![]() ![]() The Loudness Contour, or VCA contour generator, has a slightly faster attack at 250ms, with a decay time at 1 second, and sustain level set to 7. Set the filter contour attack to 600ms, with decay set to 400ms, and the sustain up around 9. Turn on Filter Modulation, as well as the second Keyboard Control filter switch, so that higher notes have filter settings that are slightly wider open. The Filter Cutoff and Emphasis are set all the way to the left, while the Amount of Contour is set to 6, allowing for the slower attack of the filter contour generator to open up the filter with each note. Wright likely used only one oscillator for this sound, but Oscillator 2 can be set to the same settings and used to thicken things up a bit if desired. Start by setting Oscillator 1 to the 8' length with a saw wave selected. This iconic soft brass sound owes a lot of its character to the way the contour generators, or envelopes, are used to control the filter and VCA. Of course, the Minimoog featured particularly in his solo at the end of Part III. Both contour generators are set to a fully counterclockwise attack, 600ms decay, and fully clockwise sustain. The Cutoff Frequency is set to 1, the Emphasis all the way counter-clockwise, and the Amount of Contour set to 5. The sound at the very beginning of the song may have the Filter Modulation set on, but it is set off for the main arpeggiated sound. Set the Oscillator Modulation switch on, or to the right. For downward, set it to the standard saw waveforms. 3 Control switch off and the frequency set to 5.įor upward pitch sweeps, the Oscillator 3 waveform is set to the reverse saw. Oscillator 3 is used as a modulation source with the Osc. Set Oscillator 2 also to the 16' length and square wave, but turn the frequency control to 7. ![]() ![]() Set Oscillator 1 to the 16' length and select the square waveform. Mothersbaugh even had Moog modify his Moog Voyager at some point to include these waveforms, as the stock model had only square and triangle available. ![]()
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