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16
SYSTEM 55
Control settings are very important for this patch.
Regeneration on the 904A LPF must be set to 9 or 10 to force the filter to self oscillate
The 921A should have Octave selected and the frequency control set to -6
The 921B VCOs should be set to 'Lo' – these oscillators provide the sweep to the filters
The 921 LFO should be set to 'Sub' – this is the main modulation for the self oscillating filter, and manual alteration of the Frequency control helps to produce the
classic sound.
The pink noise feeding the 904B HPF produces a swept wind effect, that can be altered with the Fixed Control Voltage
Altering the Fixed Control Voltage of the 904A LPF also produces interesting effects
The CP3A-M balances the two signals, as an alternative feed the outputs of the two filters direct to two mixer or amplifier channels. Both sounds benefit
from a lot of echo!
Mellow Organ
To mixer/ampli er/DAW
A mellow sound using the 914 FFB that can easily be changed to something more aggressive by changing the settings.
Voltage Control (pitch)
Source
External MIDI Keyboard – MIDI Out
CM1A CV Output via Multiple
921A Oscillator Controller Frequency Output x 2
Audio
1st 921B Triangle Output
2nd 921B Square Output
3rd 921B Sine Output
CP3A-M Output
4th 921B Sine Output
923 Pink Noise Output
914 Signal Output
904A Signal Output
904B Signal Output
3 x 902 Signal Output
CPO3A-M Mixer Output
Voltage Control (Amplitude)
CM1A s-trigger Output
3 x 911 Output
There are three components to this sound. The main organ sound is generated by the first three 921Bs and the 914 FFB. The second comes from the fourth 921B and
the 904A LPF and the third from the 923 Pink Noise and the 904B HPF. Certain settings are important, but variations can easily be achieved.
The main organ sound mixes Triangle, Square and Sine waves from three 921Bs. The width control on the 921A would normally be at 50%, giving a pure Square Wave,
but can be made more 'nasal' by increasing this or more mellow by decreasing. The basic sound has all waveforms at equal volume, but new sounds can be created by
altering the balance.
The settings of the 914 are also important. For the basic sound they should be:
Low Pass
125
175
250
350
500
700
1000
1400
2000
2800
4000
5600
MIDI Out
High Pass
Experiment with different values – adding in higher frequencies makes the sound more aggressive, for example.
The 911 EG should have minimum T1 (attack) and T3 (release); long T2 (decay) and E sus(tain)
The second element is a tuned percussive sound on key press. This is derived from the sine wave of the fourth 921B and the 904A LPF. The envelope settings are
minimum T1 (attack) and T3 (release) and E sus(tain); 500ms T2 (decay)
The third element is the untuned percussive sound on key press. This is derived from the pink noise of the 923 and the 904B HPF. Envelope settings are minimum T1
(attack) and T3 (release) and E sus(tain); 5ms T2 (decay) . This element should be kept down in the mix
Destination
CM1A MIDI Interface MIDI In
921A Frequency Input x 2
921B Oscillator Frequency Link (in series)
CP3A-M Input 1
CP3A-M Input 2
CP3A-M Input 3
914 Input
904A Signal Input
904B Signal Input
1st 902 Signal Input
2nd 902 Signal Input
3rd 902 Signal Input
CP3A-M Mixer Inputs 1-3
Your Mixer/Amplifier/DAW
3 x 911 via Multiple
3 x 902 Control Input
0
4
4
0
5
3.5
0
0
1
0
0
0
0
0
17
Quick Start Guide
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