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9.
RANGE
SWITCH
This switch changes
VCO
range
in
one
octave
jumps from
2'
to
32',
for
a total
range of
five
octaves.
The
8'
position of
the
RANGE
switch
is
used
for
sound
in
the
middle sound
range; the lowest
C
on
the
keyboard
will
pro-
duce
the pitch of
middle
C.
The
4'
position
produces
pitches
in
the range
one
octave
above
8',
and
the
2'
position
produces
pitches
two
octaves
above
8'.
The
16'
and
32' positions
produce
pitches
one and
two
octaves
below
8'
respectively.
4'
WHISTLE PICCOLO
GLOCKENSPIEL
8'
FLUTE OBOE
VIOLIN
TRUMPET HARMONICA
16'
CLARINET
SAXOPHONE HORN
TROMBONE CELLO
32'
TUBA
DOUBLE-BASS
BASS
GUITAR
10.
WAVEFORM
SWITCH
This switch
selects
the
VCO
output waveform.
•
TRIANGLE
WAVEFORM! /\
)
The
triangle
wave
contains the
same
harmonics
as
the square wave, but they
are
much
lower
in
intensity.
For
this
reason, these
harmonics
do
not
stand
out and
the
triangle
wave
sounds
almost
as
clean
and
pure
as
a sine
wave. This
waveform
is
often used
for
flute-like
sounds,
whistling,
and
similar
sounds.
•
SAWTOOTH WAVEFORM
(
A
)
The
sawtooth
wave
is
very
rich
in
harmonics
and
therefore
is
used very
often.
It
is
particularly
suitable
for brass
and
string
sounds,
and
for
sounds which
only the synthesizer can produce.
•SQUARE WAVE
(I
U)
The
square
wave
is
also rich
in
harmonics, but
it
contains only the
odd numbered
harmonics.
The
pure square
wave
has a
sound
quality very
much
like
a
clarinet.
The
clarinet
and xylophone
are
common
sounds
synthesized with
this
wave-
form,
as
well
as
sounds
peculiar to the synthe-
sizer.
One
effect
which
is
very often used
is
the
continuous sound
of the
square
wave
(without
envelope
control)
accompanied by
portamento.
•PULSE
WAVE
(R_J)
When
the
top
and
bottom
portions of the
square
wave
are
unequal, the
result
is
what
is
called a pulse
wave.
The
harmonic
content
of
the
pulse
wave
will
depend
greatly
on
the
width
of the
pulses.
It
is
possible to
modulate,
or
change
the pulse
width
by means
of the
LFO
or the envelope
generator.
PULSE
WIDTH
AND
PULSE
WIDTH
MODULATION
Pulse
width
refers
to
the
ratio
of the
widths
of the
top
and bottom
portions of the pulse
wave.
Pulse
width
is
measured
in
percentages
as
shown
in
the
drawing
at
the
right.
10%
pulse
width
produces
a
sound
very
rich
in
harmonics and
is
often
used
for synthesizing
sounds
such
as
the
oboe, bassoon,
and
human
voice.
Note
that
a
50%
pulse
width
is
nothing
more
than
a
square wave.
In
addition to
using fixed pulse widths,
it
is
possible to
modulate
the pulse
wave
so that the
width
of the
pulses
varies
continually,
as
shown
in
the
drawing
at
the
right.
Using the
LFO
to
modulate
the pulse
width
produces
chorus-like
sounds.
The
output of
the
envelope
generator can be used
to
modulate
the pulse
width
to
produce sounds
very
much
like
those
of pizzicato
strings.
11.
PWM MODE
SWITCH
With
this
switch
at
MANUAL,
the pulse widths
may
be
set
manually
by means
of the
PULSE
WIDTH
MOD
slider.
In
LFO,
the pulse
width
will
be
modulated by
the
LFO
output,
and
in
ENV-1,
by
the
output
of
ENVELOPE
GENERATOR
1.
12.
PULSE
WIDTH
MOD
SLIDER
With
the
PWM MODE
switch
at
MANUAL,
this
control allows
manual adjustment
of the pulse
width.
Note
that
the lowest
position,
50%,
will
produce
a
square wave.
At
the
top
is
MIN
(minimum)
which produces
a
pulse
width
of
about 10%.
With
the
PWM MODE
switch
set at
LFO
or
ENV-1,
this slider
controls the
depth
of the
LFO
or
ENV-1
modulation.
50%
25%
10.0%
"PWM
by
LFO
i
PWM
by
ENV-1
10
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