GLOSSARY 17 2

BASIC BUILDING BLOCKS Attenuator: on the Odyssey, a Odyssey: the ultimate musical Sub-audio range (Low frequency): Jr D slider that lets sjgnal through trip. pitches that are below what . when it's up and cuts it off your ear can hear as a tone. Oscillator (VCO}: generates tone. when it's down. Phase: the relationship of one waveform to another. Trigger: an electronic impulse Filter (VCF}: changes tone color. Audio range: the range of pitches sine waves sine waves in phase. out of phase. put out by a keyboard or low Amplifier (VCA}: controls volume. that your ear can hear. frequency oscillator that starts ~er---~ ~'--"-'---· the envelope generator. Envelope Generator (ADSR and Harmonics: overtones. The more AR): controls attack and decay. harmonics are present, the Voltage control: on a , it more brilliance the sound will means substituting an electrical ONIC have. Phase-synchronization: using signal for manual control of pitch, one oscillator to control the brilliance, volume, and attack & Hertz(Hz): an electronic term ... "I phase of another oscillator of decay. Frequency: pitch. meaning "cycles per second." The human ear can hear pitches different pitch. Waveform: tone. Different shapes Timbre: tone color. from 20 tG 20,000 cycles per Pitch bend: control of the of waveforms have different Amplitude: volume second, or 20Hertz to 20 frequency of a note while timbre: j Envelope: attack and decay shape. kiloHertz. (20Hz - 20KHz). it's being played. Square: n._ru-u Highpass filter (HPF): changes Portamento: a glissando, or sounds hollow, reedy. dys timbre by cut.ting off low sliding between notes. ODYSSE'r .. E. MS Pulse: fL....n_fL_j harmonics and passing high Resonance:"wow" control. In sounds thin, nasal. ADSR and AR:· ones. electronic terms, a control that Synthesizer attack, decay, sustain release. amplifies a narrow band of · Sawtooth: ~ Internal clock: adjustable low overtones. sounds rich, full, brassy Learn to take frequency oscillator. Sample & hold: produces a series Sine: ~ Lowpass filter (VCF} : changes of steps, which can control sounds smooth, round, pure. Y:={) timbre by cutting off high yourself on pitch, volume, or brilliance. harmonics and passing low. Triggers itself automatically. Ring modulator: produces aFand rele&: ones. a single complex output signal Mixer: combines signals. which contains all the sums and the ultimate Noise: a random signal that differences of the two inputs. sounds like a "hiss." musical trip! uid-- ~~ Your ARP synthesizer is warranted for the original purchaser only against defects in materials or workmanship for one full year from date of purchase. ODYSSEY In case of defect, repairs will be made without charge when the synthesizer is shipped, r.'\ transportation prepaid, properly packed, to the nearest ARP authorized service center. These warranties do nbt cover defects resulting from accident, alteration, improper use, l2J GUIDE unauthorized repairs, tampering, or failure of the purchaser to follow normal operating procedures outlined in the user's manual, nor, for example, does it cover damage resulting from acts of God , such as, flood, tornadoes, or lightning. Parts replaced under these warranties are warranted only Table of contents through the remaining portion of the original warranty. Setup ...... 3 Instant Odyssey ...... 18 This warranty becomes effective only when the ARP Warranty Registration card is properly filled Voltage control ...... 4 2-Voice with Pedal ...... 19 out with all the required information and received at ARP INSTRUMENTS, INC. within 14 days 5 from the date of purchase. Assembling a sound...... Phase-Synchronized Oscillator ...... 20 The foregoing warranties are in lieu of all other warranties express, implied, o r statutory, including Signal sources ...... 6 Guitar-Leslie ...... 21 but not limited to any implied warranty or merchantability or fitness, and all other obligations or The "assembly line"...... 7 Trumpet . . . . . 22 liabilities of ARP INSTRUMENTS, INC. In no event shall ARP INSTRUMENTS, INC. be liable for Phase synchronization ...... 8 Trumpet Chorus ...... 23 special or consequential damages, or for any delay in the performance of this warranty due to ...... 9 String Chorus ...... ·...... 24 causes beyond its control. Vo ltage controlled filter ...... 10 Flute...... 25 Highpass filter & Amplifier. . . 11 Electric Bass, ...... 26 If your Odyssey fails during the first year after purchase, contact the dealer from whom it was Envelope generators...... 12 · 'Hammond-Leslie'...... 27 purchased or the factory to obtain the name and address of the nearest A RP authorized service Low fre quency oscillator ...... 13 Sample & Hold Percussion . 28 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 Sample & hold...... 14, 15 Banjo with Repeat . 29 Odyssey, be certain to insure it for its full value and enclose a note describing the problem. And Keyboard & pedals . . . . .16 Gong/Chime. . . . . 30 pack it well. It's a variable synthesizer ! . . . . : . .17

IMPORTANT! The enclosed Warranty card must be returned to the factory within 14 days of purchase. SET UP YOUR ODYSSEY

