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3.
ENV-1
CONTROL
With
this
control
raised,
the cutoff point of the
VCF
will
change
during the production
of
each
note, following the pattern
dictated
by
the
setting
of
ENVELOPE
GENERATOR
1.
This
type
of
VCF
modulation
is
very often
used
with
brass
sounds.
The
polarity
of the
envelope
control voltage
which
reaches the
VCF
is
determined by
the
ENVELOPE POLARITY
switch
(4).
In
the
positive
(
r~^
)
position,
the
VCF
cutoff
frequency point
will
rise,
following the
shape
of
the envelope, each
time
the
envelope generator
is
triggered.
Since the cutoff point
rises,
the
CUTOFF FREQ
control
should be kept
away
from
its
HIGH
position,
otherwise the envelope
will
have
no
effect.
With
the
ENVELOPE POLARITY
switch
in
the
negative
(
V"
)
position,
the cutoff point of
the
VCF
will
fall,
following
the
envelope
pattern, thus, for
this
position,
the
CUTOFF
FREQ
control
should be
kept
away from
its
LOW
position for the
envelope to
affect
the
VCF.
5.
LFO
(S/H)
CONTROL
This control allows the
VCF
cutoff point to
be controlled
by
either the
LFO
or
S/H,
de-
pending
on
the
position
of
the
LFO/S/H
switch
(6).
In
the
LFO
position, the
VCF
cutoff point
will
follow the
output
of the
LFO.
Using
the
sine
wave
(
"\
)
output
of the
LFO
produces growl
sounds.
In
the
S/H
position,
the
output
of the
S/H
can be used
to
produce
tone
color patterns
which change
in steps,
either
randomly
or
in
fixed patterns.
Some
of
the
above
affects
will
not be noticeable
with the
VCF CUTOFF FREQ
control
at
one
or
the
other
of
its
extreme
positions.
For
greater
tone
color
variety,
try
raising
the
RESONANCE
control.
This control
is
also effective for
processing of
external
input
signals.
Continuous
wah wah
effects
and
stepwise tone color changes
can be
added
to
electric
guitar
or other electronic
keyboards.
7.
KYBD/PEDAL
CONTROL
This control allows control of the
VCF
cutoff
point
by
means
of the
keyboard
control voltage
or an external foot pedal,
depending on
the
position of the
KYBD/PEDAL
switch
(8).
The
tone
color of
many
instruments
will
change
with
pitch;
this
effect
can be
produced by
means
of
keyboard
control voltage control of
the
VCF
cutoff
point.
When
the
slider
is
set at
maximum,
the
VCF
cutoff
frequency
will
change
at
the
rate
of
1
volt/1
octave,
and
the
VCF
CUTOFF FREQ
control
will
have
to
be
set
a
little
lower than
it
would
be
without
keyboard
control.
With
the selector switch
(8)
at
PEDAL,
the
VCF
cutoff point
can
be controlled
manually
by
means
of a foot pedal.
The
slider
will
then
determine
the
margin
of control
obtainable
with the
pedal.
The
PEDAL
position
also gives
control of the
VCF
cutoff
frequency
point
to
the
keyboard
control
voltage,
but
at
the fixed
rate
of
1
volt/1
octave.
9.
VCO-2/NOISE
CONTROL
This control allows the
VCF
cutoff point to
be
controlled
by means
of the
VCO-2
output
or
by
noise,
depending on
the position of the
selector
switch
(10).
As examples
of
how
these
can be
used,
RING
MODULATOR-like
sounds can be produced
by
raising
the
VCF RESONANCE
control to
"10"
and modulating
this
with
the
output
of
VCO-2
(VCO-2/NOISE
slider
at
"10").
If
NOISE
is
used
instead of
VCO-2,
thunder-like
sounds
and
gun
shots
can
be obtained.
In
both
of these
cases
(VCO-2 and
NOISE
modulation),
all
the
AUDIO MIXER
controls
should be
set at
"0".
11.
ENVFOL'R
CONTROL
(ENVELOPE
FOLLOWER)
This control
will
allow the
VCF
cutoff point to
follow the
level
of
an
external
audio
signal.
With
the
POLARITY
switch
(12) at
k_
,
the
cutoff point
will
be driven higher
for
louder
sounds and
at
V~
,
lower
for softer
sounds.
For
good
wah
effects,
set
the
VCF CUTOFF
FREQ
control near
LOW
for
K._
and
near
HIGH
for
y
.
If
the
wah
effect
is
insufficient
even
with
the
ENV
FOL'R
slider at
"10",
change
the position of the
EXT
SIG
INPUT
LEVEL
switch
(#7,
p. 5)
to the
next higher
step.
The
best
wah
effects are
obtained with
instru-
ments whose sounds decay
slowly,
such
as
guitars
and
pianos.
It
is
also interesting
when
used with
wind
instruments
and
the
human
voice.
The
LED
(13)
lights
whenever
a
cord
is
plugged
into
the
EXT
SIG
INPUT
jack
on
the
rear panel.
VCA-
VOLTAGE
CONTROLLED
AMPLIFIER
The
VCA
is
an
amplifier
whose
gain
is
con-
trolled
by
a
control
voltage.
In
other
words,
the
varying control voltage
acts
much
like a
volume
control to
any sound
passing
through
the
VCA.
If
the
output
of the
envelope
generator
is
used
to
control the
VCA,
then
the
sound
passing
through the
VCA
will
take
on
a
loudness pattern
corresponding
to
the
shape
of the
envelope
voltage.
1.
ENVELOPE
SWITCH
(ENV-1/ENV-2)
This switch decides
which
of the
two
envelope
generators
will
control the
VCA.
At ENV-1,
the
envelope used
for control of
the
VCF
is
also
used
for
the control
of
the
VCA. The
ENV-2
position allows the
VCA
to
be controlled
by
a
separate envelope.
2.
HOLD CONTROL
When
there
is
no
envelope, the
VCA
is
"closed"
and
will
not
pass
sounds.
Raising the
HOLD
control
will
"open"
the
VCA
to
let
sounds
through.
It
is
most
often
used
when
it
is
desirable
to
control
the
sound
envelope
entirely
by
means
of
the
VCF,
or
when
tuning the synthe-
sizer,
or
when
processing external
sound
sources.
3.
LFO
CONTROL
This
is
for controlling the
VCA
by
means
of the
LFO. By
raising this
control,
you
can obtain
tremolo
effects.
VCA
0—5
14
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