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-
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.
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.
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