1. Remove the instrument from its shipping 5. A foot switch and pedal control have been carton. Do not throw the carton a:nd packing supplied with your Odyssey. Connect these to materials away. They can be used to protect the rear panel jacks labeled "pedal" and the Odyssey in transportation. "switch." The pedal is not .a simple volume 2. The Odyssey should be placed on a firm control such as you are familiar with if you support about 30" off the floor so that its key­ have played electronic organs; it is an integral board is at a comfortable playing height. An part of the Odyssey and is essential for realis­ optional performance stand is available from ing the full potential of the instrument. your dealer. 6. You are now ready to make music with 3. Connect the power cord to a grounded your Odyssey. You can begin immediately, 110-117 V AC electrical outlet. The power if you wish, by turning to the end of this man­ ual and setting up any one of the "patches" ROCK STAR ENGINEER CLASSICAL JAZZMAN switch in the upper right corner of the control panel will light up when the Odyssey is turned given there. There are thousands of patches ~,/ on. you can discover on your own, and in the next few pages of this manual we will show you, in 4. Like all electronic musical instruments, the simplified form, how you can discover some Odyssey must be connected to an amplifier of them. and loudspeaker system in order to produce sounds. The phone jack labeled "low level" 7. Until you are quite familiar with the range on the back of the instrument is for use with of sounds your Odyssey can produce, it will standard musical instrument amplifiers. The be a good idea to keep the tone controls of smaller phono (RCA) jack next to it is la­ your amplifier set to their "flat" or normal Copyright ARP Instruments, Inc. position. Later on, of course, you can use 0 !Inn 320 Needham Street beled "high level" and should be used in ~ Newton, Mass. 02164 connecting your Odyssey to a tape recorder, them freely, together with reverberation if stereo amplifier, or electronic organ. your amplifier provides it. First Printing . .. . November, 7972 ARP ODYSSEY Page 3 PROFESSOR FAN Setup HOW YOUR ODYSSEY WORKS 5. The ARP Odyssey contains about a dozen modifiers; i.e., control signal sources, some­ separate pieces of equipment (plus a few extra times simply called controllers. 1. Most purely electronic musical instruments controls such as the portamento and pitch teresting can be controlled not only manually 6. The front panel of your Odyssey shows the work by generating certain kinds of "raw" bend controls on the far left of the panel.) but also, in several important respects, auto­ general assembly-line setup (Figure A). Thus, sounds from circuits called oscillators. These These can be connected to each other in many matically. This is the principle of voltage to reach your amplifier and loudspeaker system, raw sounds (not usually very pleasant or musi­ different ways by the switches and sliders to control, which means controlling the operation a signal must pass through this"assembly line." cal sounding by themselves) are then modified produce thousands of different "assembly pro­ of your synthesizer by means of changing volt­ This is the heart of your Odyssey. By using by other circuits such as filters to make them grams" or patches. Each patch requires: ages as well as changing slider positions. Some the sliders and switches of the audio mixer, musically useful. In a very general way, th is is of the circuits in your Odyssey exist only in Audio signals from the a. at least one piece of equipment to gen­ you can select the raw material for processing how your Odyssey works, but there are im­ order to produce such control signals. (Some erate the raw material from which the sound by the voltage controlled filter (VCF), the portant differences. two voltage controlled of these are the sample/hold circuit, the two oscillators (VCO 1 and is to be made; i.e., a signal source. high pass filter (HPF), and the voltage con­ 2. One difference is that the synthesizer gives envelope generators, the L FO, and the key­ VCO 2), the noise gen­ b. at least one piece of equipment to modi­ trolled amplifier (VCA). In the next few pages, board. ) you complete control over every step of the erator, and ring modu­ fy the raw material and make it usable; i.e., we will show you exactly what each part of process that turns a raw sound into an inter­ 4. In a modern manufacturing plant many lator are mixed and a signal modifier. the assembly line does by itself; the sample esting musical event or series of events. operations such as drilling, milling, and lathe patches at the end of the manual show some passed th rough the volt­ c. one or more pieces of equipment for All of the slide controls on the upper half of work will be controlled by computer. Most of of the ways they all work together. age controlled filter, the control Iing the signal .sources and signal your Odyssey control panel, for example, re­ us have seen at one time or another a film of high pass filter, and the present forms of sound modification that this sort of thing-a piece of raw material being voltage controlled amp­ either do not exist on other electronic musical locked into place and machined to a certain HIGH lifier before leaving the AUDIO VOLTAGE VOLTAGE AUDIO instruments or are buried deep inside where size, with holes of a certain depth, width, and synthesizer. The output MIXER 1--~CONTROLLED•--~ PASS •--~ CONTROLLED OUTPUT only a serviceman could reach them. placement-and so on. You can think of your of the voltage control­ FILTER FILTER AMPLIFIER 3. The biggest difference, however, is that Odyssey as being such an "assembly line" for ed amplifier is connect­ with your ARP Odyssey the process of whitt­ the construction of sounds. ed to the output jacks Keyboard on the back of your Control ling a raw sound into something musically in- from from Noise Gen Voltage S/H or Envelope Envelope Odyssey. VCO 1 VCO 2 or Ring Mod or Pedal LFO Generators Generators Figure A

