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GLOSSARY

BASIC

BUILDING

BLOCKS Attenuator:

on

the

Odyssey,

a

Jr

D slider

that

lets sjgnal

through

.

when

it's

up

and

cuts

it

off

Oscillator (VCO}:

generates

tone.

when

it's

down.

Filter (VCF}: changes

tone

color.

Audio range:

the

range

of

pitches

Amplifier (VCA}:

controls

volume.

that

your

ear

can hear.

Envelope Generator (ADSR and Harmonics:

overtones.

The

more

AR):

controls

attack

and

decay.

harmonics

are

present,

the

ONIC

Frequency:

pitch.

Timbre:

tone

color.

Amplitude:

volume

Envelope:

attack

and

decay

shape.

ODYSSE'r

..

E.

MS

ADSR

and AR:·

attack,

decay,

sustain release.

Y:={)

aFand

rele&:

more

brilliance

the

sound

will

have.

Hertz(Hz): an

electronic

term

meaning

"cycles

per

second."

The

human

ear

can

hear

pitches

from

20

tG

20,000

cycles

per

second,

or

20Hertz

to

20

kiloHertz.

(20Hz

-

20KHz)

.

Highpass filter (HPF): changes

timbre

by

cut.ting

off

low

harmonics

and

passing high

ones.

Internal clock:

adjustable

low

frequency

oscillator.

Lowpass filter (VCF}: changes

timbre

by

cutting

off

high

harmonics

and

passing

low.

ones.

Mixer:

combines

signals.

Noise: a

random

signal

that

sounds

like a

"hiss."

Odyssey:

the

ultimate

musical

trip.

Phase:

the

relationship

of

one

waveform

to

another.

sine waves sine waves

in

phase.

out

of

phase.

---~

---·

~er

~'--"-'

Phase-synchronization: using

one

oscillator

to

control

the

phase

of

another

oscillator

of

different

pitch.

Pitch bend:

control

of

the

frequency

of

a

note

while

it's being

played.

Portamento: a glissando,

or

sliding

between

notes.

Resonance:"wow"

control.

In

electronic

terms,

a

control

that

amplifies a

narrow

band

of

·

overtones.

Sample & hold:

produces

a series

of

steps,

which

can

control

pitch,

volume,

or

brilliance.

Triggers itself

automatically.

17

2

Sub-audio range (Low frequency):

pitches

that

are below

what

your

ear

can

hear

as a

tone.

Trigger:

an

electronic

impulse

put

out

by a

keyboard

or

low

frequency

oscillator

that

starts

the

envelope

generator.

Voltage control:

on

a

synthesizer,

it

means

substituting

an electrical

signal

for

manual

control

of

pitch,

brilliance,

volume,

and

attack

&

decay.

Waveform:

tone.

Different

shapes

of

waveforms have

different

timbre

:

Square:

n._ru-u

sounds

hollow,

reedy.

Pulse: fL....n_fL_j

sounds

thin,

nasal.

Sawtooth:

~

sounds

rich, full, brassy

Sine:

~

sounds

smooth,

round,

pure.

Ring modulator:

produces

a single

complex

output

signal

which

contains

all

the

sums

and

differences

of

the

two

inputs.

Learn

to

take

yourself

on

the

ultimate

musical

trip!

...

"I

j

dys

Electronic

Music

Synthesizer

uid--

Your

ARP

synthesizer

is

warranted

for

the

original

purchaser

only

against

defects

in

materials

or

workmansh

ip

for

one

full

year

from

date

of

purchase.

In

case

of

defect,

repairs will

be

made

without

charge

when

the

synthesizer

is

shipped,

transportation

prepaid,

properly

packed,

to

the

nearest

ARP

authorized

servi

ce

center

.

These

warranties

do

nbt

cover

defects

resulting

from

accident,

alteration

,

improper

use,

unauthorized

repairs,

tampering,

or

failure

of

the

purchaser

to

follow

normal

operating

procedu

res

outlined

in

the

user's

manual,

nor,

for

example,

does

it

cover

dam

age

resulting

from

acts

of

Go

d,

such

as,

flood,

tornadoes,

or

lightning. Parts

replaced

under

these

wa

r

ranties

are

warran

ted

on

ly

through

the

remaining

portion

of

the

original

warranty.

This

warranty

becomes

effective

only

when

the

ARP

Warranty

Registration

card

is

properly

filled

out

with

all

the

required

information

and

received

at

ARP

INSTRUMEN

T

S,

INC.

within

14

days

from

the

date

of

purchase

.

The

foregoing

warranties

are

in lieu

of

all

other

warranties

express,

implied

, or

statuto

r

y,

including

but

not

limited

to

any

implied

warranty

or

merchantability

or

fitness,

and

all

other

obligations

or

liabilities

of

ARP

INSTRUMENTS,

INC.

In

no

event

shall

ARP

I

NSTRUMENTS,

INC. be liable

for

special

or

consequential

damages,

or

for

any

delay

in

the

performance

of

this

warranty

due

to

causes

beyond

its

control.

