General Music S2 Turbo, Руководство пользователя

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14 OVERVIEW
The Music Processor concept
A the Attack phase, which starts from the moment of
the initial sound emission (key on) to the moment of
maximum intensity. [
→
Attack]
D the Decay phase, in which the emission starts to
“fade” after reaching the maximum peak. [
→
Decay]
S the Sustain phase (sound “prolongation”), where,
after the first turbulent instances, the emission tends
towards stabilisation (e.g. Strings) or reduction (e.g.
Piano). [
→
Sustain]
R the Release phase, which proceeds from the moment
in which the action of the musician terminates (note
off), and the emission continues towards total si-
lence. For example, when a piano key is released
with the right pedal held down. [
→
Release]
Sampling records the entire attack and decay phases and
only a part of the sustain phase, while the release is
completely ignored. This limitation in sampling is due
to the fact that the recording of a sound occupies RAM,
which, being costly, cannot be exploited to record the
entire envelope. The better the quality of the sample, the
more RAM is required to contain it.
The “missing parts” are substituted by intervening on
the recorded part with the musical instrument. The
sustain phase is electronically simulated by repeating a
sampled fragment. This repetition of the sampled frag-
ment in the sustain phase is called the “Loop”.
The loop, however, often generates a “defect” created
by the interaction of the terminal and initial points of
the sampled fragment - similar to what is heard when the
needle of a vinyl disk jams.
The problem derives from the fact that the “loop” is only
one element, based on a single fragment of the sustain
phase. To overcome this problem, Generalmusic have
adopted an innovative system called the “Multiloop”
O
VERVIEW OF THE INSTRUMENT
The S Series instruments are so called because they are,
as the name suggests, processors of music, a long step
away from synthesizer workstations.
These instruments allow the creation of new sounds (as
in synthesizers), the creation of Songs and the possibil-
ity of simplifying the unit’s programming tasks in live
situations (as in workstations), they incorporate a so-
phisticated MIDI implementation, which allow them to
operate as a control centre in the studio as well as on
stage, operating as a programmable master keyboard or
a MIDI processor with powerful MIDI Thru and MIDI
Merge functions.
The sound generation of the Generalmusic S Series
instruments utilises a hybrid system based on sampling
and subtractive synthesis, all digitally controlled.
• Sampling guarantees a high degree of sound authentic-
ity, indispensable for the simulation of multi-instru-
ment situations as well as for the simplification of
sound creation starting from common timbral sources.
• The part relating to subtractive syntheses allows sounds
of real or synthetic origin to be subjected to the action
of one or two programmable filters, which deeply inter-
vene on the harmonic content of the original sound,
rendering it extremely “live”.
Sampling
Sampling technology is a technique of recording sounds
“live”, which permits the reconstruction of the original
acoustic instrument using an electronic musical instru-
ment.
The development over time of the intensity of a sound is
represented by the envelope. The Envelope of a sound -
any sound - can be represented graphically in the fol-
lowing manner:
A D
S
R
Amplitude
Time
“Amplitude” measures the intensity reached by the sound
within a certain period of “Time”. The letters A, D, S, R
indicate the various phases of the sound’s development:
Sound synthesis