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Filter
The lter cuto is just low enough to prevent the sound from being too
piercing when played with low key velocity. In the modulation section, velocity
is routed to the lter, so that as key velocity increases, so does the envelope
amount. Since Cuto and the velocity source amount are both reasonably
high, the lter cuto is controllable over a narrow range and —beyond medium
key velocities— the only timbral changes which occur are due to the velocity
modulation of the A-C and B-D mixer axes.
LFO Group
LFO 1 is not used. Its modulation amount is zero, and the Mod wheel does not
add to this.
As explained before, LFO 2 is responsible for increasing the shimmering sound
of the program by detuning two of the oscillators against the other two. It uses
a triangle waveform at a rate suitable for tremolo, but could be slowed down
and still be useful in this application. LFO 2's initial amount is zero, so the
depth of its eect depends entirely on use of the Mod wheel.
Voice Control
All voices are panned near stereo center, and are not moved much farther
by the programmed amount of velocity modulation, but the negative amount
of keyboard modulation does cause notes played at the top of the keyboard
to appear in the left audio output, and low notes to appear in the right audio
output. If desired, this eect could be reversed by selecting the keyboard
modulation source, and changing the amount to +99. (Higher notes then
appear in the right audio outputs.)
The amplier envelope features a fast-attack, ADSR-shaped envelope for
a medium high sustain volume. Program Volume is 50 and the velocity
modulation source amount is +42, allowing key velocity to drive the volume
near its maximum.
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