If

your

Odyssey

fails

during the first year after purchase, contact the dealer from

whom

it

was

purchased or the factory to obtain the name and address

of

the nearest A RP authorized service

center. Do

not

return

your

Odyssey to the factory

without

getting prior approval. You are

responsible for getting

your

Odyssey safely to the service center

and

back.

If

you

ship

your

Odyssey, be certain to insure

it

for its full value and enclose a

note

describing the problem.

And

pack

it

well.

IM

POR

TANT!

The enclosed Warranty card must

be

returned

to

the factory within

14

days

of

purchase.

r.'\

l2J

Table

of

contents

Setup

..................

3

Voltage control . . . . . . . . . . . . 4

Assembling a

sound.

. . . . . . . . . . 5

Signal sources . . . . . . . . . . . . . . 6

The "assembly l

ine"

.

.......

...

7

Phase

sy

nchronization . . . . . . . .

..

8

Ring modulation . . . . . . . . 9

Vo

ltage controlled filter . . . . . . . . 10

Highpass filter &

Ampl

ifier. . .

11

Envelope generators. . . . . . .12

Low

fre

quency osci

ll

ator.

.......

13

Sam

pl

e &

ho

l

d.

. . . .. . . . . . . . .

14,

15

Keyboard & pedals . . . . .16

It's a variable

synt

hesizer ! . . . . : . .17

~~

ODYSSEY

GUIDE

Instant Odyssey . . . . . . . . . .

18

2-Voice with Pedal . . . . . . . . 19

Phase-Synchronized Oscillator ..

..

..

20

Guitar-Lesl

ie

.

..............

21

Trumpet . . . . . 22

Trumpet Chorus . . . . . . . . . . . .

23

String Chorus . . . . . . . . ·. . . . . .

24

Flute. . . . . . . . . 25

Electric Bass, . . . . . . . . . . . . . . 26

· 'Hammond-Leslie'. . . . . . . . . . . . 27

Sa

mple & Hold Percussion .

28

Ba

n

jo

with Repeat

Gong/Chime. . . . . 29

. 30

ROCK STAR ENGINEER

CLASSICAL

~,/

PROFESSOR

FAN

JAZZMAN

Copyright ARP Instruments, Inc.

0

!Inn

320

Needham

Street

~

Newton, Mass.

02164

First Printing.

..

.November, 7972

SET UP

YOUR

ODYSSEY

1.

Remove

the

instrument

from

its

shipping

carton.

Do

not

throw

the

carton

a:nd

packing

materials

away.

They

can

be used

to

protect

the

Odyssey

in

transportation.

2.

The

Odyssey

should

be

placed

on

a

firm

support

about

30"

off

the

floor

so

that

its key-

board

is

at

a

comfortable

playing

height.

An

optional

performance

stand

is

available

from

your

dealer.

3.

Connect

the

power

cord

to

a

grounded

110-117 VAC

electrical

outlet.

The

power

switch

in

the

upper

right

corner

of

the

control

panel will

light

up

when

the

Odyssey

is

turned

on.

4.

Like all

electronic

musical

instruments,

the

Odyssey

must

be

connected

to

an

amplifier

and

loudspeaker

system

in

order

to

produce

sounds.

The

phone

jack

labeled

"low

level"

on

the

back

of

the

instrument

is

for

use

with

standard

musical

instrument

amplifiers.

The

smaller

phono

(RCA)

jack

next

to

it

is

la-

beled

"high

level"

and

should

be

used in

connecting

your

Odyssey

to

a

tape

recorder,

stereo

amplifier,

or

electronic

organ.

5. A

foot

switch

and

pedal

control

have

been

supplied

with

your

Odyssey.

Connect

these

to

the

rear

panel

jacks

labeled

"pedal"

and

"switch."

The

pedal

is

not

.a

simple

volume

control

such

as

you

are

familiar

with

if

you

have

played

electronic

organs;

it

is an integral

part

of

the Odyssey

and

is

essential for realis-

ing

the

full

potential

of

the instrument.

6.

You

are

now

ready

to

make

music

with

your

Odyssey.

You

can

begin

immediately,

if

you

wish, by

turning

to

the

end

of

this

man-

ual

and

setting

up

any

one

of

the

"patches"

given

there.

There

are

thousands

of

patches

you

can

discover

on

your

own,

and

in

the

next

few

pages

of

this

manual

we will

show

you,

in

simplified

form,

how

you

can

discover

some

of

them.

7. Until

you

are

quite

familiar

with

the

range

of

sounds

your

Odyssey

can

produce,

it

will

be

a

good

idea

to

keep

the

tone

controls

of

your

amplifier

set

to

their

"flat"

or

normal

position.

Later

on,

of

course,

you

can

use

them

freely,

together

with

reverberation

if

your

amplifier

provides

it.

