19
Hard Chord Work
Furthermore you can use the integrated Arpeggiator for
various chord break-up duties. Particularly musical
sequences can be arranged intuitively with the special
Arpeggio types, and here the same applies again: a more
unusual sound results in a more original Arpeggio.
Let‘s however deal first and foremost with the traditional
synthesizer sounds. In this area alone there are thousands of
possibilities to explore, all of which can be used effectively
for your arrangements. To demonstrate we have prepared
two Performances.
A M P L E :
Performance TP081 consists of only one Layer, that is to
say only one sawtooth wave. Of course you could always use
two detuned oscillators to give the sound volume. If this
sound however is only to be used as an arpeggiated accom-
paniment, then one Layer should suffice. Doing so also helps
keep the voice count low, which will benefit any multi-timbral
duties. Again, pay attention to the effects. Here, as with
TP079, the delay is used rhythmically.
If you hold your chord down a little longer you will find that
the Arpeggio generated sequence repeats after exactly two
bars. Here is a simple but efficient trick: vary the length of the
sequence, i.e. trigger the Arpeggio already after a quarter, a
half or a whole bar. This will shape your Arpeggio in ever
more interesting ways and allow it to be used more distinctly.
Select the next Performance (TP082) to hear a classic
Arpeggio sequence. A simple analogue sound is steadily
arpeggiated up and down over four octaves. Altogether this
sound is fairly delicate and can thus be utilised for graceful
as well as frantic accompanying parts (ARP Subdiv 1/32).
Intriguing effects can be achieved by varying the tempo
during the Arpeggio process – simply use Knob 3 (Assign1).
This really is a special means of expression. You can now
shape the Arpeggio to any musical context (for instance to
heighten chord sequences by stepping them chromatically
upwards and downwards) or to your own personal interpre-
tation.
Sounds interesting – but can the Arpeggiator only be used
for Synthesizer sounds? Well, actually no, even traditional
musicians get a great deal out of it. He/she may for example
use it to create Tremolo effects for acoustic instruments, like
the mandolin or steel drums. “UpOct1” or “DwOct1” are the
most appropriate Arpeggiator types for this. Here‘s a little
exercise.
PERIMENT:
Consider Performance TP012 as a “Sound Init”. Now
instead of the sine wave select Steel Drums (e.g. XG001/
#15) and activate the Arpeggiator (the Arpeggiator type is
already set correctly). All that‘s needed now is a tempo
between 200 and 240bpm; all entries have been made. Now
play your Steel Drums, in thirds just like the original. If you
are pleased with the result, save your Performance. To add
even more authenticity to the sound, try setting Assign1 to
control the Arpeggio tempo as in our last example and gently
vary the speed of the Tremolo with Knob 3.
Naturally this isn‘t all there is to it. Following are another
four sequences that are particularly useful for modern styles
like House or Trance – you should like those.
A M P L E :
The Performances TP083/084 are really quite traditional.
With the first you will hear a two bar Clavinet sequence. You
should keep your triggering chords held down for at least
four beats on account of the daring downward octave jump
and special rhythm.
The next Performance is enriched with Pan and Echo
effects, and would work nicely as a House piano. Here a
single key triggers an entire 7th chord (minor 7). Interesting
also is the real-time control via Assign1/2. Knob 6 will let you
vary the chord note‘s volume, whilst Knob 3 is used to vary
the rhythmic resolution (Subdivide). Moving this knob fully
clockwise decreases the note values from 1/16 down to 1/32,
which effectively doubles the speed of the sequence – one
to use quickly and impulsively!
To prove once and for all that the sound used is the most
important element that gives the Arpeggio sequence its
character, we have assigned Arpeggio type “Echo&Pan” to a
phased choir sound. The resulting sound can be found in
TP085. Hard to believe that this fourth and final example is
based on the same Arpeggio type, isn‘t it? Particularly inge-
nious is the use of the differing dynamic values that are gen-
erated by the Arpeggio sequence. If the values exceed 92, an
‘analogue’ filter sound is heard (Layer2), if they are less you
hear a ‘digital’ sound instead (Layer1).
Keeping in Line
It doesn‘t always make sense to trigger arpeggios with
triads or other chords. Often it is better to play a single note,
or the Arpeggiator may reduce polyphonic playing to a single
note anyway. Naturally we have some examples for this, and
will comment on them below.
A M P L E :
The first Performance (TP087) is a good example of arpeg-
gio filter modulation. Combined with the distortion effect the
filter movements are nicely pronounced and should set well
even with Hardcore Freaks. As mentioned before, play this
Performance with a single note only. Triads wouldn‘t really be
useful here because of the fuzz effect. A second voice how-
ever may be added if you insist. A listen to the third Arpeggio
Demo will reveal all.
The second Performance (TP088) is living proof that a bass
line Arpeggiator type isn‘t restricted to bass sounds. Here we
are using a particularly flavoursome sequence, seasoned to
taste with a hefty dose of flanging. The Arpeggiator insists
on playing only the root and 3rd notes, even if you play a
triad; this is a good thing.
Perhaps you prefer to work with monophonic sequences,
but the Arpeggiator occasionally produces two or more
notes at once. No problem, with the aid of a small trick:
simply use the Poly/Mono function to reduce your Arpeggio
to one note, just like that. This opens up a whole new bag of
variation possibilities, which in turn affect the Arpeggio pat-
tern. A little example should make this clearer.
A M P L E :
Change Performance TP089 to POLY (Layer1). Now if you
trigger the Arpeggiator, you can if so desired play polyphonic
chords. This would however be a little impractical with bass
sequences, especially if you use the Portamento function. As
you will have already seen in the Analogue Workshop, sounds
are supposed to be played monophonically with this func-
tion. We have already set up the Performance this way and
thereby enabled the “Techno-B” Arpeggio type for bass lines.
While you‘re at it, try out Performances TP090 and 091. X-
