Gta 5 Pc Claves

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Boone Southern

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Jun 30, 2024, 9:07:48 AM6/30/24

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When struck, claves produce a bright, penetrating clicking noise. This makes them useful when playing in large dance bands.[3] Claves are sometimes hollow and carved in the middle to amplify the sound.

gta 5 pc claves

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Claves have been very important in the development of Afro-Cuban music, such as the son and guaguanc. They are often used to play an ostinato, or repeating rhythmic figure, throughout a piece known as the clave.[4]

The basic principle when playing claves is to allow at least one of them to resonate. The usual technique is to hold one lightly with the thumb and fingertips of the non-dominant hand, with the palm up. This forms the hand into a resonating chamber for the clave. Holding the clave on top of fingernails makes the sound clearer. The other is held by the dominant hand at one end with a firmer grip, much like how one normally holds a drumstick. With the end of this clave, the player strikes the resting clave in the center.[6]

A roll can be achieved on the claves by holding one clave between the thumb and first two fingers, and then alternating pressure between the two fingers to move the clave back and forth. This clave is placed against the resonating clave to produce a roll.[7]

It's interesting to note that most societies have developed bells of one sort or another, and that in each case they evolved along similar lines. This is inevitable; it's inconceivable that a civilisation could cast a 200-kilo cathedral bell before hammering a small cowbell out of a simple sheet of metal, and it therefore follows that the earliest metal bells were exactly that... small, hammered from a sheet of metal, and not dissimilar to the cowbells now used by alpine herdsmen and drummers alike.

Figure 1: The Roland TR808 cowbell.Given the significant differences between them, you won't be surprised to discover that cowbells are quite unlike the church bells and handbells that we discussed last month. These, as I discussed, are shaped to produce distinct pitches with recognisable harmonic series. In contrast, cowbells conform more closely to the concept of three-dimensional plates, something I mentioned as far back as Part 2 of this series (see SOS June 1999). Unfortunately, synthesizing realistic cowbell timbres has proved to be difficult using subtractive techniques in the past, and I am not aware of any programmable analogue synth that offers a convincing patch. In fact, I stumbled across my favourite cowbell patch quite by accident, as we will see towards the end of this article. The story starts, as it has done before, with an analysis of the analogue cowbell sound on the Roland TR808.

Figure 1 shows the block diagram for the cowbell sound generator in the TR808. This is a relatively simple circuit, and uses just two of the six pulse-wave oscillators that provide the basis of the machine's cymbal and hi-hat sounds. The outputs from these pass through a pair of VCAs controlled by a contour generator, and through a band-pass filter that removes the upper and lower partials. Finally, the result is then amplified before reaching the outside world. I have redrawn this in standard Synth Secrets format in Figure 2.

We should be able to recreate this sound on any synth with two oscillators and a band-pass (or dual high-pass/low-pass) filter section. But first, we can simplify the patch by eliminating the pair of VCAs to the left of the mixer, and replacing them with a single VCA after it. This is because both VCAs in the TR808 circuit are responding to a single contour generator. I suspect that this architecture was chosen in order to dispense with the mixer (if you study Figure 1, you'll see that the VCAs' outputs are hard-wired to the filter input). After making this change, we end up with the simplified block diagram that is Figure 3.

I dug out a vintage drum machine to use as a sonic reference; the CR8000 CompuRhythm, another Roland unit of the same era and similar timbre that I prefer for its cowbells, claves and congas. By listening to the CR8000 cowbell and then sweeping two oscillators on my Nord MicroModular, I determined that the sound comprises a pair of tones with fundamental pitches of approximately 587Hz and 845Hz. With a frequency ratio of 1:1.44, these are suitably clangy, and serve Roland's purpose well.

Figure 4a: A simple AD contour.At this point, it's worth complimenting Roland, because even small deviations from these pitches destroy the cowbell illusion. I would love to know how the company's engineers stumbled upon such an elegant solution.

Returning to the Nord, I selected the pulse waveform for both OscA1 and OscA2, and tuned them to the correct frequencies. Comparing the sound of the Nord to the CR8000, I noticed that the Nord was far too bright and 'synth-y' so, remembering that the higher harmonics of a triangle wave have a lower amplitude than those of pulse waves, I changed the waveform. This worked well, giving me an appropriately dull, clangorous tone.

A simple mixer then passed the combined signal to a multi-stage contour generator/VCA module. At first, I used a simple AD envelope (see Figure 4a), but I could not achieve a satisfactory result with this. More listening suggested that the CR8000's contour comprised two stages: a high-amplitude, short-duration 'impact', followed by a more extended tail, as shown in Figure 4b. I checked Roland's documentation, and this seems to bear out my observation. It says, "a series of R82 and C34 connected in parallel with C9 forms an envelope having abrupt level decay at the initial trailing edge to emphasise attack effect". See... told you so!