Setup

ARP

ODYSSEY

Page

3

HOW

YOUR

ODYSSEY

WORKS

1.

Most

purely

electronic

musical

instruments

work

by

generating

certain

kinds

of

"raw"

sounds

from

circuits

called oscillators.

These

raw

sounds

(not

usually

very

pleasant

or

musi-

cal

sounding

by

themselves)

are

then

modified

by

other

circuits

such

as filters

to

make

them

musically

useful.

In a very general

way,

th

is is

how

your

Odyssey

works,

but

there

are

im-

portant differences.

2.

One

difference

is

that

the

synthesizer

gives

you

complete control

over

every

step

of

the

process

that

turns

a raw

sound

into

an

inter-

esting

musical

event

or

series

of

events.

All

of

the

slide

controls

on

the

upper

half

of

your

Odyssey

control

panel,

for

example,

re-

present

forms

of

sound

modification

that

either

do

not

exist

on

other

electronic

musical

instruments

or

are

buried

deep

inside

where

only

a

serviceman

could

reach

them.

3.

The

biggest

difference,

however,

is

that

with

your

ARP

Odyssey

the

process

of

whitt-

ling a raw

sound

into

something

musically

in-

teresting

can

be

controlled

not

only

manually

but

also, in several

important

respects,

auto-

matically.

This

is

the

principle

of

voltage

control,

which

means

controlling

the

operation

of

your

synthesizer

by

means

of

changing

volt-

ages as well as

changing

slider

positions.

Some

of

the

circuits

in

your

Odyssey

exist

only

in

order

to

produce

such

control

signals.

(Some

of

these

are

the

sample/hold

circuit,

the

two

envelope

generators,

the

L

FO,

and

the

key-

board.

)

4.

In a

modern

manufacturing

plant

many

operations

such

as drilling, milling,

and

lathe

work

will

be

controlled

by

computer.

Most

of

us have seen

at

one

time

or

another

a film

of

this

sort

of

thing-a

piece

of

raw

material

being

locked

into

place

and

machined

to

a

certain

size,

with

holes

of

a

certain

depth,

width,

and

placement-and

so

on.

You

can

think

of

your

Odyssey

as

being

such

an

"assembly

line"

for

the

construction

of

sounds.

Page

4

ARP

ODYSSEY

How

it

works: Voltage control

Audio

signals

from

the

two

voltage controlled

oscillators

(VCO

1

and

VCO

2),

the

noise

gen-

erator,

and

ring modu-

lator

are

mixed

and

passed

th

rough

the

volt-

age

controlled filter,

the

high

pass

filter,

and

the

voltage controlled amp-

lifier

before

leaving

the

synthesizer.

The

output

of

the

voltage control-

ed

amplifier

is

connect-

ed

to

the

output

jacks

on

the

back

of

your

Odyssey.

5.

The

ARP

Odyssey

contains

about

a

dozen

separate

pieces

of

equipment

(plus

a

few

extra

controls

such

as

the

portamento

and

pitch

bend

controls

on

the

far

left

of

the

panel.)

These

can

be

connected

to

each

other

in

many

different

ways

by

the

switches

and

sliders

to

produce

thousands

of

different

"assembly

pro-

grams"

or

patches.

Each

patch

requires:

a.

at

least

one

piece

of

equipment

to

gen-

erate

the

raw

material

from

which

the

sound

is

to

be

made;

i.e., a

signal

source.

b.

at

least

one

piece

of

equipment

to

modi-

fy

the

raw

material

and

make

it

usable;

i.e.,

a

signal

modifier.

c.

one

or

more

pieces

of

equipment

for

control

Iing

the

signal .sources

and

signal

AUDIO

MIXER

VOLTAGE

1--~CONTROLLED•--~

FILTER

Keyboard

Control

from from

Noise Gen

Voltage

S/H

or

Envelope

VCO

1

VCO

2

or

Ring

Mod

or

Pedal

LFO

Generators

AUDIO

SIGNALS CONTROL SIGNALS

modifiers;

i.e.,

control

signal

sources,

some-

times

simply

called controllers.

6.

The

front

panel

of

your

Odyssey

shows

the

general

assembly-line

setup

(Figure

A).

Thus,

to

reach

your

amplifier

and

loudspeaker

system,

a signal

must

pass

through

this"assembly

line."

This is the heart

of

your

Odyssey. By using

the

sliders

and

switches

of

the

audio

mixer,

you

can

select

the

raw

material

for

processing

by

the

voltage

controlled

filter

(VCF),

the

high pass

filter

(HPF),

and

the

voltage

con-

trolled

amplifier

(VCA). In

the

next

few

pages,

we will

show

you

exactly

what

each

part

of

the

assembly

line

does

by

itself;

the

sample

patches

at

the

end

of

the

manual

show

some

of

the

ways

they

all

work

together.

