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Little Bro OM.Pdf 05 O CO jO INTRODUCTION 2 GETTING STARTED 3 CONNECTING LITTLE BROTHER TO YOUR SYNTHESIZER 4-5 LISTENING TO LITTLE BROTHER ... .6 w/ARP AXXE 7 w/ARP ODYSSEY 8 w/ARP 2600 9 HOW LITTLE BROTHER WORKS ... 11 THE VOLTAGE CONTROLLED OSCILLATOR (VCO) 12-13 WAVEFORMS 14 LOW FREQUENCY OSCILLATOR (LFO) 15 OTHER FUNCTIONS 16-17 TUNING 16 PITCH BEND 16 VOLUME 16 PATCHES 18-33 AXXE/LITTLE BROTHER 19-23 ODYSSEY/LITTLE BROTHER . 24-27 2600/LITTLE BROTHER 28-33 SPECIFICATION & SERVICE INFORMATION 34 -1- Remember, too, that the LITTLE BROTHER is just one of a family of ARP Be prepared. With an ARP LITTLE synthesizers that integrate into ARP's Poly BROTHER Synthesizer Expander you have phonic Synthesizer System. The "Systems the power to greatly broaden the musical Interface" jacks on the back of your LITTLE capabilities of your ARP 2600, ODYSSEY or BROTHER let you expand your system as AXXE, provided they are equipped with your musical needs grow. "Systems Interface" jacks. When used with a single-oscillator synthesizer like the AXXE, LITTLE BROTHER more than doubles tone-generating capac ity. String orchestra sounds, brass choruses and heavy organ sounds are just a few of the numerous multi-oscillator effects LITTLE BROTHER makes possible. When connected to multi-voiced syn thesizers like the ARP ODYSSEY or 2600, several instrumental sounds can be pro duced simultaneously. No matter what ARP synthesizer you own, LITTLE BROTHER will be a welcome addition. Like all ARPs, your LITTLE BROTHER is "human engineered." Every part of the instrument - from the logically arranged control panel right down to the shape and feel of each slider and switch - has been designed for maximum playing ease, performance and dependability. -2- Getting Started This manual is an operational guide for the LITTLE BROTHER. It should also give you a working knowledge of the instru ment's electronic music functions. Before you start to play, here are a few things you should do: 1. Fill out your warranty card and send it in; 2. Save the carton to protect your LITTLE BROTHER until you get a carrying case; 3. Place the LITTLE BROTHER on a suitable playing surface alongside your synthesizer. (Don't worry about venti lation - it won't get hot). PLease note that your LITTLE BROTHER connects to any ARP synthesizer equipped with "Systems Interface" jacks and cannot be directly connected to amplifiers and speakers. For good advice on suitable amplifiers and speakers for your system, refer to your synthesizer owner's manual. Keep in mind that the LITTLE BROTHER allows you to create more complicated sounds with a wider range of harmonic content, so the quality of your amplifier and speakers may be more critical. -3- Connecting The "Systems Interface" concept is one of ARP's most significant innovations. Any number of ARP synthesizers and enhance ment components like LITTLE BROTHER can be joined together with the entire system controlled from one keyboard. Figure A illustrates how LITTLE BROTHER is connected to an AXXE or ODYSSEY. Figure B shows how LITTLE BROTHER connects to an ARP 2600. Figure A LITTLE BROTHER Interface Jacks AXXE/ODYSSEY Interface Jacks -4- NOTE: The connection of LFO OUT is optional and only one of many useful possibilities. ARP 2600 Control Panel Figure B LITTLE BROTHER Interface Jacks m -5- m Listening to LITTLE BROTHER After connecting your LITTLE BROTHER as shown in FIGURE A or B on the preceding pages, set your synthesizer controls as shown in Figure C (AXXE), Figure D (ODYSSEY) or Figure E (2600). Set the controls on LITTLE BROTHER as shown in Figure F. Play a few notes on the keyboard and you should hear the sounds of your ARP LITTLE BROTHER. IF you hear no sound, double-check your patches and control settings on both the synthesizer and the LITTLE BROTHER. All sliders and switches not indicated should be considered in the "down" position (or "left" position on 2600 hori zontal sliders). -6- ))) I I 1 .-;! -M- -II- -.!- -\\; -li -!