AUDIO SIGNALS CONTROL SIGNALS Page 4 ARP ODYSSEY How it works: Voltage control Assembling a sound ARP ODYSSEY Page 5 INDIVIDUAL FUNCTIONS IN THE ODYSSEY Figure C Figure D l~~vC7 1. Set all the controls on your Odyssey as in HPF GENERATOR Figure B. There should be no sound coming AUDIO from your speakers when the controls are set 8 like this, even if you press a key. But the I ~ICYBO ~2!211 f· OFF assembly line is "wide open" and will pass any ' signal from the audio mixer in unchanged form. board using al I three p·ositions of the transpose :f switch at the left of the control panel). Other ';" ,, ~ tr I JII VOLTAGE VOLTAGE 2. Opening the first slider under the audio CONTROL LED CONTROLLED control signals can affect the frequency of CONTROLLED l OSCILLATOR J"'Ln OSCILLATOR .f1.J'l.. mixer will give you a steam-like hissing noise VCO 1 through the two sliding attenuators 1 2 from the noise generator. The noise generator shown in Figure E. Experiment with the in ­ TRANSPOSE MAX 2 OCTAVES is a signal source, and has one control, located dicated controls. An attenuator acts like a UP in the upper left corner of the panel (Figure C). valve, or faucet, to set the amount of a control Moving this switch down will give you the signal that passes through it to affect a voltage - lower-pitched sound, like a distant waterfall, 2 OCTAVES controlled device. An attenuator is closed DOWN of pink noise. These raw sounds, suitably "'" -1 * when it is all the way down, and open when it FM ~ ~ FM-=_j tt t ADSA ~11 II II II t II l 1 l III I J_ J_ J_ J_ J_ J_ J_ J_ J_ J_ J_ J_ I modified, are useful in the production of wind, is all the way up, LFO LFO S/H LFO VCQ.1 NOISE LFO NOISE VC0·1 1/00·2 KYBD S1H ADSR AR r-::D I(~ rl(~:a7 thunder, surf, and motor or machine effects. N'v IV\. VCO 1 produces two kinds of output signals; LFO S/H LFO See Patch 10, for some of these. IV\, N'v ~ ~ !'- REPEAT you have been listening to the sawtooth signal B ~jjij ;~~,: ~~ ftf,~ JUl Close the first slider. (so called because it is a pattern of voltage ij ~J. ADSR JUl .I'----. "'- 3. Open the second slider and you will hear a changes which look, on a graph, like the teeth rich buzzy tone from voltage controlled oscil­ of a saw). It is the frequency with which this Figure B lator 1 {VCO 1 ). The pitch of this tone can pattern is repeated every second that deter­ Figure E VCO· l be changed manually by the coarse and fine mines what pitch you hear. You can hear N---1- tuning sliders (Figure D), and by voltage con­ the puJse signal by moving the middle switch ii trol from the keyboard (try playing the key- under the audio m ixer down ( Figure F. ). Figure F

Page 6 ARP ODYSSEY Signal sources The "assembly line" ARP ODYSSEY Page 7 5. Beginning from the position of Figure B,* that sounds from the ring mo(fulator do not