HIGH

PASS

FILTER

VOLTAGE

•--~

CONTROLLED

AMPLIFIER

Envelope

Generators

AUDIO

OUTPUT

Figure A

Assembling a

sound

ARP

ODYSSEY

Page

5

INDIVIDUAL

FUNCTIONS

IN

THE

ODYSSEY

1.

Set

all

the

controls

on

your

Odyssey

as

in

Figure B.

There

should

be

no

sound

coming

from

your

speakers

when

the

controls

are

set

Figure

C

8

like

this,

even

if

you

press

a

key.

But

the

assembly

line

is

"wide

open"

and

will pass

any

signal

from

the

audio

mixer

in

unchanged

form.

2.

Opening

the

first

slider

under

the

audio

mixer

will give

you

a

steam

-like

hissing

noise

from

the

noise

generator.

The

noise

generator

is

a signal

source,

and

has

one

control,

located

in

the

upper

left

corner

of

the

panel

(Figure

C).

Moving

this

switch

down

will give

you

the

lower-pitched

sound,

like a

distant

waterfall,

of

pink

noise.

These

raw

sounds,

suitably

modified,

are useful in

the

production

of

wind,

thunder,

surf,

and

motor

or

machine

effects.

See

Patch

10,

for

some

of

these.

Close

the

first

slider.

3.

Open

the

second

slider

and

you

will

hear

a

rich

buzzy

tone

from

voltage controlled oscil-

lator 1 {VCO 1).

The

pitch

of

this

tone

can

be

changed

manually

by

the

coarse

and

fine

tuning

sliders

(Figure

D),

and

by

voltage

con-

trol

from

the

keyboard

(try

playing

the

key-

Page

6 ARP

ODYSSEY

Signal sources

board

using

al

I

three

p·ositions

of

the

transpose

switch

at

the

left

of

the

control

panel).

Other

control

signals

can

affect

the

frequency

of

VCO

1

through

the

two

sliding

attenuators

shown

in

Figure

E.

Experiment

with

the

in

-

dicated

controls.

An attenuator

acts

like a

valve,

or

faucet,

to

set

the

amount

of

a

control

signal

that

passes

through

it

to

affect

a

voltage

controlled

device.

An

attenuator is closed

when

it

is all the way down, and open when

it

is

all the way up,

VCO

1

produces

two

kinds

of

output

signals;

you

have

been

listening

to

the

sawtooth signal

(so

called

because

it

is

a

pattern

of

voltage

changes

which

look,

on

a

graph,

like

the

teeth

of

a

saw).

It

is

the frequency with which this

pattern is repeated every second

that

deter-

mines what pitch

you

hear.

You

can

hear

the

puJse

signal

by

moving

the

middle

switch

under

the

audio

mi

xer

down

(

Figure

F.

).

Figure

D

AUDIO

l~f·I ~

ICYBO

2!211

OFF

'

';"

,,

~

L

FO

S/H

IV\,

ij

~J.

JUl

.I'----.

Figure

E

Figure F

LFO

N'v

B

ADSR

"'-

VCO· l

N---1-

ii

I

MAX

-

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Figure

B

TRANSPOSE

2 OCTAVES

UP

2 OCTAVES

DOWN

VOLTAGE

CONTROL

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ED

VOL

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CONTROLLED

OSCILLATOR

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JUl

The "assembly

line"

ARP

ODYSSEY

Page

7

Figure G

ll

J_

LFO

IV\,

B

ADSR

,._

Experiment

with

the

pulse

wi_dth

control

on

VCO

1

and

then

with

the

pulse

width modu-

lation signal

attenuator

(Figure

G ).

Moving

the

switch

shown

in

Figure

H

down

lowers

the

frequency

of

VCO

1

by

a

factor

of

about

a

hundred.

This

is

far

below

the range

of

human hearing;

consequently

you

will

not

hear

any

continuous

tone

but

only

a

more

or

less

rapid

series

of

-clicks

(depending

on

the

coarse

and

fine

frequency

settings).

In

this

low frequency

range

VCO

1

is

not

control

led

by

the

keyboard

{if

it

were,

the

click-frequency

would

double

with

every

keyboard

octave),

and

can

be used as a

source

of

control

signals.

4.

Return

the

controls

on

the

Odyssey

to

the

positions

shown

in Figure

B.

Now

open

the

third

slider

under

the

audio

mixer

to

hear

the

raw

sawtooth

signal

from

voltage controlled

Page

8 ARP

ODYSSEY

Phase synchronization

oscillator 2

(VCO

2).

VCO

2

is

exactly

like

VCO

1

except

for

two

things:

a.

VCO

2

does

not

have a

low-frequency

operating

range.

b.

VCO

2

can

be synchronized

to

VCO

1.

Phase

synchronization

of

the

two

oscillators

is

accomplished

by

the

switch

at

the

top

right

in

Figure

I ,

labeled

c'sync

off/on."

When

this

switch

is

on,

the

audio

signal

from

VCO

2 is

forced

to

conform

to

the

frequency

of

VCO

1.

