Sequential Prophet VS - Page 136

136
IS THERE (#40)
This program combines the punch of mallet percussion with the sustaining
tone of a reed instrument, ending with a smooth tone at an octave above
concert pitch. Velocity modulation of the mixer envelope provides dynamic
timbral control going far beyond the capabilities of analog lters.
Keyboard Mode
Normally, this program is in Single keyboard mode, its Split and Double
mode parameters can be activated by simply selecting either mode. Pressing
Split, we nd that the original program plays between C#3 and top C of the
keyboard, while the linked program (#16, RONZONI) covers all keys below
C#3. Pressing Double, the same two programs play simultaneously across the
entire keyboard with no detuning between them.
Oscillator Group
Oscillators A, B, and C use relatively simple waveforms (32, 3#, and 35
respectively) compared to the complex waveform used by oscillator D, which
contains a healthy amount of the seventh harmonic. To create the "mallet"
eect, the mixer envelope moves between oscillators C and B via points 1
and 2, emphasizing oscillator D only briey, simulating the delayed resonant
harmonics of, say, a steel drum. Rate 1 is responsible for the sound's reaction
time.
The mixer envelope moves to its sustain point (point 3) in two stages at two
rates. To exaggerate this motion, try setting mixer envelope rate 2 to "0" and
"50", then compare.
The mixer envelope eventually sustains with only oscillator B in the mix
(assuming the Mod wheel is not used). If desired, you could easily change
the sustain tone by simply changing oscillator B's wave number. When a key
is released, the mixer envelope moves from oscillator B towards oscillator A,
which —as a sine wave at two octaves above concert pitch— is an octave
above oscillator B, and produces a third, smooth tone as the sound fades out.
Stepping through the modulation section with Dest Select and Source Select,
velocity is shown to modulate the A-C axis. High velocities emphasize
oscillator C throughout the envelope, while lower velocities emphasize
oscillator A. Also, both LFOs modulate the B-D axis. LFO 1 has no initial
modulation amout, so it is only eective when the Mod wheel is used. Since
LFO 1 also modulates the pitch of all four oscillators, the Mod wheel can
only be raised halfway before the tremolo eect drowns out the B-D axis
modulation.
LFO 2's initial modulation amount is enough for subtle B-D axis movement,
resulting in a slow variation in the amount of oscillator B heard as the sound
sustains.
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