23
Unison
Displayed as: Unison
Initial value: 1
Range of adjustment: 1, 2, 3, 4, 8
Unison can be used to “thicken” the sound by assigning additional voices (up to eight in
total) for each note. Be aware that the “reservoir” of voices is finite and with multiple voices
assigned, the polyphonic capability of the active Part may be reduced. With four voices
per note, only two notes may be played together fully polyphonically, and if further notes
are played, “voice stealing” is implemented and the first note played will be cancelled.
With Unison set to 8, Summit’s currently selected Part becomes a multi-voice monophonic
synth.
If the limitation on polyphony imposed by Unison Voices is restrictive and
the oscillators are set to Sawtooth, a similar effect can be obtained by
using the SawDense and DenseDet parameters in the Oscillator
Menu. (In fact, some of the factory patches use this technique.)
SawDense and DenseDet have no impact on the polyphony.
Voice DeTune
Displayed as: U niD eTu n e
Initial value: 25
Range of adjustment: 0 to 127
Unison Detune is only effective when Unison is set to something other than 1. The
parameter determines how much each voice is detuned relative to the others; detuning is
generally desirable as adding additional “identical” voices has much less effect.
Voice panning
Displayed as: UniSpread
Initial value: 0
Range of adjustment: 0 to 127
UniSpread gives you a method of controlling how the separate voices are positioned
in the stereo image. With UniSpread set to zero, all voices are centrally panned,
effectively providing a mono image. As the value of UniSpread is increased, multiple
voices are panned increasingly left and right – odd-numbered voices to the left and even
to the right.
Fully Left Fully Right
centre
unison voice 4 unison voice 3
unison voice 2 unison voice 1
Stereo image placement diagram for 4 voice unison with UniSpread set mid way
Stereo image placement diagram for 4 voice unison with UniSpread increased
Fully Left Fully Right
centre
unison voice 4 unison voice 3
unison voice 2
unison voice 1
Note that UniSpread is still effective even with unison voices set to 1: in this case,
a single note played is positioned centrally in the stereo image, while playing multiple
notes results in left or right panning, depending whether the voice in use is odd- or
even-numbered. When used like this, best results are obtained with moderate amounts of
UniSpread.
Voice Menu Page 2:
VOICE 2/4
PreGlide +0 H
PatchLevel 64
Pre-Glide
Displayed as: PreGlide
Initial value: 0
Range of adjustment: -12 to +12
If set to a value other than zero, Pre-Glide takes priority over Glide, though it does use
the setting of the Glide Time control
50
to determine its duration. Note that Glide On
49
must be selected for Pre-Glide to work. PreGlide is calibrated in semitones, and
each note played will actually begin on a chromatically-related note up to an octave above
(value = +12) or below (value = -12) the note corresponding to the key pressed, and glide
towards the ‘target’ note, over a time set by the Glide Time control. This differs from Glide
in that, e.g., two notes played in sequence will each have their own Pre-Glide, related to the
notes played, and there will be no glide ‘between’ the notes.
Although the use of Glide is not recommended in Poly modes when
playing more than one note at a time, this restriction does not apply to
Pre-Glide, which can be very effective with full chords.
Patch Level
Displayed as: Patch Level
Initial value: 64
Range of adjustment: 0 to 127
This is an additional level trim control, whose setting is saved with the Patch. This allows
you to set the overall volume of each Patch, so that all the Patches in use are at the levels
that you want. With a value of 0, the Patch volume is halved; with a value of 127, it is
doubled.
Voice Menu Page 3:
VOICE 3/4
FltPostDrv 0 H
FltDiverge 0
AudioInput Off
Post Filter Distortion
Displayed as: FltPostDrv
Initial value: 0
Range of adjustment: 0 to 127
This parameter controls how much pre-envelope distortion is added to the sound after the
filter, but (crucially) before the amplifier. This distortion will thus remain constant when
the amplifier is gradually opened and closed by the amplitude envelope, unlike that added
by the Effects section DISTORTION Level control [68], which follows the amplifier in
the signal chain. Note also that this distortion is distinct from the distortion which results
from adjusting the Overdrive control [62] in the filter section: it is applied only to the
frequencies passed by the filters, whereas Filter Overdrive applies distortion to the sound’s
full frequency spectrum before the filter.
Filter Divergence
Displayed as: FltDiverge
Initial value: 0
Range of adjustment: 0 to 127
This parameter re-creates the subtle effect of poor filter calibration found on early analogue
synths. The filter for each voice is deliberately detuned by a different, fixed amount. The
effect will be more apparent when the filter is close to resonance.
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