You

can

hear

this

effect

in its raw

form

by

set-

ting

\/CO

1

to

some

relatively

low

audio

fre-

quency

(near

the

"100

Hz"

mark}

and

slowly

moving

the

coarse

tuning

control

of

VCO

2

through

its

entire

range

from

bottom

to

top.

Experiment

also

with

changing

the

frequency

of

VCO

1

while

leaving

VCO

2 in

about

the

middle

of

its range.

Patches

2,

3,

and

others·

make

use

of

this

spectacular

sound.

At

this

point,

too,

with

the

sync

switch

off,

you

should

practice

tuning

VCO

1

and

VCO

2

to

various

musical

intervals

by

opening

both

the

second

and

third

sliders

under

the

audio

mixer.

AUDIO

COARSE

FINE

ICYBD

:

:~

I 9

-

-~M•

-

- -

~-·

l

I

VOLTAGE

COHTROLLED

OSCILLATOR .J'\..fl.

1

Figure

H

Figure

I

*Be

sure

you

have

returned

the

sync

switch

to

"off"

when

you

first

try

the

ring

modulator.

Figure J

5.

Beginning

from

the

position

of

Figure

B,*

open

the

first

slider

under

the

audio

mixer

again

and

listen·

to

the

ring modulator.

The

ring

modulator

is

a signal

modifier,

and

when

you

are

listening

to

it

you

should

think

of

your

assembly

line as

it

is

shown

in

Figure

J.

The

ring

modulator

has

no

controls

of

its

own.

It

produces,

from

the

pulse

outputs

of

VCO

1

and

VCO

2,

a single

complex

output

signal

which

contains

all

the

sums

and

differences

of

the

two

oscillator

frequencies.

This

means

that:

a.

the

raw

sound

produced

from

the

ring

modulator

depends

entirely

on

the

tuning

of

VCO

1

and

VCO

2;

and

to

a lesser

extent

on

the

pulse

width

settings

for

each

one.

Experiment

with

these.

Note in particular

vco 2

that

sounds from the ring mo(fulator do

not

necessarily have any standard musical pitch

in relation to the pitch

of

either oscillator.

(Unless

they

are

synchronized

by

the

"sync"

switch

on

VCO

2;

try

that-)

b.

the

overtones

of

the

ring

modulator

sig-

nal will

not

necessarily

conform

to

the

stan-

dard

harmonic

series.

They

may

be

extreme-

ly

complex,

like

those

of

a bell,

chimes,

gongs,

and

other

metallic

or

percussive

sounds.

All

of

these,

in

fact,

can

be

simu-

lated

by

further

modifications

of

a

suitable

ring

modulator

signal; see

Patch

12.

OUTPUT

RING

VOLTAGE

MODULATORi----CONTROLLED

FILTER

HIGH

PASS

FILTER

VOLTAGE

CONTROLLED

AMPLIFIER

vco 1

Ring

modulator

ARP

ODYSSEY

Page

9

6.

The

voltage controlled filter

(VCF)

is

a

signal

modifier.

It

alters

the

sound

of

signals

passing

through

it

by

selectively

removing

or

weakening

their

higher

frequencies.

Listening

to

pink

noise,

with

the

settings

as in

Figure

K,

move

the

VCF

freq

slider

slowly

down

as

far

as

it

will go.

You

will

hear

first

the

highest

frequency

components

of

the

noise

weaken

and

disappear,

then

middle

frequencies,

and

finally

even

the

lowest

bass

disappear

until

no

signal

is

audible

at

all.

Try

the

same

procedure

with

signals

from

one

or

both

of

the

VCO's

instead

of

pink

noise.

Raise

the

resonance

slider

about

halfway

up,

as in Figure

L,

and

repeat

the

experiment,

first

with

pink

noise

and

then

with

an

oscillator

signal. With

this

resonance

setting,

the

VCF

"peaks"

sharply

around

a

narrow

range

of

frequencies;

this

is

useful in

creating

various

"wa-wa"

effects.

The

highest

position

of

the

resonance

slider

is

labeled

"self

osc"

(Figure

M

).

In

this

position

the

VCF

is

an

oscillator

just

like

one

of

the

VCO's

and

will

produce

an

output

even

with

all

th

e

input

sliders

on

the

audio

mixer

closed.

In

other words,

it

becomes a signal source

rather than a signal modifier.

i

V

CF

,

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1

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--

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1111

16

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MIN

Hr

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OUTPUT

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AUDIO

MIXER

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--- -

--- -

J_ J_ J_ J_

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assaa AR

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RING

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J_

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Figure

M

Page

10 ARP

ODYSSEY

Voltage controlled filter

AUDIO

MIXER Figure L

The

VCF

resonance

can

only

be

set

manually.

The

VCF

frequency can

be

set

and

changed

with

control

voltages

as well as

by

hand;

using

noise as

your

input

signal,

open

the

first

con-

trol

input

attenuator

all

the

way

(Figure

N)

and

set

the

manual

VCF

freq slider

about

half-

way

up.

