13
b) If only one key is depressed, only voice module one will
be gated; if, while one key is held down, another is
depressed to the right of the one that is being held
down, voice module two will be gated on with the new
note; if, on the other hand, another key is depressed to
the left of the key already being held down, then voice
module one will be assigned to the lower key--thus mov-
ing to a new pitch-and voice module two will be given the
upper key; both voices will be gated simultaneously.
c) Legato playing on the second voice will not produce new
pitches unless the 2ND VOICE switch is OFF. Legato play-
ing on the first voice will produce new pitches regard-
less.
d) The PORTAMENTO and PITCH BEND controls do not affect both
keyboard voltages in the same way, and exactly what they
do to the second voltage depends on the position of the
2ND VOICE switch.
NOTE: a vast number of special effects are possible with vari-
ous configurations of the keyboard controls. The most ordinary
and conservative results, however, will come from playing con-
tinuous legato on the lower voice, and a slight nonlegato on
the upper voice.
E. TROUBLESHOOTING (I)
Using only the controls we have introduced so far, it is--as
you have probably discovered already--possible to reach situa-
tions in which you are momentarily lost, either because you are
not getting any sound at all when you press a key, or because
you can't seem to make the sound shut off even when no key is
depressed. The following checklist will review the things to
look for in both cases.
1. NO SOUND: (EITHER MODULE)
- is the master output level open wide enough?
- is the output level control for the module open?
- is at least one of the module audio inputs open? (See p.
five and the description of area 6 in the diagram.)
- is the filter open? (See the definitions of "open" on p.
11, and the note in italics on p. 9.)
- if the filter is closed, is the setup of the switch and
attenuator #5 such as to open it with an envelope?
- certain envelope settings of the two generators will
interact to prevent an audible output from leaving a
module; for example, a short attack and decay on ENV
1, min. sustain (controlling the VCA) with a long
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