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POLYPHONY MORE PAGE (Continued)
VOICE STEALING MODE (NO STEALING, OLDEST NOTE, QUIETEST NOTE, NEWEST NOTE)
This parameter species how voices will be sacriced and reallocated when the active Synth reaches
its polyphony limit.
NO STEALING
This is effectively the Off position for this parameter. No new notes are played until voices
become available.
OLDEST NOTE
Here, the note that has been sounding the longest is the rst to be stolen when a new note
is played. This mode is excellent for playing fast and intricate passages, but beware when
playing a sustained chord that use may a root (or pedal-point) note under a series of changes,
as it may drop unexpectedly.
QUIETEST NOTE
This is the “weakest link” mode. Here, the voice that is contributing the least (hence quietest)
in the overall sound will be dropped so that a new note may be played.
NEWEST NOTE
While dropping the newest note may seem counterintuitive, this is actually a powerful mode
for creating mono-synth style gures and solos over a polyphonic base, by continually
reallocating the same voice to the next note played (when the polyphony limit has been
reached).
MONOPHONIC NOTE PRIORITY (LOW, HIGH, LAST)
This is sort of the monophonic equivalent of polyphonic voice stealing; NOTE PRIORITY determines
which note will sound when multiple notes are pressed while performing in the MONO mode.
PITCH VARIANCE (0 CENTS to 50 CENTS)
To emulate some of the imprecision and drift of early analog components, this parameter adds a
random amount of variation to the pitch of each new note as it is played – within the limits set by this
value. This can create a richer and a more “classic” analog sound. Rotating this knob to the right will
increase the breadth of the PITCH VARIANCE range.
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