Now

run

long

glissandos

on

the

key-

board

and

listen

to

the

noise

grow

alternately

brighter

and

duller.

Close

this

attenuator

and

open

the

next

one

to

introduce

control

by

the

LFO

sine

output.

(By

this

time,

you

should

develop

the

habit

of

experimenting

with

all

the

relevant

controls

for

any

functions

in use;

in

this

case,

for

example,

you

will

want

to

hear

different

settings

of

the

L

FO

frequency

and

the

VCF

resonance

and

manual

VCF

frequency

settings.)

Often

you

will

want

to

control

the

VCF

frequency

by

the

ADSR

or

AR

envelope

gen-

erators in

order

to

create

separate

events

with

their

own

attack

and

decay

characteristics.

For

an

example

of

this,

feed

one

of

the

VCO

~

signals

into

the

audio

mixer

and

move

the

VCF

freq

slider

all

the

way

down.

Open

the

third

con'trol

attenuator

under

the

VCF

all

the

way

(all

the

other

controls

on

your

Odyssey

~hould

+rhus

the

HPF

is

"wide

open"

when

the

HPF

Cutoff

Freq

control

is

all

the

way

down.

HPF

I

FREO

"··~:":"

"CI~~~~f

KMr

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-- - -

-- - -

- - - - -

,,

10

-Hr - - MIN

Hz

AUDIO

MIXER

II

ll1

J_ J_

J_

l_ l_ l_

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MOO

JUL

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F>._

~

control

inr:>ut

attanuators

Figure

N

be

set

as in

Figure

B),

and

play

the

keyboard.

Contrnue

with

various

settings

of

the

VCF

freq,

the

third

attenuator,

and

the

four

con-

trols

of

the

ADSR

envelope

generator.

In

general,

the

higher

the

setting

of

the

third

attenuator,

the

lower

you

will

want

to

set

the

VCF

freq,

and

vice versa.

7.

The

high

pass

filter

(HPF)

is

another

signal

modifier.

It

attenuates

frequencies

below

the

setting

of

its

HPF

cutoff

frequency

slider

and

thus

is

exactly

opposite

in its

effects

to

the

VCF

which

is

a

low

pass

filter.*

It

is useful in

eliminating

"boominess"

from

low

bass

notes,

and

in

simulating

certain

instrumental

sounds

(see

Patch

6).

The HPF is

not

voltage con-

trolled.

8.

The

voltage controlled amplifier

(VCA)

is

the

final signal

modifier

stage

of

your

Odyssey

"assembly

line."

It governs the volume

of

the

synthesizer's output.

The

most

common

way

of

using

the

VCA

is

to

set

its

VCA

gain

slider

all

the

way

down

and

the

control

attenuator

all

the

way

open.

(See

Figur

e O

on

page

12.)

Thus

the

VCA

will

allow

signals

to

pass

through

only

when

it

is

"instructed"

to

do

so

by

one

of

the

envelope

generators.

Highpass filter &

Amplifier

ARP

ODYSSEY

Page

11

9.

The

two

envelope generators

are

controllers.

They

are

most

often

used

to

program

the

attack

and

decay

of

events

by

controlling

the

gain

of

the

VCA

or

the

frequency

of

the

VCF.

The

upper

envelope

generator

in

Figure

O

has

two

control

sliders,

one

for

attack time,

and

one

for

release

time.

It

is

referred

to

as

the

AR

generator.

The

lower

generator

has

con-

trols

for

attack time, decay time,

sustain

level,

and

release

time,

and

is

thus

abbreviated

as

the

ADSR

generator.

With

your

Odyssey

controls

set

as in

Figure

B,

feed

pink

noise

into

the

audio

mixer

and

close

the

VCA

gain

slider

all

the

way

down.

Open

the

control

attenuator

under

the

VCA

all

the

way

as in

Figure

P,

and

depress

any

key

on

the

keyboard.

Raise

the

attack

slider

on

the

AR

generator

a

little

way

and

depress

a

key

again.

Continue

to

do

this,

each

time

raising

the

attack

control

a

little

more

until

it

is

all

the

way

up.

Then

move

it

down

again

and

repeat

the

whole

procedure

using

the

release

slider.

Now

experiment

with

VCA

control

by

the

ADSR

generator;

move

the

selector

switch

un-

der

the

VCA

control

attenuator

down

as in

Page

12

ARP

ODYSSEY

Envelope generators

Figure

P

and

try

various

settings

of

the

four

ADSR

controls.

By

closing

the

VCF

freq

slider

and

opening

the

third

attenuator

under

the

VCF

all

the

way

as

in

Figure

Q,

you

can

give

yourself

a

similar

introduction

to

ADSR

and

AR

control

of

the

VCF.

Experiment

too

with

various

combina-

tions

of

the

VCF

freq

and

control

attenuator

settings,

and

with

various

mixes

{by

means

of

the

input

attenuators

to

the

audio

mixer)

of

J:~;:~~"LED

signals

from

VCO

1

and

VCO

2.