Figure G AUDIO open the first slider under the audio mixer oscillator 2 (VCO 2). VCO 2 is exactly like COARSE FINE ICYBD necessarily have any standard musical pitch ll again and listen· to the ring modulator. The VCO 1 except for two things: in relation to the pitch of either oscillator. : :~ I 9 ring modulator is a signal modifier, and when (Unless they are synchronized by the "sync" a. VCO 2 does not have a low-frequency J_ - -~M• - you are listening to it you should think of LFO switch on VCO 2; try that-) IV\, operating range. your assembly line as it is shown in Figure J. B b. VCO 2 can be synchronized to VCO 1. b. the overtones of the ring modulator sig­ ADSR - - ~-· l The ring modulator has no controls of its own. ,._ nal will not necessarily conform to the stan­ Phase synchronization of the two oscillators is It produces, from the pulse outputs of VCO 1 VOLTAGE dard harmonic series. They may be extreme­ Experiment with the pulse wi_dth control on accomplished by the switch at the top right in COHTROLLED and VCO 2, a single complex output signal OSCILLATOR .J'\..fl. ly complex, like those of a bell, chimes, VCO 1 and then with the pulse width modu­ I 1 which contains all the sums and differences of Figure I , labeled c'sync off/on." When this gongs, and other metallic or percussive the two oscillator frequencies. This means that: lation signal attenuator (Figure G ). switch is on, the audio signal from VCO 2 is sounds. All of these, in fact, can be simu­ Figure H Moving the switch shown in Figure H down forced to conform to the frequency of VCO 1. a. the raw sound produced from the ring *Be sure you have returned lated by further modifications of a suitable lowers the frequency of VCO 1 by a factor of You can hear this effect in its raw form by set­ the sync switch to "off" modulator depends entirely on the tuning ring modulator signal; see Patch 12. about a hundred. This is far below the range ting \/CO 1 to some relatively low audio fre­ when you first try of VCO 1 and VCO 2; and to a lesser extent of human hearing; consequently you will not quency (near the "100 Hz" mark} and slowly Figure I the ring modulator. on the pulse width settings for each one. hear any continuous tone but only a more or moving the coarse tuning control of VCO 2 Experiment with these. Note in particular OUTPUT less rapid series of -clicks (depending on the through its entire range from bottom to top. coarse and fine frequency settings). In this Experiment also with changing the frequency low frequency range VCO 1 is not control led of VCO 1 while leaving VCO 2 in about the vco 2 by the keyboard {if it were, the click-frequency middle of its range. Patches 2, 3, and others· would double with every keyboard octave), make use of this spectacular sound. RING VOLTAGE HIGH VOLTAGE MODULATORi----CONTROLLED PASS CONTROLLED and can be used as a source of control signals. At this point, too, with the sync switch off, FILTER FILTER AMPLIFIER 4. Return the controls on the Odyssey to the you should practice tuning VCO 1 and VCO 2 positions shown in Figure B. Now open the to various musical intervals by opening both vco 1 the second and third sliders under the audio third slider under the audio mixer to hear the Figure J raw sawtooth signal from voltage controlled mixer. Ring modulator ARP ODYSSEY Page 9 Page 8 ARP ODYSSEY Phase synchronization 6. The voltage controlled filter (VCF) is a signal modifier. It alters the sound of signals The VCF resonance can only be set manually. be set as in Figure B), and play the keyboard. VCF ,.•• ~ri~F ,~'fu .:.. °"v c~" ..c ~rir The VCF frequency can be set and changed HPF Contrnue with various settings of the VCF passing through it by selectively removing or «:'.Hr ~~"OSC KHl.." Ii~ IC Hr 0SC II.HZ Iii,~ FREO "··~:":" freq, the third attenuator, and the four con­ weakening their higher frequencies. Listening ------with control voltages as well as by hand; using KMr 0SC KHI"CI~~~~f - - - - to pink noise, with the settings as in Figure K, ------noise as your input signal, open the first con­ trols of the ADSR envelope generator. In ------general, the higher the setting of the third VCF freq trol input attenuator all the way (Figure N) move the slider slowly down as far 1111 16 UI 18 H, M!M Hz - - - ltz MIN Hr - - and set the manual VCF freq slider about half­ - - - - - attenuator, the lower you will want to set the as it will go. You will hear first the highest 1 OUTPUT 1 OUTPUT ,, 10 1 11 - Hr - - MIN Hz i VCF freq, and vice versa. frequency components of the noise weaken way up. Now run long glissandos on the key­ VOLTAGE VOLTAGE I AUDIO AUDIO CONTROLLED CONTROLLED board and listen to the noise grow alternately and disappear, then middle frequencies, and MIXER MIXER 7. The high pass filter (HPF) is another signal brighter and duller. Close this attenuator and AUDIO finally even the lowest bass disappear until no MIXER modifier. It attenuates frequencies below the signal is audible at all. Try the same procedure open the next one to introduce control by the setting of its HPF cutoff frequency slider and with signals from one or both of the VCO's LFO sine output. (By this time, you should thus is exactly opposite in its effects to the I I - - - - - instead of pink noise. ~1~1- II- develop the habit of experimenting with all VCF which is a low pass filter.* It is useful in - - - - the relevant controls for any functions in use; - - - - eliminating "boominess" from low bass notes, Raise the resonance slider about halfway up, in this case, for example, you will want to hear as in Figure L, and repeat the experiment, and in simulating certain instrumental sounds I II 'fl I different settings of the L FO frequency and (see Patch 6). The HPF is not voltage con­ first with pink noise and then with an oscillator J_ J_ J_ J_ J_ J_ J_ J_ J_ J_ J_ AR VCO·l S/H AR the VCF resonance and manual VCF frequency trolled. r---.r--.1" ~ CV ./'--.... .f7... J_ IJ_ IJ_ ll1l_ l_ l_ signal. With this resonance setting, the VCF settings.) "peaks" sharply around a narrow range of Ii BB 8 BB B 8. The voltage controlled amplifier (VCA) is i!RING avco.1 sVC0•2 s sri. a LFO a AR e RING VCO·l VC0·2 S/H AA MOO J"'V1.. .I'\.J"L MIXER 1\/v J'-.. _r--..._ MOO _nn_ _nn_ Nv Often you will want to control the VCF frequencies; this is useful in creating various OR ~f~{: ~ ~ RING VC0-1 VC0-2 Sl'H LFO A.R the final signal modifier stage of your Odyssey PEDAL Beeeee "wa-wa" effects. frequency by the ADSR or AR envelope gen­ MOO JUL IlJ"L :E~~:: AJv F>._ "assembly line." It governs the volume of the erators in order to create separate events with synthesizer's output. The most common way The highest position of the resonance slider is Figure K labeled "self osc" (Figure M ). In this position VCF RE~;,.CE Figure M their own attack and decay characteristics. ~ of using the VCA is to set its VCA gain slider the VCF is an oscillator just like one of the For an example of this, feed one of the VCO control all the way down and the control attenuator VCO's and will produce an output even with ~ signals into the audio mixer and move the VCF inr:>ut all the way open. (See Figure O on page 12.) all the input sliders on the audio mixer closed. freq slider all the way down. Open the third attanuators Thus the VCA will allow signals to pass through In other words, it becomes a signal source con'trol attenuator under the VCF all the way only when it is "instructed" to do so by one ]~ Figure N I (all the other controls on your Odyssey ~hould of the envelope generators. rather than a signal modifier. AUDIO +rhus the HPF is "wide open" when the HPF Cutoff Page 10 ARP ODYSSEY Voltage controlled filter MIXER Figure L Highpass filter & Amplifier ARP ODYSSEY Page 11 Freq control is all the way down. 9. The two envelope generators are controllers. Figure P and try various settings of the four 10. The low frequency oscillator (LFO) is a They are most often used to program the ADS R controls. controller; its output signal is never used as attack and decay of events by controlling the raw material but only to control other functions within the Odyssey. You have al­ gain of the VCA or the frequency of the VCF. By closing the VCF freq slider and opening the ready heard it control VCO 1 in Figure E ; The upper envelope generator in Figure O has third attenuator under the VCF all the way as now, by following the settings of Figure S, two control sliders, one for attack time, and in Figure Q, you can give yourself a similar listen alternately to LFO square wave control one for release time. It is referred to as the introduction to ADSR and AR control of the of VCO 1 and LFO sine wave control. In one AR generator. The lower generator has con­ VCF. Experiment too with various combina­ case you hear a vibrato, in the other a trill. trols for attack time, decay time, sustain level, tions of the VCF freq and control attenuator Experiment with various settings of the LFO and release time, and is thus abbreviated as the settings, and with various mixes {by means of VOLTAGE freq slider and of the control attenuator ADSR generator. the input attenuators to the audio mixer) of CONTROLLED J:~;:~~"LED under VCO 1. With your Odyssey controls set as in Figure B, signals from VCO 1 and VCO 2. ·l::'.: feed pink noise into the audio mixer and close r--;,;v:~:E ~T;;;--, The L FO can also be used to govern the oper­ Up to now you have been triggering the enve- 4 a •1c• OE. CAY SUSTA. IN RELEASE the VCA gain slider all the way down. Open ation of the sample/hold circuit and the the control attenuator under the VCA all the lope generators only from the keyboard. By _ -1-1-1 envelope generators which you will read about means of the three switches at the bottom right later. way as in Figure P, and depress any key on of Figure R, you can also trigger the er'lve.lope the keyboard. Raise the attack slider on the generators with the LFO. Move all three 11. The sample and hold mixer (S/H mixer) AR generator a little way and depress a key lll_ l_ l_ selects and combines signals to be fed to the switches down and set the other controls of J_ ICYBO 5m ADSR 08 again. Continue to do this, each time raising your Odyssey for AR or ADSR control of the ., ~/ ".:;-i J l 1 .~:07 CV .I'--,__ sample and hold circuit. These signals can also the attack control a little more until it is all 8 B l!!I be routed to control VCO 2 and the VCF. VCF or VCA as in Figure R; now try different 8 ! "g 9 S/H LFO AR MIXER fV'v r-\_ the way up. Then move it down again and AOSR lfli.•uro REPEAT Under each of these two functions is a switch settings of the LFO freq slider from low to .r-.._ REPEAT REPEAT JU1 PtD~L repeat the whole procedure using the release high. With the first switch down and the sec- ..,_ ___.n.n.______..... _ _. labeled"S/H mixer or pedal.,, When the foot slider. ond switch up, a series of events will be pro- pedal is plugged into the Odyssey, the lower Now experiment with VCA control by the duced (triggered) by the LFO, but only when position of these switches selects control by a key is depressed. This is useful in simulating the pedal; if the foot pedal is disconnected ADSR generator; move the selector switch un­ Figure Q Figure R Figure S der the VCA control attenuator down as in ---banjo-picking and strumming as in Patch 11. Figure P Return switches under ADSR and AR to upper Low frequency oscillator ARP ODYSSEY Pag_e 13 Page 12 ARP ODYSSEY Envelope generators position. from the back of the Odyssey, the same regular and periodic (any combination of the

