| Description |
| RAM |
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| Random Access Memory-computer memory where you can store,edit or delete data such as sound patches,sequencer information and sample information.A RAM cartridge for a synthesizer such as the D50 or DX7 may be supplied empty,so you could fill it with your own sounds;or may come with a set of programmed sounds,which you can retain or wipe out. |
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| REMOTE |
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| A remote keyboard makes no sounds itself,but controls another sound-producing source elsewhere.Often slung over the shoulder and played using modulation wheels on a guitar-stye neck,remote MIDI keyboards are ideal for allowing the stage keyboard player to escape from behind his/her stack of equipment.Popular remotes include the Yamaha KX5,Casio AZ1 and Roland Axis. |
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| RESONANCE |
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| Resonance is the amount of self-oscillation(or 'Q' factor)which can be added to a filter.It's particularly useful for producing feedback-type effects in analogue synthesizers,but this effect is rarely possible using digital filters. |
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| RESYNTHESIS |
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| Resynthesis could be the most powerful form of sound creation available.Unfortunately,it required such massive and speedy computer power that it's previously only being practical on hugely expensive systems such as the synclavier.Resynthesis is the technique of taking a real sound,and recreating it's waveshapes by aligning the harmonics of digital oscillators.Because these harmonics can then be edited,a resynthesized sound can be manipulated in ways a straightforward digital sample cannot. |
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| resynthesis - continuation |
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| Roland's SAS piano system is a good example of the use of resynthesis to create specific sounds at a realistic price.C-Lab's Xalyser,an Atari ST software package which translates samples into FM sound patches is another possibility for the future. |
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