Technical data

ManualsBrandsMultimoog ManualsMusical InstrumentsMusical Instrument

.UNISON,

INTERVAL

W/WESHAPE

OSCILLATOR

A

MIX

WAVESHAPE

DOUBLING

OSCILLATOR

B

Each

WAVESHAPE

control

allows

continuous

selection

and

mixture

of

the

waveshapes

produced

by

that

OSCILLATOR

section.

The

position

marked

"O"

provides

the

sawtooth

waveshape;

as

the

control

is

moved

clockwise

this

sawtooth

waveshape

is

mixed

with

a

narrow

rectangular

waveshape

(about

"2").

As

the

WAVESHAPE

control

is

moved

toward

"5,"

the

rectangular

wave

widens,

becomes

a

square

waveshape,

and

the

sawtooth

disappears

from

the

top.

Between

positions

"5-6"

a

square

waveshape

is

produced,

and

as

the

control

is

moved

on

toward

"10/'

the

square

waveshape

narrows

to

a

very

narrow

rectangular

waveshape.

The

narrowness

of

this

rectangular

waveshape

is

limited

so

the

sound

will

never

"disappear"

at

any

WAVESHAPE

position.

The

Multimoog

provides

a

variety

of

waveshapes:

sawtooth,

square,

variable

rectangular,

and

a

mixture

of

sawtooth

and

variable

rectangular

waveshapes.

An

understanding

of

the

harmonicspectra

of

waveshapes

is

very

useful

in

sound

synthesis.

Also,

experience

eventually

teaches

you

a

lot

about

which

waveshape

is

best

for

an

intended

sound.

FILTER

SECTION

AS

SOUND

SOURCE

Although

the

primary

function

of

the

FILTER

section

is

tone

modification,

the

FILTER

will

also

act

as

a

sound

source.

When

the

FILTER

MODE

switch

is

placed

in

the

TONE

position,

the

FILTER

section

generates

a

sine

waveshape

(a

whistle-like

sound)

that

has

no

harmonics.

Set

up

the

sound

chart

and

proceed:

EXERCISE

3:

FILTER

AS

SINE

WAVESHAPE

OSCILLATOR

1.

Play

the

keyboard.

You

are

listening

to

the

sound

of

a

sine

waveshape

that

is

produced

by

the

FILTER

section.

2.

Place

the

FILTER

MODE

switch

to

the

NORM

position.

Play

the

keyboard

(no

sound).

Return

the

FILTER

MODE

switch

to

the

TONE

position.

The

FILTER

section

becomes

a

sound

source

only

when

this

switch

is

in

the

TONE

position;

this

prevents

filter

"howl"

accidents

in

performance!

3.

Try

different

settings

of

the

OCTAVE

selector

in

the

MASTER

A&B

section.

(OCTAVE

tunes

the

FILTER

as

well

as

the

oscillators.)

4.

Return

OCTAVE

to

32'

position.

5.

Hold

any

key

on

the

keyboard

down.

Rotate

the

CUTOFF

control

over

a

wide

span.

When

the

FILTER

section

is

in

the

TONE

mode,

the

CUTOFF

control

acts

as

a

wide

span

tuning

control.

Play

with

the

OCTAVE

control

again.

6.

Play

a

short

melodic

fragment

repeatedly.

Try

different

settings

of

the

CUTOFF

control.

Note

that

the

same

melody

is

produced

at

different

pitch

levels.

The

position

of

the

CUTOFF

control

adds

to

the

keyboard

to

establish

the

pitch

produced.

7.

Notice

that

the

OSCILLATORS

are

not

being

used

as

a

sound

source

since

the

OSCILLATORS

switch

is

in

the

OFF

position.

You

have

heard

only

the

FILTER

section

in

TONE

mode.

(END

OF

EXERCISE)

32