45
5.0
PUTTING IT
ALL TOGETHER; is
your job. We
can't
do it for
you.
But what
we have done
in this section is to
suggest,
first of all,
a
plan of organization so
that as
you
really get into your
instrument
you
don't
go
out of
your skull trying
to
remember
it all.
This plan
of
organization is
inherent in the way
we
have structured the.chapter.
Second,
we give
you
the results
of
our
own work with the
2600 syn-
thesizer:
suggestions for
special-purpose patches,
effects,
and so on.
Third and
probably most
important, we
encourage
you to
experiment
on
your own, systematically at first
and then with more and more
freedom
as
your
familiarity
with the synthesizer grows.
5.01
Your investigations
should always be
governed
by
two princi-
ples, in
a
sense opposites
of each
other.
One is that no damage can be
done to the
2600 by
any internal connections
you
can
possibly
make. So
a voltage is a
voltage is
a
voltage;
except
in a
formal,
func-
tional sense,
there
is
no difference between signal and control
voltages
There
are no
"forbidden" connections
on the
2600.
5.02
The other principle is that, on
the
other hand, not
all connec-
tions
are useful
. And
here we
can do
no more than to
suggest
the
principle: we cannot
undertake
to
define for
you what
patches are
useful and what patches are
not.
What is
useful in
the
studio
is
some-
times
too
clumsy for live
performance, or too
time-consuming to
set
up,
or
might
involve
too critical
a
tuning
preparation.
Or
what
is
use-
ful in live
performance might
be
too crude
or
simplistic
for studio
use. And
patches designed
for
instructional purposes, in
a
classroom,
might
have no
musical
value at all.
/
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