switch position selects control by the output AUDIO ICYBD SYNC LFO VCO 1 and VCO 2 signals), then the output of the 5/H mixer. FREQ from the sample and hold circuit will tend to 12. The sample and hold circuit js a control­ Figure T :,;;t·I @ 1-?· ·t be a repeating pattern also. It may · be an ex" zgg OFF 100 e .._I tremely complex one, or it may be extremely ler; it is used only to control VCO 1, VCO 2, ' "' and/or the VCF. In order to hear what it does . - - ·1 simple. For an example of a simple one, ,; .. I _ -:: I switch VCO 1 to its low freq range and feed listen first to VCO 2 as you have done before AUDIO ~••~'-'-"!FINE l the VCO 1 sawtooth into the S/H mixer. Use and then experiment with the controls indi­ ii VOLT~GE '°"' t Cl CONTROLLED the sample and hold output to control VCO 2 cated in Figure T. OSCILLATOR .IV'\ 1 and listen to VCO 2 through the audio mixer.

By "sampling" at a given instant the signal OUTPUT 1 l r Pulse w10TH 7 f f r PULSE w 10TH 7 Set the LFO freq to about halfway up, and voltage from the S/H mixer, the sample and the VCO 1 freq at about 2 Hz. You should hold circuit produces a series of voltage levels. ...I:~ ""ILAG hear a descen.ding "staircase" of pitches, like a If these in turn are used to control a VCO, the - - - - scale passage or an arpeggio (Figure V ). Speed result is a series of pitches. The switch under - - , MIH l,IIH up VCO 1 freq and hear the repeating patterns. the sample and hold circuit selects either the L..:::.111111r-~ ... ..=-i t..=., .. _:__j j r•uLSE wroTH 7 ouTPur l_ LFO or the keyboard as a triggering source. If I J_ J_ J_ l_ l_ The output lag slider (Figure W ) "smootbes LFO LFO S/H LFO VCQ-.1 NOISE LFO LFO the keyboard is selected ( Figure U ) , then a fVv /\/\. I\/\, r-...J--.1- GEN TRIG TRIG out" sudde.n changes of voltage from the new sample will be taken every time you press B I! B 8 sample and hold circuit. With the same patch AOSR VC0-1 VC0-2 t-'l'BO • e 1- J;1 ~r ~ a key; if the L FO is selected, then new samples :( :: ~t :~ ~ -I~. i ~ i .r-,._ Ml~:R _t--,.._ ..J'-..... J"U'1... .J'l.I'L TRIG you have been listening to, move the slider will be taken at regular intervals corresponding i --i- ... PEDAL slowly from "min" to "max" and back again. to the frequency setting of the L FO. ~ ... ~ J_ J_ J_ Figure U 13. The. keyboard is a controller. By con­

