Sequential Prophet VS - Page 120

120
VS AMBIENCE (49)
This patch uses just a few routings to produce a responsive yet quite liquid
and airy eect- If it is delayed with respect to another program in Double
mode, the notes will tend to sound as if they are returning from a reverberant
room. The long release time suggests a drone on the octaves of notes played.
Keyboard Mode
The program itself is in Single mode. However, the nature of the program
makes it especially useful for layering with a wide variety of programs, in
Double mode. For Double mode, whether you choose this program as the
current program or as the linked program will depend on which program you
want to delay or detune. (The linked program is the one that is delayed or
detuned with respect to the current program.) Try linking this sound to other
programs in the same manner as program #09 "REVERB."
Oscillator Group
Using the oscillator Select switch tells us that:
Osc A uses wave 32 (sine wave), tuned two octaves up (24.00).
Osc B uses wave 42 (thin, sharp tone), at base pitch (00.00).
Osc C uses wave 41 (shrill tone with ninth harmonic), also at base pitch.
Osc D uses wave 32 (sine wave), tuned one octave up (12.00).
With oscillators A and D producing sine waves, this program depends mostly
on oscillators B and C to produce harmonic motion.
Filter Cuto is 43, which sets a medium tone. Since the timbre is so velocity-
sensitive, we suspect that the lter is also being modulated by velocity, and a
glance at the modulation section will conrm this.
Envelope Group
Point 0 is an 83/17 mix of Osc D and C. The beginning of the note therefore
receives little harmonic contribution from oscillator C.
As the mixer envelope slowly passes through points 1 and 2, oscillators B and
C provide high order harmonics. Oscillator A is brought up in the mix, though
only briey, and scarcely noticeably. The shift from oscillator D to oscillators B
and C as the envelope progresses towards point 3 produces an eect similar
to that of a low-pass lter being "swept open," although the resemblence
ends there as the shift from oscillator B to oscillator C produces a shimmering
eect. Since the mixer looping is o, the mixer continues to produce the 9/91
mix of oscillators B and C until the key is released.
When the key is released, the mixer envelope slowly returns towards oscillator
D, until all that is heard is a sine wave at an octave above concert pitch.
So now you know why this sound is so light: The lowest pitches (fundamentals
1 and 2) only appear after the note has been held for about a second. Listen to
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