Moog MEMORYMOOG 345 Owner's And Service Manual page 45

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Note what
effects
the
different settings
of the various
MODULATION
AMOUNT
controls
(2.3,
1.11,
and
4.2) have, both
on
the
sound
of the
modulation
effect
and on
each other.
The
WHEEL
(2.3)
adds to the
MODULATION AMOUNT
controls
(1
.1
1
and
4.2), as
does
the
FOOTPEDAL CONTROL-
LER
(13.2).
Listen to the
same
LFO
MODULATION
setting
with
all
the
different
waveshapes
—
positive-
and
negative-going sawtooths, square, and S-H (sample and
hold
random). The sawtooth waves produce
glides
up
or
down
in
pitch;
the square
wave
produces
trills
which
can be tuned by
the
AMOUNT
con-
trols;
and the sample and
hold
produces randomized
pitch
shifts.
You
can
get
some
interesting effects
when you
use different
waveshapes from
the
LFO
to
modu-
late
the pulse widths of the three
oscillators.
When
you change
the width
of a pulse
wave, you're
changing
its
harmonic
content and therefore
its
timbre.
By
slowly
sweeping
the widths of
different
combinations
of pulse waves
you
can
get phasing-like sounds,
string
sounds, and
so on.
The
key
to
this
technique
is
experimentation.
Try
different
LFO
speeds, different
LFO
waveshapes,
different
pulse
widths and
different pulse widths
at different octaves.
LFO PW MODULATION
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KEYBOARD
FOOTPEDAL
CONTROLLER
EXPERIMENT WITH TURNING
LFO
MODULATION ON AND
OFF WITH THESE CONTROLS.
V^
When
modulation
is
applied to the
FILTER,
it
affects the
FILTER
CUTOFF FREQUENCY
(8.2).
There
are
many
useful
sounds
created by
FILTER MODULATION. A
triangle
wave
can
give
you
nice
slow
swells.
Sawtooth waves
give
you
reiteration effects. Positive-going sawtooths open
the
FILTER
up
(the
sound
gets brighter
as
the
FILTER
opens). Negative-going sawtooths
close the
FILTER down
(the
sound
gets
more muted
as
the
FILTER
closes).
A
square
wave
will
give
you
a bright/muted
sound
which
alternates
as
the
waveshape
goes through
its
cycle
-
momentarily
high,
momentarily
low.
41