Multimoog Musical Instrument Manual de Serviço descarregar pdf (Página 35)

The

preceding

confirms

that

GLIDE

affects

the

keyboard

signal.

The

OFF

position

of

the

OSCILLATORS

switch

and

the

TONE

position

of

the

FILTER

MODE

switch

remain

to

be

explored:

14.

Place

the

OSCILLATORS

switch

to

the

OFF

position.

Play.

No

sound—the

oscillator

has

been

removed

from

the

audio

signal

path—but

(take

our

word)

the

oscillator

is

still

under

control

of

the

keyboard.

15.

Place

the

FILTER

MODE

switch

to

the

TONE

position.

Play.

The

FILTER

section

is

generating

a

sine

waveshape

which

follows

the

keyboard.

(END

EXERCISE)

The

reason

for

placing

the

filter

under

full

keyboard

control

in

the

TONE

mode

should

be

apparent

enough.

We

want

to

control

it

from

the

keyboard

when

it's

making

a

tone.

The

reason

we

want

the

oscillators

to

follow

the

keyboard

even

though

we

are

not

hearing

them

will

be

explained

when

we

discuss

use

of

OSCILLATOR

B

as

a

controller.

For

now,

let's

just

note

that

the

OFF

position

of

the

OSCILLATORS

switch

removes

the

sound

of

the

oscil

lators

but

places

them

under

keyboard

control.

LOUPNESS

CONTOUR

SECTION

A

basic

aspect

of

music

is

the

control

of

not

only

when,

but

how

a

sound

begins

and

ends—attack

and

release

characteristics.

Most

organ-like

electronic

musical

instruments

offer

control

over

when,

but

not

how

the

loudness

of

a

sound

is

shaped.

The

Multimoog

offers

excellent

control

of

articulation,

or

the

shaping

of

loudness.

The

LOUDNESS

CONTOUR

section

is

a

contour

(sometimes

called

"envelope")

generator;

its

ATTACK

and

RELEASE

controls

may

be

set

to

produce

a

dynamic

control

voltage

that

"contours"

or

opens

and

closes

the

VCA

within

the

Multimoog.

The

associated

LOUDNESS

SUSTAIN

switch

and

RELEASE

switch

change

the

mode,

or

ways

that

the

LOUDNESS

CONTOUR

section

functions.

The

following

diagram

shows

the

general

form

of

the

signal

produced

by

the

LOUDNESS

CONTOUR

section:

TYPICAL

CONTOUR

SIGNAL

f

KEY

DEPRESSED

KEY

RELEASED

TIME

—

IN

SECONDS

An

individual

voltage

contour

may

have

three

parts:

the

rise

time

f

~\

,

set

by

the

ATTACK

control;

the

sustain

level

/■■■^

,

at

which

a

sound

may

be

held

when

the

LOUDNESS

SUSTAIN

switch

is

to

the

left;

and

a

release

time

/ ^

,or

dying

away

of

the

sound

which

is

set

by

the

RELEASE

control.

Contours

with

various

shapes

may

be

produced

using

the

LOUDNESS

CONTOUR

controls

and

associated

switches.

Let's

explore the

use

of

the

LOUDNESS

CONTOUR

controls

and

the

LOUDNESS

SUSTAIN

and

RELEASE

switches:

40

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