LFO S/H LFO VC0·1 NOISE LFO IV\, GEN TRIG trolling the pitch of the VCO's and providing When the signal sampled is primarily noise, fVv """ Figure V Figure W the output voltage levels will be random and B I! I! triggering signals to the envelope generators, it f;1 J;l vro-1 a. ftYBO so of course will be the pitches produced from _J1.J"\ ~ .I"-... .fUL .fUL TAIG allows you to play your Odyssey as though it VCO 2 ; but if the signals being sampled are See Patch 10 for a thorough sample and hold were a standard keyboard instrument. The patch. Page 14 ARP ODYSSEY Sample & hold More sample & hold ARP ODYSSEY Page 15 transpose, portamento, and pitchbend controls The foot switch supplied with your Odyssey is HINTS FOR GETTING THE MOST OUT OF

PORTAMENTO (Figure X) give extra flexibility to your pitch used to turn on the portamento. Thus you can TRANSPOSE YOUR ODYSSEY 2 OCTAVESUP control of the oscillators. set the portamento slider for a certain glide - ! 1. You may tend at first to think of the con­ Set the controls, to start with, as in the illus­ speed and then turn it on and off with the trol sliders on the Odyssey as something like tration, and feed VCO 1 (either the sawtooth foot switch. I 82 OCTAi/ES stop tabs on an electronic organ. That is, you or pulse signal) into the audio mixer with the When the foot pedal is plugged into the back .,. DOWN may be tempted to set them in a certain way VCF, HPF, and VCA wide open. Depress a of your Odyssey, VCO 2 and the VCF can be r and then "play" the Odyssey only from the key and rotate the pitch bend knob to the controlled by it. (The signal from the 5/H FLAT.Sl

Page 16 ARP ODYSSEY Keyboard & pedals It's a variable synthesizer: vary it! ARP ODYSSEY Page 17 UNISON Tune VCO 1 and VCO 2 to unison by holding down lowest key. If you just have to start here: 8 PINI( INSTANT ODYSSEY Set up the sound shown on page 19 (opposite). Play a two-part piece on the keyboard. If you hear two voices with pedal control, turn the page and trv more sounds. If what you hear is nothing like two voices with pedal control, or if you don't hear anything, CONTROLLED OSCILLATOR J"Vl.. check the following things; z

,ORTAMENTO TRANSPOSE MAX 1 ). Is the "sync off/on" switch turned off? ( top of Oscillator 2). 2~~1/ES If it's on, you'll hear only one voice even though you press down two keys. - 2). Is the "audio kbd on/LF kbd off" switch turned on? (top of Oscillator 1). [ 2 OCTAVES OOWH If it's off, your first tone source (VCO 1) will be way below what your ear can hear. MIH 3). Is the "HPF cutoff" slider all the way down? (top of High Pass Filter). If it's up, you are cutting off you r sound by eliminating all but the very highest overtones. 4). Is the "VCA gain" slider down? (top of Voltage Controlled Amplifier). If it's up, you'll hear sound all the time, even when you take your hand off the keyboard. ,ircH BENO 5). Are the "attack, decay, sustain, release" sliders raised partway? (under ADSR Envelope Generator). USE PEDAL If they're all down, the attack & decay of your note will make only a tiny blip. 6). Is the Odyssey connected to the right amplification system? {back of instrument). The "low level" output on the back is for a standard musical instrument amp; the "high level" putput is for a tape recorder, stereo amplifier, or electronic organ. 7). Is the Odyssey plugged in? Turned on? 2-Voice \Nith Pedal Filter Control

Patch One ARP ODYSSEY Page 19 ,~:vC7 HPF GENERATOR ,~:vC7 AUDIO MPF GENERATOR

H, ICMl O$C KHZ 8 "':--t':,~ --.~".'a,. "'""'--J-~" ..cv --,:~r -- --TTA.:• "l--"~' PINI( 8 [i~ . PlNIC ~!, LOW :,:::f I i- ".'I!' f.fl~t ij LOW ·;1E::'E ~I:~:'l!fMf \ 'OFF '?; FREQUENCY 1-1! ------,WM IOFF JOO ~ FREQUENCY H, l~~ > f .,r OSCILLATOR p· T OSC ILLATOR '.~r ------~-· I --;: I 1- - :.! - - MIN ~! ~"' I _ -;: I _ OUTPUT .:t :t - 1 1 1 J l,t.. ,,i OUTPU

OSCILLATOR J"Vl..

PORTAMENTO TRANSPOSE TRANSPOSE -MAX 2 OCTAVES UP

- .M.IN> ~ -

2=-ES l !MIN

PITCH BENO

OPTIONAL VIBRATO -----USE PEDAL---- OPTIONAL VIBRATO Timbre changes slightly with each note.

Phase-Synchronized Oscillator Single voice with pedal control. Single voice Processed Guitar

Page 20 ARP ODYSSEY Patch Two Patch Three ARP ODYSSEY Page 21 VIBRATO SPEED Tune to unison by holding down lowest key.

