After the scaleB is set, move the Pitch CV over to the VCOA P1 input and listen to the two vcos tracking across
the keyboard range (again with the low-key transpose asserted) after aligning their pitch while a higher note is
pressed, say the third or fourth octave. Confirm they track for a higher octave pressed and hold as you press
keys going down towards the low key. You should be able to turn up the sound of the controller or some other
MIDI Sound Module and hear that the tones made from the VCOs can be aligned using the panel pitch controls
and follow as you play different ranges on the keyboard (make the alignment between the two when a key
pressed in the middle C, A 440 range is pressed--its easier to hear the beating slow as they are tuned).
It helps to keep the VCO Modulation control at minimum so there isn't any possible pw modulation which can
make the VCOB pitch change slightly (often, a change of R59 from 91k to 27k prevents this interaction).
A good start patch.
A common configuration is to start with the vc oscillators as the tone generator, to the L and R VCAs for a mix,
run through the vc filter for emphasis or demphasis of parts of that tone, and then through the vc amplifier to
'frame' the sound. On the FatMan, two sawtooth (ramp) waves from the VCOs go to a LowPass VCF and then
to the VCA. Envelope generators modulate the VCF and VCA in response to the Gate trigger which indicates
the key pressed/released state. A Pitch CV amount according to the note pressed sets the VCO pitch.
A simple way to implement this lead, mono synth patch on your P9700s is to make the following connections
(patches). You may need to make some new cords along the way.
First, we'll make the connections from the MIDI2CV8 operating in mode 1 for a mono voice complement of
outputs (power-up with the low note pressed on the MIDI controller and release it a couple of seconds later to
put the pitch cv in the best range). Use a single patch cord to go from the Pitch CV output on the MIDI2CV8 to
the P1 control on VCO A. This allows you to control both oscillators and the Glide control setting can be
adjusted to set the amount of time it takes for the oscillator frequency (pitch) to change for a Pitch CV change.
The Pitch control of each oscillator can be adjusted so they are in unison or other relationship (the rest of the
patch will need to be made to hear this).
A 'Y' cord or one plug with two wires and plugs on it can be used to connect the Gate trigger output from the
MIDI2CV8 to the Gate trigger (G) inputs on the VCF and VCA modules. This will cause their envelope generator
modulators to start when a key is pressed.
Connect the two sawtooth waves from the VCOs to the L and R VCA inputs. The mix of the two waves is set
with the pan control and the L+R output is the output of this mix and goes to VCF A In. We'll take the output
from VCF B LowPass, or the bottom of the six connectors on the right-hand side with the graphic response
symbols. Its best to keep the Q controls at midway or so and the Frequency controls slightly different till you
develop a feel for the way the filter can accentuate or provide a boost on the signal. This boost can kick the filter
into oscillation or overdrive the VCA. The more the Q the more the boost, the less the Q, the less 'dramatic' the
filter effect. The more similar the settings of the two series connected filters, the more critical the Q setting. A
cyclic VCF modulation is a neat effect too (instead of just an envelope generator sweep in response to the Gate).
A Gate plus the cycle setting gives a cycle sync'ed to the key presses.