·l::'.:

r--;,;v:~:E

~T;;;--,

Up

to

now

you

have been triggering the enve- 4a

•1c•

OE

.

CAY

SUSTA

.

IN

RELEASE

lope generators

only

from the keyboard. By _

-1-1

-1

means

of

the

three

switches

at

the

bottom

right

of

Figure

R,

you

can

also

trigger

the

er'lve.lope

generators

with

the

LFO.

Move all

three

switches

down

and

set

the

other

controls

of

J_

your

Odyssey

for

AR

or

ADSR

control

of

the

.,

~/

08

".:;-i J l 1

.~:07

VCF

or

VCA as in

Figure

R;

now

try

different

8 !

"g

9

settings

of

the

LFO

freq

slider

from

low

to

AOSR

lfli

.

•uro

REPEAT

.r-.._

REPEAT

REPEAT

JU1

high. With

the

first

switch

down

and

the

sec- ..,_

___

.n.n._

_____

.....

_

_.

ond

switch

up,

a series

of

events

will be

pro-

duced

(triggered)

by

the

LFO,

but

only

when

a

key

is

depressed.

This

is

useful

in

simulating

--

-banjo-picking

and

strumming

as in

Patch

11.

Return

switches

under

ADSR

and

AR

to

upper

position.

Figure

P

VOLTAGE

CONTROLLED

ll

l_ l_ l_

ICYBO

5m

ADSR

CV

.I'--,__

8 B

l!!I

S/H

LF

O

AR

MIXER

fV'v

r-\_

PtD~L

Figure

Q Figure R

Figure

S

10.

The

low frequency oscillator

(LFO)

is

a

controller;

its

output

signal is never used

as

raw material

but

only

to

control other

functions within the Odyssey.

You

have al-

ready

heard

it

control

VCO

1 in

Figure

E ;

now,

by

following

the

settings

of

Figure

S,

listen

alternately

to

LFO

square

wave

control

of

VCO

1

and

LFO

sine

wave

control.

In

one

case

you

hear

a

vibrato,

in

the

other

a trill.

Experiment

with

various

settings

of

the

LFO

freq

slider

and

of

the

control

attenuator

under

VCO

1.

The

L

FO

can

also be used

to

govern

the

oper-

ation

of

the

sample/hold

circuit

and

the

envelope

generators

which

you

will

read

about

later.

11.

The

sample

and

hold mixer (S/H mixer)

selects

and

combines

signals

to

be

fed

to

the

sample

and

hold

circuit.

These

signals

can

also

be

routed

to

control

VCO

2

and

the

VCF.

Under

each

of

these

two

functions

is

a

switch

labeled"S/H

mixer

or

pedal.,,

When

the

foot

pedal

is plugged

into

the

Odyssey,

the

lower

position

of

these

switches

selects

control

by

the

pedal;

if

the

foot

pedal

is

disconnected

Low

frequency oscillator

ARP

ODYSSEY

Pag_e

13

from

the

back

of

the

Odyssey,

the

same

switch

position

selects

control

by

the

output

of

the

5/H

mixer.

12.

The

sample

and

hold circuit js a

control-

ler; it

is

used

only

to

control

VCO

1,

VCO

2,

and/or

the

VCF.

In

order

to

hear

what

it

does

listen

first

to

VCO

2 as

you

have

done

before

and

then

experiment

with

the

controls

indi-

cated

in

Figure

T.

By

"sampling"

at

a given

instant

the

signal

voltage

from

the

S/H

mixer,

the

sample

and

hold

circuit

produces

a series

of

voltage levels.

If

these

in

turn

are used

to

control

a

VCO,

the

result

is

a series

of

pitches.

The

switch

under

the

sample

and

hold

circuit

selects

either

the

LFO

or

the

keyboard

as a

triggering

source.

If

the

keyboard

is

selected

(

Figure

U ),

then

a

new

sample

will be

taken

every

time

you

press

a key; if

the

L

FO

is

selected,

then

new

samples

will be

taken

at

regular

intervals

corresponding

to

the

frequency

setting

of

the

L

FO.

When

the

signal

sampled

is

primarily

noise,

the

output

voltage

levels will be

random

and

so

of

course

will be

the

pitches

produced

from

VCO

2 ;

but

if

the

signals

being

sampled

are

Page

14

ARP

ODYSSEY

Sample &

hold

Figure

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PEDAL

Figure V

See

Patch

10

for

a

thorough

sample

and

hold

patch.

Figure

W

regular

and

periodic

(any

combination

of

the

VCO

1

and

VCO

2 signals),

then

the

output

from

the

sample

and

hold

circuit

will

tend

to

be a

repeating

pattern

also. It

may

·be an ex"

tremely

complex

one,

or

it

may

be

extremely

simple

.

For

an

example

of

a

simple

one,

switch

VCO

1

to

its

low

freq

range

and

feed

the

VCO

1

sawtooth

into

the

S/H

mixer.

