
7.
Experiment
with
the
various
settings
of
the
DESTINATION
and
ROUTING
controls.
There
are
many
useful
combinations
of
touch/wheel
control.
When
the
EFFECT
switch
position,
the
KEYBOARD
is
in
the
MOD
TOUCH
and
MODULATION
sections
are
linked.
When
EFFECT
is
OFF,
the
KEYBOARD
TOUCH
section
can't
be
used,
(but
the
MODULATION
section
is
not
affected).
When
the
EFFECT
switch
is
in
the
BEND
position
the
KEYBOARD
TOUCH
section
works
independent
of
the
MODULATION
section,
as
shown
below:
ma
8.
Play.
Vary
amount
of
force
exerted
on
the
keyboard.
Pitch
bend
(upward)
is
heard.
9.
Vary
AMOUNT
control.
Interval
of
(maximum)
bend
is
changed.
(Exact
intervals
may
be
set).
10.
Select
OSC
A
on
the
DESTINATION
control.
Play.
Now,
only
OSCILLATOR
A
is
being
bent.
(Confirm
by
using
MIX
control
to
listen
to
first
one
oscillator
and
then
the
other.)
11.
Try
all
of
the
DESTINATION
settings.
Use
different
AMOUNT
settings.
Read
the panel
graphics.
All
of
the
DESTINATION
settings
are
self-
explanatory
except
"SYNCH
A
TO
B."
In
this
setting,
OSCILLATOR
A
is
"synched"
(tied
in
pitch)
to
OSCILLATOR
B.
Also,
the
control
signal
coming
into
the
DESTINATION
control
is
routed
to
the
(frequency)
control
input
of
OSCILLATOR
A
only.
When
OSCILLATOR
A
frequency
is
bent,
we
won't
hear
a
pitch
change,
since
OSCILLATOR
A
is
synched
to
OSCILLATOR
B—and
OSCILLATOR
B
isn't
being
bent.
We
do
hear
a
"tearing"
sound
as
OSCILLATOR
A
tries
to
remain
in
synch
with
B.
You
can
get
the
same
effect
manually
by
turning
the
INTERVAL
control,
which
affects
the
frequency
of
only
OSCILLATOR
A.
Experiment
with
various
INTERVAL
settings
to
vary
the
"synched"
sound.
If
you
have
only
one
hand
to
spare
when
playing
the
synthesizer,
consider
the
following:
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