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2
CLARINET
Since the square
wave
all
by
itself
already
sounds
much
like
a
clarinet, this
is
a
good
place to
start
in
obtaining the
clarinet
sound.
The
diagram
shows
the
VCO RANGE
switch
at 16' for a
low
register clarinet;
use
8'
for
a
higher
register (or
use the
TRANSPOSE
switch).
As
with the
flute,
we
again use the
filters
to
remove
some
of the
harmonics
from
the square
wave,
and
we
use
envelope
control
because
the
clarinet
is
a
wind
instrument.
To
produce
a
bass
clarinet,
change
the
RANGE
switch to
32',
and
lower
the
HPF
CUTOFF FREQ
control to
"0".
Also, since the bass
clarinet
is
slightly
larger,
you
may
want
to increase
the
ATTACK
and
RELEASE
times
very
slightly.
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OBOE
The
pulse
wave
at
10%
modulation
(VCO PULSE
WIDTH
control
at
"10";
switch
at
MANUAL)
produces
a
sound
with
a
harmonic
content
the
same
as
a
sawtooth wave, except
that these
harmonics
are
much
stronger.
This
rich
source of
harmonics
is
a
good
place to
start
when
synthe-
sizing
double
reed instruments.
The
use of the
VCF
RESONANCE
control accents the frequen-
cies
at
the
VCF
cutoff point.
Try
changing
the
position of
the
RESONANCE
control
and
note
the
effect
it
has
on
the
sound.
This
particular
sound
uses
no
envelope
control of
the
VCF
even
though
the
oboe
is
a
wind
instru-
ment.
This
is
because the
RESONANCE
control
is
not
at
"0". Using envelope control
would
cause
the
filter
cutoff point to
change
during the
pro-
duction
of
each
note,
thus
producing
a
sound
not
normal
to
most
instruments.
To
hear
this effect,
move
the
VCF
ENV-1
control
up
to
about "8"
and lower
the
VCF CUTOFF
FREQ
control to
about
"4". This
produces an
articulation
of the
sound
not
unlike the
articulation
produced by
human
speech.
Notice
in
all
of these
sounds
that the
Envelope
Generator
DECAY
control has
no
effect
because
the
SUSTAIN
control
is
set at
maximum,
and
therefore
may
be
set
anywhere.
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ii.ii
24
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