Sequential Prophet VS - Page 121

121
the patch now with this information in mind, and you should be able to more
clearly hear the lower pitches fading in.
Because of the de-emphasis of the fundamental pitches at the start of the
envelope, this program can almost be considered to be already transposed
an octave upwards. In fact, comparing this program to some others will tell
you that during most of the note, it in fact does sound an octave high. When
played stacatto, the mixer point does not move as far from oscillator D, and
this eect is even more noticeable.
We are not concerned with the lter envelope, because the lter Env Amount is
set to 0.
The amplier envelope is simple: there is a quick attack from 0 to 99 (point
1), followed by a decay to 75 (points 2 and 3). The rate 4 value of 80 gives a
release long enough for the mixer envelope to complete its nal stage.
Modulation
LFO 1 is set for a slow triangle wave, and is modulating the B-D mixer axis.
In other words, it is mixing a fundamental with an octave pitch. The eect is
subtle, but important to the sound. To hear the LFO modulation more clearly,
increase LFO 1 Rate.
LFO 2 is also set for a slow triangle wave, and is panning the voices. Here
again the programmed eect is subtle and can be made more obvious by
increasing the source depth and rate.
Velocity is routed to the lter envelope amount, which, of course, makes slow
notes dull and fast notes bright. But at the same time, velocity is also applied
to the mixer A-C axis. A high positive velocity drives the mixer point towards
Osc C, bringing out the complex harmonic stucture of waveform #41. This
contributes signicantly to the reedy sound produced by a fast key attack.
Voice Control
Unison/Detune and Glide are not used. Program Volume is set to a low 20,
which — combined with the long release of the program— lets it mix well with
other programs. If desired, you can quickly add velocity control over volume
by simply switching on the VELOCITY source to AMP ENV destination path.
Cycle through the Voice Pan setups and you will nd the initial position of the
voices distributed within the stereo eld. These are the positions from which
each voice is modulated by LFO 2.
Chorus
And nally, as will usually be the case with "airy" patches of this type, both
Chorus channels are on. Rate and Depth are set to medium.
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