■ -! -I- Figure C ARPAXXE -7- -8- 3jnSi-| [7u:. I illlll H ff I H si LHVJ L_BSOV..._J t T f T T T T T T ::t.J\ r:' B B i MO1VH1N1O I SdOilAMI I L «v / M» J OOO s OOO OOO 9 OOO OOO s OOO OOO i OOO ooo I ooo oco occ so a- How\ 3 LITTLF Works Your LIJTI Voltage Con o viding a larg "r synthesizer an interval Low expander for vibrato ef^c BRASS HOLLOW REED FUZZ Figures i . BROTHER fit3 <r 2600 synthesize • EFFECTS • from the diaf *v an additional )i a variety of pitc DOWN OCTAVE UFO VIBRATO VIBRATO SPEED OEPTH OELAY SOUND SOURCES Figure F LITTLE BROTHER liU.e brothe -10- How Your Figure H LITTLE BROTHER and the ODYSSEY. LITTLE BROTHER Works VCO1 VCO 2 VCF VCA Your LITTLE BROTHER includes a Voltage Controlled Oscillator (VCO) pro viding a large number of waveforms, plus SOUND an interval Low Frequency Oscillator (LFO) MODIFIERS' for vibrato effects. Figures G, H and I show how LITTLE BROTHER fits into the AXXE, ODYSSEY and little 2600 synthesizer systems. As you can see brother from the diagrams, LITTLE BROTHER acts as an additional sound source (VCO) providing a variety of pitches and waveforms. VCA VCO VCF VCA y SOUND SOUND SOURCES" MODIFIERS - Figure G Figure little little LITTLE BROTHER LITTLE BROTHER brother brother and the AXXE and the ARP 2600 -11- The markings are called footages, and date back 1. Use BRASS; d to pipe organ terminology which indicated lower "C'Myvgi Voltage Controlled the length of individual pipes. your synthesizj Because synthesizers are electronic, they do sound. '^; j| Oscillator (VCO) not, of course, utilize pipes. However, the 2. Without cha ^ relationship between the footage and the an octayehig!^ pitch remains the same. As you may have PITCH RANGE 3. Nowchanggl^ already noticed, the pitch becomes lower as playthefir " Take a look at the four pitch range the footage increases. Conversely, the pitch switches - BASS 16', TENOR 8', ALTO 4' and becomes higher as the footage decreases. SOPRANO 2'. Notice the mark which Using Figure J as a reference, start to follows each numerical designation. These experiment. I y and ALTC octaves; Figure J -12- 1. Use BRASS and BASS 16', and play the A variation of this experiment involves lower "C" located near the middle of selecting a pitch range such as ALTO 4' then your synthesizer. Listen closely to the switching to SOPRANO 2' while playing the sound. same note on the keyboard.. With each 2. Without changing the setting, play "C" successive doubling of the footage, the pitch an octave higher. Again, listen closely. range goes up one octave. 3. Now change BASS 16'to TENOR 8'and A final experiment: select all the pitch play the first "C" again. The pitch is the ranges. As you play a single note, randomly same as it was in number 2. remove and add the various pitches to get a clear idea of how each pitch range contri butes to overall sound quality. The flexibility of your LITTLE BROTHER in terms of pitch range is not only for the purpose of building layers of sound but also to permit realistic synthesis of instrumental voices. The high- Sam* pitched SOPRANO 2', as we know from our PilCh | U.. BRASS L_ *nd TENOR •' musical experience, will not produce a tuba sound; nor, on the other hand, will the BASS Try the same experiment using BASS 16' 16' be capable of recreating the sound of a and ALTO 4', only this time play a note two piccolo. Therefore, the selection of pitch octaves higher before switching to ALTO 4'. range(s) becomes an extremely important Again, identical pitches are the result. part of the many sounds you will be seeking. L Sarm Pitch , Um BRASS I— and ALTO 4* -13- WAVEFORMS by combining the different types and pitches of basic waveforms: The Ll\ The LITTLE BROTHER offers a choice of 8' - HOLLOW AND REED four basic waveforms: Oscillrt BRASS - Rich, full, brassy 8' and 2' - HOLLOW The priman provide vibrato HOLLOW - Hollow, reedy VCO. The sp. d Notice that the FUZZ waveform begins are controll 1 with a thin pulse width at the beginning of VIBRATO DEPTI REED - Thin, nasal each note, and gradually increases to a wider The one o TUTLTi pulse width. The TRIGGER IN signal tells the on/off switcl o VCO when to start a new note with a thin DEPTH slide FUZZ - fuzzy sound, fuzz guitar or pop pulse waveform. delays the LFO'j sound. Actually, any rectangular waveform can permits the >'?br JLTLTT be used to trigger this modulation. ARP 2500 realistic and :p and 2600 Series users may find it useful to this delay, b/il experiment by supplying different signals to vibrato when th Additional waveforms can be produced the TRIGGER IN jack. The jack la of the LITTLi B output for use WAVEFORM Series synthesize LITTLE BROT. :I delay. BRASS HOLLOW REED FUZZ -TUT. JT-TLJl Jl_TU~l -14- The Low Frequency Oscillator (LFO) The primary purpose of the LFO is to provide vibrato for the LITTLE BROTHER'S VCO. The speed and intensity of this vibrato are controlled by the LFO SPEED and VIBRATO DEPTH controls. EFFECTS The one other vibrato control is an on/off switch located next to the VIBRATO DEPTH slider. This control momentarily delays the LFO's output and then gradually permits the vibrato to fade in naturally for ON realistic and expressive playing. Because of this delay, only longer notes will have vibrato when this effect is in use.
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