AUDIO

00 8 1 8 tc:~':C) ON {:( PINII. !"""';;,';;;'i:21:lM , r.'"• OFF -~!, r. f! ' ! f"' - - _ '!"· l _ -:~ l

VOLTAGE VOLTA.G~ CONTROLLED OSCILLATOR .I\.fl OSCILLATOR J\.IL 1 2 PORTAME:I: NTO ,._ MI ,::: Ci ~ FM ~ L.::_F Mf~ tlt: ~ ~ J_ J_ J_ i?ll J_ LFO S/H

~ LFO S/H LFO LFO S/H LFO VCOI NOISE LFO FLAT~ ...... I IV\; N'\, A/\, r-..,-.,. GEN TR ,G REPe-.Te .n..n ., LFO ~ R § ! . § ~B~ij PITCH BENO PITCH BEND ..n.n .J'-._ ...J"--...... """"oR ..f'--...... f'--..._ .IUl.. JU1.. TRIG "~- OPTIONAL VIBRATO VIBRATO

Two voice Trumpet Chor1us

T rurnpet Single voice Patch Five ARP ODYSSEY Page 23 Page 22 ARP ODY SS EY Patch Four ,~~vQ7 HPF GENERATOR 1~vQ7 HPF GENERATOR

8 H~ l(Hz oac .::N, PINK ~J'"~~f.•••j 't_o•~, f.""j 9 ,.t::.~- 1·~".'a- .. -- ~l--,!~t -- ATT1•~·-- ':'-I':''- m,H IOFF ··i~~" .. I~: ' " ~t~ c,; ~~ 2------': ~ r1 ------_ - i,," I _ ,: I ..2- - :!-- .. ,,. ~: - - ,t :t, ,t OUTPUTl f t- ~r H• OUTPU

VOLTAG~ CONTROLLED VOLTAGE OSCILLATOR .nJ"L CONTROLLED 2 OSCILLATOR .Il.fl 1 PULSE WIDTH 7 PULSE WIDTH 7 PORTAMENTO t r t t r t [~ PORTAMENTO1 ~·- ~lI-l~t F M_::_j J_ l_ll F M_:_j lirJ_ J_ J_ i~ D ,_, ___ LFO SIH LFO LFO :,.Jrl LFO VC0-1 NOISE LFO ! e ·a ! ~. !I J1 ~ijij~ AOSR Lf~ rAUTO REPEAT PITCH BEND .IV1 ../'-.._ ..r-_ Mt;:R ....r-.... p...._ J'lIL .J1J'"L TRIG ..r--,,_ R~ftEPEAT J"U1 . PEDAL " !'ITCH BEND Play separate detached notes.

String Chorus Two voice Single voice. Flute Page 24 ARP ODYSSEY Patch Six Patch Seven ARP ODYSSEY Page 25 Tune to uni r~~ ...Q--7 r~~ ...Q--7 ttf'F GENERATOR AUDIO Mll'f" GENERATOR ~••~~"N't ! 8 8 :.I.':.~ ~R-:t'°' i_ ~- .:'.~1··~~- AITTA~K R~l':5' PINK ,, P'INK I~~~ :. ~·1··~ l~R·: t=,_ ~- .:'.~IFR~~- •1TT~K -~'I':" LOW KYl!IO LOW l~~ - -~H• _ OFF FREQUENCY 2 ------FREQUENCY 1 ------_ _ _ OSCILLATOR w, OSCILLATOR M, ------

11 l f :! - - ~~ - - MIN ~~ - - - -,.. I .2- H•--IIIN Mi - - - OUTI'U - OUT>VT

VOLTAGE VOLTAGE VOLTAGE AUDIO CONTROllED OSCILLATOR JV1 MIXER CONTROLLED OSCILL.AT'Ofl .J'V"\ 1 FILTER 1

OUTPUT r---;. ... ~ ~T;;--, r:,1"0~~ WIO~o 7 r,.,';;tSE WIOi!:o 7 PORTAMENTO l"ORTAMENTO I 1 1 I t LAG t TRANSPOSE I ~ TRANSPOSE 2 OCTAVES 2 OCTAVES UP UP ------~2 OCTAVES ~2 OCTAVES DOWN DOWN MIN ... - - MIN L.:.-,,.....:...JII r1 t._, .. ~ J_ J_ iifl I J_ tl1 r J_ J_ J_ J_ J_ J_ II J_ J_ II lI r LFO S/H LFO vex, , ~SOADSRK::-, LFO S/H LFO NOISE LFO NOISE VC0-1 VC0-2 ~YBD AR r.:: 07 IV\, N\, N"\, IV\, GEN TRIG ,..._,._,. ,..._,._,. -l- ""' i!j .r-... § B B B REll"EATe Q s,H B B ! VC0-1 '"'(j-· eKVOO RING VC0-1 ! S/H ·a ~ ~ LFO AR AEN:ATe J1.Jl '"'8 -· MIXER I ~ Lf[AUTO J1.Jl TRIG I MIXER .I'--...... I'--...... I'--...... I'--...... n.n.. woo N\, I PITCH BENO .n.n.. .n.n.. .n.n.. .r-... A~ l'tEf'fAl J1.Jl PITCH BEND oi, 0 .r-~ PEDAL Pe 6',,.L

Turn pitch bend up when you sustain a bass note. Try tuning VCO 2 one octave lower than VCO 1.

