Moog MEMORYMOOG 345 Owner's And Service Manual page 51

There's
no
law
against
using
OSCILLATOR
3's
KEYBOARD CONTROL
function while
OSCIL-
LATOR
3
is
acting as a
modulation
oscillator.
Using the
KEYBOARD CONTROL
switch
(6.8)
while
the
LOW
switch
(6.7)
is
on
will
give
you
modulation
effects
whose
speed
will
vary
in
relation to
where
you
are
playing
on
the
keyboard:
high notes
produce
fast
modulation; low
notes
produce slow
modu-
l^
lation.
With the
LOW
switch
off,
you'll
be applying audio frequencies
as
modulation
voltages. This
effect
is
characterized
by
buzziness
and
grit.
You
should
try
combining both
OSCILLATOR
3
and
the
FILTER
CONTOUR
as
VOICE
MODU-
LATION
sources.
Experiment
in
every
way
you
can think of to familiarize yourself with
your
instrument.
When
you
run out of
ideas, just turn
knobs and
dials until
you
come
across a
sound you
like.
Then
retrace
how
it's
being created and
store
the
knowledge
in
the
back of
your mind
for future reference.
The
best
way
to get to
know
an instrument
like
the
Memorymoog
is
to use
it.
Some
rules
of
thumb
about
VOICE
MODULATION:
At
least
one
of
the
two
VOICE
MODULATION AMOUNT
controls
(5.5
and
5.6)
has to
be turned
up
to hear
any modulation
effect.
At
least
one of the
five
DESTINATION
switches
(5.9)
has to
be on
to hear
any modulation.
The
INVERT
switch turns the
FILTER
CONTOUR
and
OSCILLATOR
3
waveshapes
upside
down.
In
order
for
the pulse width modulation to function, the
oscillators
have to
be putting out
pulse
waves.
If
the
CUTOFF
of the
FILTER
is
up too
high
you won't
hear
any
FILTER
modulation.
o
u
If
you
have too
much
control voltage
going
to the
FILTER,
you
will
drive
the
CUTOFF
frequency
so high that
you won't
hear
modulation anymore.
Positive-going
sawtooths cause
the pitch of an
oscillator to
rise
and
the
CUTOFF
of the
FILTER
to
open. Negative-going sawtooths cause
the pitch of an
oscillator to
fall
and
the
CUTOFF
of the
FILTER
to
close.
Pulse
waves can be used
for creating
trills.
These can be tuned by
using the
OSCILLATOR
3
MODULATION
AMOUNT
control
(5.5).
Varying
the pulse width
will
vary the
time between
the
up
and
down
portions of the
trill.
Pulse waves can be used
to
open and
close the
FILTER
in
an on/off,
up/down
manner.
Triangle
waves can be used
to create vibrato
when
applied to an
oscillator.
They
can
also create
repetitive swells
when
applied to the
FILTER,
and
phase
shift
when
applied to pulse widths.
Audio
frequency modulation, used
subtly, can
give
timbres
more
bite.
Using
the
FILTER
CONTOUR
to
sweep
the frequency
of
OSCILLATOR
2
when
it's
SYNCED
to the
frequency
of
OSCILLATOR
1
creates the
strong
dynamic
timbral
sounds
that are
often
associated with the
SYNC
effect.
47