8 ) The two KEYBOARD CONTROL switches (K) and (L) apply the control
signal produced by the keyboard to move the filter cutoff
frequency up and down. This is important in setting up a sound,
for if there is no keyboard control of the filter, the higher
notes on the keyboard will sound duller than the lower ones, having
more of their overtones attenuated. To observe the effect of these
switches, turn off Oscillator 1 (C) and the Filter Modulation switch
(J), and set control (17) to 0. Turn on the NOISE SOURCE (F) and
set the Noise Quality switch (H) to WHITE. This feeds white noise
through filter and amplifier. Turn on switches (K) and (L) and play
up and down the keyboard. You will hear the brightness of the white
noise increase and decrease according to the position of the key
which you have depressed. Switch (K) couples a small amount of
keyboard control; switch (L) couples a larger amount. When (K) and
(L) are both on, the filter cutoff frequency moves in full response
to the keyboard control signal.
* NOTE: When the EMPHASIS control is set to 10, the Filter breaks
into oscillation, and produces a pure sine wave tone. It
thus is available as a sixth sound source within the MiniMoog.
The pitch of this additional oscillator may be controlled by
the five other controls on keyboard. The sixth sound source
may be used alone or mixed with the other sound sources to
achieve a variety of complex effects.
To hear the sixth sound source alone, set up the instrument
as follows:
All Mixer switches (C,D,E,F,G) o f f
Filter Modulation switch (J) o f f
Keyboard Control switches (K & L) o n
Cutoff Frequency (17) - 2
Emphasis (18) 1 0
Amount of Contour (19) 0
Now hold down or repeatedly strike a key, while experimenting
with the following means of controlling pitch:
1 ) Manually, using CUTOFF FREQUENCY control.
2 ) Using Filter Contour Controls (19-22).
3 ) Using the Modulation Mix (see step 7 above).
4 ) Using the Keyboard. Differently tempered scales
will result from different settings of (K) and (L).
13
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