Werbung
results in much more dramatic changes to
the
timbre
of
the
sound.
Medium
reso-
nance produces
the characteristic
'*waa-
waa"
sound
when
the
filter
cutoff
swept by the EG, footpedal
or manually.
At high resonance, the filter will self-
oscillate,
producing
a pure sine wave at
the cutoff
frequency.
This can be used as
a second sound source along with
the
VCO, or by itself if the VCO is shut off.
The purest tone is generated at about 7.
3) EG INTENSITY
This
controls
how
much
the cutoff
frequency is varied by the EG. It also
determines
whether
the
filter
is swept
(positive modulation) or down (negative
modulation) during the attack phase of
the EG. Maximum sweep depth is plus or
minus
10 octaves. Wide sweep depths are
usually associated with dramatic
effects,
"electronic"
lead and
bass sounds,
clav
type sounds, etc. Small sweep depths are
often
used to add a subtle
extra dimen-
Sion to more
' 'natural"
sounds
horn,
woodwinds
and other
sounds.
However,
there
are certainly
hard and fast rules and anything
is
sounds
good
to you
should
freely.
4) KBD TRACK
This controls the degree to which the
fitter "tracks"
the keyboard, over a range
of approximately 096 to 150%. Keyboard
tracking
is an extremely
useful function
in
which
the
VCF
is made
to
the note as it is played on the keyboard.
This
produces
more even and realistic
sounds by insuring that the tonal quality
up
(timbre)
of a given sound remains con-
sistent over the full 5 octave range (100%
tracking).
Without
keyboard
tracking, a
given sound played at ' 'C" would sound
bright and buzzy at the lowest ' 'C" , and
muted
or even non-existent
at the highest
The
Polysix
also allows
over-
or under-tracking,
like french
orchestral
smooth
and
controited
changes as you move up and down the
no
keyboard, for special effects, or to simu-
that
late instruments
with
be used
(e.g., many orchestral and keyboard in-
struments).
At settings of approximately
7 , the VCF follows the note on a I for
1 basis (100%). Below 7, the VCF in
effect "lags behind" the note played; this
causes notes to sound brighter
down in pitch, and rounder or mellower
as you ascend. Conversely, at settings
' 'follow"
above
7,
the
VCF
"faster"
than
does
the keyboard
which causes notes to sound brighter
you go up in pitch and darker as you go
down.
The further
the control
the more pronounced this tonal change
will
be.
When
the
VCFs
are self-oscillated
used as sound sources. the KBD TRACK
control
allows
you
deliberate
filters from
the keyboard
ing). Additionally,
This produces
as Microtonal (e.g., "quartertone")
tone
quality
Macrotonal
can be created
than, or greater than 7, respectively.
Variable
keyboard
changing timbres
tremely useful in producing realistic in-
strumental
sounds,
make any particular program soundgood
over a full five octave range.
MG {with MOD Switch set to VCF)
as you go
External control voltage (MS-OI pedal,
etc.) applied to VCF fcM IN jack (nomi-
nal sensitivity is IV/octave).
cutoff
increases
This provides repetitive filter modula-
pitch,
tion
or
automatic
as
Low settings of the MG LEVEL
can give a subtle but very useful anima-
is from
7,
tion
to. the sound.
and
to
"play"
the
(100% track-
special scales known
and
at settings
less
tracking
is ex-
and in helping
to
"waa
waa"
effects.
control
Werbung