Figure 4b: The cowbell amplitude contour.Having determined this, I chose a multi-stage envelope generator, Multi-Env1, inserted this after the mixer, and chose suitable values for the three-stage 'A/D1/D2' contour.

Moving on, I then added a band-pass filter, finding that a centre frequency of 2.64kHz worked well. The 12dB-per-octave option sounded a bit flabby, while the 24dB-per-octave cutoff shaped the sound too severely, limiting it to too narrow a band of frequencies, so I chose the 12dB-per-octave option and added a little resonance to accentuate the partials close to the centre frequency. This worked well, so I then passed the signal to an output amplifier, and added a clock generator to trigger the contour generator. Next, I sat back to enjoy my handiwork.

Figure 5: Modelling a cowbell on the Nord MicroModular.In truth, the sound produced by Figure 5 is not identical to that generated by the CR8000, but it's close, and is every bit as valid as that produced by the Roland. What's more, a patch like this allows you to adjust the initial timbre, amplitude envelope and final tone colour, so in many ways it's far more useful than the predetermined sound coming out of the back of any preset analogue rhythm unit.

Now, here's a trick that I've used on many occasions to fine-tune imitative patches... I sample the sound I'm trying to emulate, and then replay it two or three octaves below its original pitch. This reveals many signal components that are of either too high a frequency, or too short a duration to be distinguished at the normal pitch. Performing this experiment on the CR8000's cowbell reveals no extra high-frequency information, but exposes a halo of noise surrounding the partials, particularly during the impact phase. I was able to recreate this on the Nord by adding a noise generator to the two oscillators, choosing a suitable 'colour', and mixing it in at a low level. I found that pink-ish noise (ie. one with the high frequencies suppressed) gave me the effect that I wanted, as shown in Figure 6.

Figure 7: Setting up the oscillators.Firstly, we select two Analogue Systems RS90 or RS95 oscillators, and set them up as I did on the Nord; ie. with triangle-wave outputs at frequencies of 587Hz and 845Hz (see Figure 7).

Figure 8: Mixing the oscillators.Now we must mix the outputs from the oscillators. I found that I needed to add a little more of the higher frequency than the lower in order to get as close as possible to the CR8000 cowbell. This accentuated the upper partials of the sound, and gave it a bit more of the desired 'clank' (see Figure 8).

Figure 9: Setting the amplitude contour.Finally, I set the filter. As already noted, a low-pass filter is not suitable, because we need to remove low frequencies as well as high ones. So I chose the Integrator's RS110 Multimode Filter, inserted a cable into the Band Out output, and set the centre frequency and resonance to suitable values, as shown in Figure 10.

It's now time to see how it all hooks together. I directed the outputs from the oscillators to the mixer, setting the level for each as discussed. The output from the mixer passed to the VCA, which was controlled by the contour generator, and the shaped sound was then filtered before reaching the outside world. I have shown this in Figure 11, using blue 'cables' to show the audio signals, and black ones to show the single CV from the contour generator to the VCA. This is consistent with Figures 2 and 3. Once I had tweaked everything to perfection, I added a trigger to the contour generator's Gate-Trig In input, and my cowbell patch was ready to play.

Figure 10: Setting up the filter.Before moving on, I must offer a word of warning... don't take the positions of the knobs in Figures 7 to 11 too seriously. I generated these diagrams in a graphics package and, while they are indicative of the correct settings, they are not precise. As always, small changes in settings can make a considerable difference to the result so, if have access to an RS Integrator, you should use your judgement to fine-tune the sound to your liking. In particular, it's vital that you should set the two oscillator frequencies as precisely as possible because, as I have already stated, even small deviations ruin the illusion.

The answer is: remove the 845Hz oscillator and make the filter self-oscillate at that frequency by turning its resonance to maximum. This, of course, creates a horrible howl, because in Figure 11 (above), the VCA lies before the filter. Fortunately, the nature of this patch is such that there's no reason why we should not reverse the order of the filter and VCA. This means that we can have a single oscillator, a self-oscillating filter, a contour generator and a VCA producing all of the signal components and modifying them as before. Result... we need just four modules instead of six. What's more, an oscillating low-pass filter removes low- and high- frequency components from a signal, so it acts like a band-pass filter as well. Suddenly, the SH101, Axxe and Minimoog look quite capable of producing this sound!