"

PITCH

Bl:ND

Use

external reverb.

Play separate detached notes.

-

~

::.·.

~

.,.,

01(;

;:;;~

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48.

6.

String

Chorus

BRILLIANCE

'a,~~\o,7 ,~o:::;.~:•

Single voice.

~

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I "~

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o..

~-·

I

•:

~

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.=

::

I

HPf GENERATOR

;

~

~rr

-J

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Jii

7.

Flute

49.

r:;-;

NOISE

GE~8TOR

OUT~

YCA

-~•

r::vC7

GENERATOR

m~m

"~'u"

;-;-l

FIUEQUENCY

,~o'"'.::;

AUDIO

'['"',

s

~...

0..

~"•

I :: I

,o~":

l.FO

VCF

YCF

""',

'!

:"

...

~~:NCY

OSCIL.UTOfl

:!

~~••

mo::•~

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"'

.:.

:.!

"'"

c::r"'l,,r:

,

i.:~

'"''

~:

50.

··

~

PITCH

BEND

Use

PITCH BEND to

8.

Electric

"bend"

notes.

Bass

I

~Eti:;

ATTAC:I(

OECAY SUSTAIN

G~;;;

-1

HEll:ASl

TREMOLO SPEED

'"'~a\o-.--,

'30RTAMENTO

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TRANSPOSE.

2

O~fp,li~[S

~

Set VCF RESONANCE at self-oscillating point; tune VCF FREQUENCY to a fifth above the

~

1 O<:l,li~E~

MIN l.10Wi'i

,~

o:::;,~;,·,

~

:..

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:'

::

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VCOs.

:!

[I

HPf

J

Jli'

1::..,-Q-7

GENERA TOR

9.

Screomo

Organo

51.

REPETITION RATE

r;;E~f~~\o-;-,

"i ,~

o'"';:::;

CONTROLLEO

OSCILLATOR

ij i

-

5 ~

Q

~~

NOTE: Keyboard will

AUDIO

~

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!

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OH

~-•

I

VOLTAGE ~

.f\J\

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rPULsE

w10TH

1

I

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7

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ij]

FM~

.,,.

"tune"

J_

~~

.Q

~~~

metallic sounds

co~.,:~

~""I •~

:-

~

I

VOLTAGE

CONTROLLED

OSCILLATOR

-1 ·~ ,

ij

~FM~

Q '°''

........

~

nn..

rPvu11E

w1orH

7

..

on, - I.AG

~

~]

J_

~

fi

.0,

PERCUSSION "METALLIC" SOUNDS

and add

HPf'

- Kt<,

~

mo

~

I -I =""' I 1 I I l L I

~

J_ J_

ii8

J..L

off-beat accents.

,Q

]

1

.,

""

OIC

mo

,:"i"""";!,

!~

.....

AUDIO

MIXER

ij

J_ J_

i

""'

J_ J_

ij~B-B

,co., , .,

•"•

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!:

ournrr

VOLTAGE

~

----..

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ij

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P.

bl

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GENERATOR

~J;,:,

•ij"''"

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~

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AOSR-,

=.=.~_:_=.,

•~o

AR7

1

.[\J\

5_2.

1

0.

Sample &

Hold

Percussion

PORTAMENTO

~

Tune

VCO

r,-

N01SE :::-7 Ffl£QU£NCY

o,:

TOR c~

o•";,.~

8

....

""

TRANSPOSE

~

ocrans

OP

'~

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~

1

OC1A~O,

POW'-

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1 one octave lower than

"'\

I

AUDIO

~

OH

co~~:~ '~'"'\

';.';"

:.:

VCO

2.

'!

I

11. Heavy

Led

53.

PITCH BEND

Tune

r::;

NOISE

:-:7

l'f'lt.QIJl!NCY

GE~6TOR

VCOs

1 & 2 to different frequencies for different metallic timbres.

,~

o•";.-:::~"··,

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AUDIO

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54. 12. Gong/Chime

Specifications

NOISE GENERATOR

Noise spectrum types: White and Pink

TRANSPOSE

Positions: Down 2 octaves, normal, up 2 octaves

PITCH BEND

Frequency shift: About + 1 oct. (exactly octave

on

Odyssey-II)

PORTAMENTO

Maximum speed: About .01 msec./oct. Minimum speed: About 1.5 seconds/oct.

VOLTAGE CONTROLLED OSCILLATORS

Waveforms: Sawtooth, Square, Pulse, Dynamic

Pulse

Frequency range:

to

20 Hz.;

20 Hz.

Warm up drift: 1/30 semitone from

VCO VCO

to

20 KHz.

1 in low freq. mode, .2 Hz.

1 and

VCO

2 (audio range)

turn

on

+l

max.

Pulse width: Pulse width modulation: ADSR, +45%; LFO,+ Voltage controlled response: 1 V/oct. Maximum frequency shifts: LFO sine wave, + 1/2

Note:

VOLTAGE CONTROLLED FILTER

Type: Low pass Frequency range:

Maximum usable Q: 30

Resonance 1/2 Voltage controlled response: 1 V/oct.

VOLTAGE CONTROLLED AMPLIFIER

Dynamic Range: 80dB.

50%

to

5%

oct.; LFO square wave, +1.5 oct.; ADSR +9 Oct.; S/H +2 Oct.

VCO 1 is

note priority

low

note

16

Hz.

to

self oscillate

priority;

to

16

KHz.

VCO

15%

2 is high

55.

RING MODULATOR

Type: Digital

Input signals:

VCO

1 and

VCO

2 square waves

AR ENVELOPE GENERATOR

Attack time: 5 msec.

Release time: 10 msec.

to

5 seconds

to

8 seconds

56.

SAMPLE

ADSR ENVELOPE GENERATOR

AND

HOLD Command sources: Keyboard Sampled signals:

wave,

Attack time: 5 msec. Decay time: 10 msec. Sustain level: 0

Release time: 15 mesec.

VCO

1 square

VCO

2 square wave and pink noise

to

5 seconds

to

8 seconds

to

100%

of

to

or

wave

peak 10 sec.

LFO trigger

and sawtooth

AUDIO OUTPUTS

High level: 2.5 V Low level: .25 V

INTERFACE JACKS

Keyboard

Gate OUT: +10

Gate IN:

Trigger OUT: + 10 V pulse on key depression,

Trigger IN: +8 V pulse min., 10 microsec duration

External Audio Input: 500 millivolts for full

CV

+8

10 microsec. duration

minimum

output

PP

max.; lO0K impedance

PP

max.;

l0K

IN/OUT: 1 V/oct.

V,

key down; 0

V minimum

impedance

Vall

keys up

Arp Odyssey User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Introduction

Contents

EXTERNAL AMPLIFIER AND SPEAKER

HOW YOUR ODYSSEY WORKS

EXPERIMENT 1. LISTENING TO WAVEFORMS

EXPERIMENT 2. PULSE WIDTH MODULATION

EXPERIMENT 3. PHASE SYNCHRONIZATION

EXPERIMENT 4. NOISE

EXPERIMENT 2. THE VCA

EXPERIMENT 4. THE VCF

SAMPLE AND HOLD

EXTERNAL AUDIO INPUT

INTERFACE JACKS

PANEL CONTROL DESCRIPTION CHART

Guitar-Leslie

46. 4. Trumpet

Flute

54. 12. Gong/Chime

Specifications