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Patch worksheet, Exams of Microwave Engineering and Acoustics

Texas A&M University (A&M)Microwave Engineering and Acoustics

UNIVERSITY OF CALIFORNIA BERKELEY. Department of EECS. Instead of problems, this week's discussion has “Patches”. A patch is a suggested.

Typology: Exams

2022/2023

Uploaded on 05/11/2023

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EE 120: Signals and Systems
Discussion 9
October 25, 2019
UNIVERSITY OF CALIFORNIA BERKELEY
Department of EECS
Instead of problems, this week’s discussion has “Patches”. A patch is a suggested
setting for the synthesizer’s controls to achieve a certain sound. Each patch also
has some questions, which will help you understand what’s going on.
Patch 1: Basic Sawtooth Wave.
This patch produces a basic sawtooth wave, with no filtering, envelope shaping,
or modulation by control voltages. It’s a great place to start exploring, and if you
can’t figure out how to get back to “just a normal sound”, you can set it back to
this patch.
1. A few of the controls are circled with dashed lines. Changing these controls
will not change the sound of this patch, which you should check. Why don’t
they change anything?
2. All of the other settings are important to get an unfiltered, unmodulated saw-
tooth wave. Why are these controls important to the sound?
3. Suppose that we wanted to add a “vibrato” effect to the sawtooth wave– this
is a slight wobbling in the pitch of the note. Which circled settings become
important? Which setting controls the “depth” of the vibrato? Which con-
trols the “speed”?
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Download Patch worksheet and more Exams Microwave Engineering and Acoustics in PDF only on Docsity!

EE 120: Signals and Systems Discussion 9 October 25, 2019

UNIVERSITY OF CALIFORNIA BERKELEY

Department of EECS

Instead of problems, this week’s discussion has “Patches”. A patch is a suggested setting for the synthesizer’s controls to achieve a certain sound. Each patch also has some questions, which will help you understand what’s going on.

Patch 1: Basic Sawtooth Wave. This patch produces a basic sawtooth wave, with no filtering, envelope shaping, or modulation by control voltages. It’s a great place to start exploring, and if you can’t figure out how to get back to “just a normal sound”, you can set it back to this patch.

  1. A few of the controls are circled with dashed lines. Changing these controls will not change the sound of this patch, which you should check. Why don’t they change anything?
  2. All of the other settings are important to get an unfiltered, unmodulated saw- tooth wave. Why are these controls important to the sound?
  3. Suppose that we wanted to add a “vibrato” effect to the sawtooth wave– this is a slight wobbling in the pitch of the note. Which circled settings become important? Which setting controls the “depth” of the vibrato? Which con- trols the “speed”?

Patch 2: Impulse Train. This patch makes a mildly unpleasant buzzing sound. However, that buzzing is the sound of a familiar friend: the impulse function! The signal coming out of the audio jack is a finite-energy approximation of the signal x(t) =

k=−∞ δ(t^ −^ kt^0 ), that is a train of delta functions all spaced^ t^0 apart.

  1. Once again, not all of the controls will affect the sound of this patch. Try changing all of the control settings, and circle the ones that don’t affect the sound. Why don’t those ones have an effect?
  2. The settings for this patch is quite similar to the “basic sawtooth” patch, de- spite the fact that they produce very different waveforms and spectra. Start- ing from the “basic sawtooth” patch, what changes would you need to make to get to this patch?
  3. Connect the audio output of the Werkstatt to an oscilloscope, and look at the audio waveform and its FFT. This signal has a special relationship to its Fourier transform. What is it? hint: In the homework, you proved that the Gaus- sian signal enjoys a similar relationship.

Patch 4: Kick Drum. It’s easy to get the notion that a synthesizer has to produce sounds that mimic pianos, flutes, voices, or other instruments with sustained, nearly periodic waveforms. However, it can also create short sounds with lots of dynamics. For example, this patch creates a deep, resounding drum beat.

  1. Watch the LED on the LFO panel when you press a key. What happens, and why does it happen?
  2. This patch has two connections in the patch header, which is pretty advanced. Describe how each one alters the way the modules are interconnected. How does removing the patches affect the sound?
  3. It’s important to have a variety of drum sounds at your disposal. Who ever heard of a drum kit with only one drum? This patch can be a starting point for you to find new percussion sounds. Experiment with it: change the set- tings, move the patch headers around, and add new ones. You can go for “real drum verisimilitude” if you want, or you can go for a really weird elec- tronic sound– it’s your adventure now! If you find one you like, there are some blank patch sheet where you can jot it down.

By the way, you can use the patch headers to connect multiple Werkstatts together. I wonder what that would sound like?