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• Route VCO 1 through the HPF, and VCO 2 through the
LPF (or vice-versa)
• Mix VCO 1 and VCO 2 together, and then route the mix
through the HPF and LPF in parallel, instead of in series
• Use AMS of the MIXER LEVELS to modulate the
relative levels of these parallel filters, from physical
controllers, LFOs, EGs, etc.
• Route any audio source (such as a VCO or the NOISE
GENERATOR) through the BAND PASS FILTER,
and then mix the results back in to either the HPF or
LPF, or to the final VCA
• Invert the polarity of a modulation or audio signal via
MIXER 1 or 2
• Use VCO1 or 2 to modulate LPF or HPF cutoffs, or
VCA gain
• Reverse the order of the LPF and HPF (most noticeable
with high PEAK settings)
• ...and many more avenues for you to explore on your
own.
Tip: Creating self-triggering patches
Normally, new notes and EGs 1 and 2 are triggered by
playing notes on the keyboard. They don't have to be,
however. You can use the MG Square/Pulse output, the Trig
Out of the External Signal Processor, or AMS signals from
the Wheel or Switch jacks to trigger one or both EGs.
Note: EGs 1 and 2 trigger when the input is at 0 ("low"),
such as when the MG Square/Pulse is in the bottom portion
of the waveform. The MG's indicator LED is on during this
portion of the waveform.
You can also use AMS (such as LFOs) to reset EGs 3-6, if
desired. Finally, the Common Step Sequencer and LFO can
also be reset via a selection of controllers, including the
Vector EG CCs.
Even when a patch is self-triggering, it will only play when a
note is played on the keyboard, held by the damper pedal, or
held via the Program Basic page's Hold parameter. When
the note is released (by lifting up on the keyboard or damper
pedal, or turning off Hold), the EG selected by the VOICE
ALLOCATION parameter will automatically enter its
release phase, and will no longer re-trigger. All other EGs
will continue to re-trigger, according to the Patch Panel and
AMS settings.
In some cases, you may want some elements of the patch to
re-trigger automatically, while others are still triggered from
the keyboard. To allow the keyboard to act as a trigger while
you are holding the sustain pedal (or while Hold is enabled):
1. Select the KBD TRIG OUT jack.
2. In the Parameter Details box, set Trigger On to Note
Gate.
For more information, see "KBD TRIG OUT jack" on
page 324.
Program P6: Patch Panel 6-1: Patch Panel
6–1a: VCOs 1 and 2
For descriptions of the VCO parameters, see "4-1a:
Oscillators" on page 307.
(VCO 1) OUT jack
This Patch Panel modification provides the output of VCO 1.
(VCO 2) OUT jack
This Patch Panel modification provides the output of VCO 2.
TOTAL input jack
This input modulates the frequencies of VCOs 1 and 2, the
HPF, and the LPF. It's normalled to the MG
sawtooth/triangle output, but you can use patch cables to
connect any other modulation source.
Each of the destinations has a knob to scale the amount of
modulation from the TOTAL input. For more information,
see:
• VCO 1 and 2 pitch: "MG/T.EXT" on page 308
• HPF frequency: "MG/T.EXT" on page 309
• LPF frequency:"MG/T.EXT" on page 309
FREQ input jack
This input modulates the frequencies of VCOs 1 and 2. The
signal is scaled by the EG1/EXT knob, as described under
"EG1/EXT" on page 308.
VCO CV (Control Voltage) inputs
VCO 1+2 CV IN jack
This controls the basic pitch of both VCO1 and VCO2.
Normally, this signal comes from the notes played on the
keyboard (or via MIDI). You can patch other signals into this
jack to create special effects, or to follow the pitch of an
external audio input.
VCO 2 CV IN jack
This is similar to "VCO 1+2 CV IN jack," above, but affects
VCO 2 only.
317
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