Use

the

sample and hold output

to

control

VCO

2

and

listen

to

VCO

2

through

the

audio

mixer.

Set

the

LFO

freq

to

about

halfway

up,

and

the

VCO

1

freq

at

about

2 Hz. You should

hear a descen.ding "staircase"

of

pitches, like a

scale passage or an arpeggio (Figure V ).

Speed

up

VCO

1

freq

and

hear

the

repeating

patterns.

The

output

lag

slider

(Figure

W )

"smootbes

out"

sudde.n

changes

of

voltage

from

the

sample

and

hold

circuit.

With

the

same

patch

you

have

been

listening

to,

move

the

slider

slowly

from

"min"

to

"max"

and

back

again.

13.

The.

keyboard

is

a

controller.

By

con-

trolling

the

pitch

of

the

VCO's

and

providing

triggering

signals

to

the

envelope

generators,

it

allows

you

to

play

your

Odyssey

as

though

it

were

a

standard

keyboard

instrument.

The

More sample &

hold

ARP

ODYSSEY

Page

15

transpose,

portamento,

and

pitchbend

controls

(Figure

X)

give

extra

flexibility

to

your

pitch

control

of

the

oscillators.

Set

the

controls,

to

start

with,

as

in

the

illus-

tration,

and

feed VCO 1

(either

the

sawtooth

or

pulse signal)

into

the

audio

mixer

with

the

VCF,

HPF,

and

VCA

wide

open.

Depress a

key

and

rotate

the

pitch

bend

knob

to

the

right,

then

to

the

left,

then

return

it

to

center.

Release

the

key

and

rotate

the

knob

again.

Note

that

it

operates

only

when

a

key

is

de-

pressed.

Return

the

knob

to

center.

Raise

the

portamento

slider

about

halfway

and

play a

short

melody;

note

the

"glide"

be-

tween

pitches.

The

position

of

the

portamento

slider

determines

the

speed

of

the

glide;

exper-

iment

with

different

settings.

The

transpose

switch

shifts

the

entire

keyboard

control

up

or

down

by

two

octaves.

Play a

scale up

the

keyboard

with

this

switch

cen-

tered,

and

then

with

the

switch

up,

then

with

the

switch

down.

In

this

way

the

keyboard

can have an

effective

range

of

seven

octaves,

almost

as wide as a

piano.

Page

16 ARP ODYSSEY Keyboard & pedals

The

foot switch

supplied

with

your

Odyssey

is

used

to

turn

on

the

portamento.

Thus

you

can

set

the

portamento

slider

for

a

certain

glide

speed

and

then

turn

it

on

and

off

with

the

foot

switch.

When

the

foot

pedal

is

plugged

into

the

back

of

your

Odyssey,

VCO

2

and

the

VCF

can be

controlled

by

it. (The signal

from

the

5/H

mixer

is

automatically

disconnected

by

insert-

ing

the

foot

pedal jack.) See

Patch

1

and

2

for

examples

of

its use.

Your

Odyssey

keyboard has two-voice capa-

bility.

Feed

both

oscillator

signals

into

the

audio

mixer

and

tune

them

to

unison

while

holding

down

the

lowest

key.

Now

VCO 1

will

follow,

or

"track,"

the

lowest

key

of

any

two

notes

you

play,

and

VCO 2 wil I

track

the

highest

key.

Thus

you

can

play

two

indepen-

dent

pitches

at

the

same

time.

For

examples

of

this

turn

to

page

20

and

begin

with

the

first

patch.

(When

you

are

setting

up a two-voiced

patch,

make

sure

the

"sync,,

switch

is

in

the

"off

11

position.)

PORTAMENTO

r

-

.,.

~

FLAT.Sl<ARP

PITCH

BEND

Figure

TRANSPOSE

2 OCTAVES

UP

8

2 OCTAi/ES

DOWN

X

!

I

HINTS

FOR

GETTING

THE

MOST

OUT

OF

YOUR

ODYSSEY

1.

You

may

tend

at

first

to

think

of

the

con-

trol sliders on

the

Odyssey

as

something

like

stop

tabs

on an

electronic

organ.

That

is,

you

may

be

tempted

to

set

them

in

a

certain

way

and

then

"play"

the

Odyssey

only

from

the

keyboard.

Try

to

overcome

this

temptation.

Use

the sliders in performance. Learn

to

change

the

sounds

you

are

producing

while

you

are

producing

them.

2.

The

patches

given

in

this

manual

are very

basic.

Do

not

hesitate

to

search

for

improve-

ments

and

variations

on

your

own.

In

many

cases a

slight

change

in

the

position

of

a single

control

slider

or

attenuator

can

make

a large

difference

in

the

sounds

you

are

producing.

3. Resist the temptation to merely open

as

many

sliders

as

possible,

as

far

as

possible.

It's a variable synthesizer: vary

it!

ARP ODYSSEY

Page

17