Electric Bass Single voice Two voice " uBZZI O rgan"

Page 26 ARP ODYSSEY Patch Eight Patch Nine ARP ODYSSEY Page 27 REPEAT SPEED----- ,.,&fPETITIO RATE HPF l~~v07 AUDIO ..-, GENERATOR - _....,,, e•;;:o .... I Hr ICNI ~ KH• • l.".".'a .~~CU[~;~~F •1TTA~K ' . ~t·~·~ ~...:-1~~- r~~ •~1•~ - (Q ------•1TT-:•-- - 001-·~~f.···t ·1:·~. t LCM ,.. "I.....~ ,;•-1~.. ..=1···~· l~~ KYl!IO '~'!'~ lSIRN OFF 200 I FREOUENCY l - - - _ -~Hr _ OFF > H• e -- -- - H!------f.... lh OSCILLATOR7 , - - - - ~~ ------,. - - - ,.. • - -I.': • .2- - ~ - - IIIIIN Hr - - " - _,.. I ..!- - ~--IIIIN ~! OUTPUT - - OOTI'UT

VOLTAGE VOLTAGE CONTROLLED CONTROLLED CONTROl.LED

TRANSPOSE PORTAMENTO

- .M.IN< ~

2 OCTAVES 1 DOWN [~ FLAT 8~ $MAAP

REPEATe AEP'EATe _nn PITCH BEND _nn ···PITCH- BENO -· ALTERNATE Note: Keyboard will 'tune' metallic sounds Note: Tune lowest key to one octave below and add off-beat accents. 'middle C.' Play on keyboard to hear repeating effect. Sample"& Hold Percussion Banjo \Nith Repeat

Page 28 ARP ODYSSEY Patch Ten Patch Eleven ARP ODYSSEY Page 29 VCO 2, lowest key tuned to octave b low 'middle C. r~:C.-7 HPF GENERATOR

~-1·~·~ 1:··: t ~~· ./1;~· ;I~ ·-1TT ~ ·~1·~· ILLATOR ,-u ------

M~- - ~ - - MIN ;! - -

-- OUTPUT

VOLTAGE VOLTAGE; CONTROLLED CONTROLLED AUDIO OSCILLATOR ..n,n OSCILLATOR .T\I\.. MIXER , 2 ARP Accessories

PORTAMENTO ARP Instruments offers a full range of accessories and I ,~-- instructional materials for your Odyssey, including carrying cases, performance stands, cassette instruction course, panel facsimile pads, Instant Odyssey Templates, etc. See your {: !] ¾ local ARP dealer for additional information and prices. L_ F M--=_J L_ F M_:_j t t l IllJ_ I tf IJ_ J_ J_ ~IJ_ J_ IJ_ J_ lJ_ ll J_ J_ I'i'll

LFO S/H LFO LFO S/H AA. i ! ·e Q @. eAOSR BS/H eADSR seesAOSR V00-1 VCC>2 KVBO iiRING eeeVC0-1 VC0-2 S/H jfilFO AR AOSA LF~ rAUTO e J"l..f1 ./'--.._ ..r-.._ M1~:R .f"-... -"'"""- .I'\.IL J'lI\.. TfllG MOO J'lIL I'\.J'1.. MIXER A./'v _r--\.,_ _/'--.._ R~REPEAT OR PEDAL PEDAL

Note: Tune VCO 1 for desired metallic timbre.

Gong/Chime ARP Instruments, 320 Needham St, Newton, Mass. 02764 Page 30 ARP ODYSSEY Patch Twelve ARP PRO SOLOIST Thirty preset instrumental and electronic effects-instantly ARP available! It's as quick and convenient to operate as an electronic organ, but the sound is pure synthesizer. And by simply pressing ARP ODYSSEY: harder on the unique touch sensitive keyboard, you can increase THE ULTIMATE MUSICAL TRIP the volume or brilliance~ add vibrato or "wow," and even "bend" a note or make it "growl." The Pro Soloist enables you to The ARP Odyssey brings polyphonic electronic music to the performing artist­ duplicate instrumental sounds with astounding realism, plus Gerafd Shapiro of Brown University Alan Haven with ARP Odyssey putting hundreds of exciting electronic effects at your fingertips. with ARP 2500 rock, pop, soul, jazz, or avant-garde. It includes such state-of-the-art firsts as phase-locked oscillators, digital ring modulator, sample & hold circuits, and ARP 2600 most of the functions of a complete THE PROFESSIONAL PORTABLE SYNTHESIZER studio synthesizer. The ARP 2600 is the best complete, professional-qua! ity portable With its ease of operation and high synthesizer around. It's durable, dependable, easy to play. reliability, the ARP Odyssey can produce This synthesizer, with four-octave keyboard, can be played an enormous variety of sounds in live without patchcords or modified with patchcords. Its slide performance. Everything from thunder controls are easy to see. and manipulate. and lightning to gong, fuzz guitar, and feedback distortion is at your fingertips with the Odyssey's slider controls and THE WORLD'S MOST ADVANCED MUSICAL INSTRUMENT patch switches. The Odyssey's foot pedal The ARP 2500 has been the standard of excellence since it and foot switch add to your expressive was introduced two years ago, and is still years ahead control. Its two-voice, 37-note keyboard ARP 2600 of its time. Completely responsive to the most experimental has a seven-octave range. The Odyssey musician, it offers a wide selection of user-interchangeable is compatible with all other ARP synthesizers. modules ranging from the most advanced filters to the most And, of course, the famous ARP filters sophisticated sequencer system ever designed. and oscillators give you drift-free . Each ARP 2500 is hand-assembled with tender loving care. accuracy for professional-qua! ity recordings.