External Audio and CV Inputs
-You are responsible for setting the correct level into the audio
inputs as there is no trim available. If you match the level of
the factory Programs, you’re in the ballpark. A direct output
from a CD player’s line out will require attenuation. Note that
there are Schmitt Triggers on the Voice 15 and Voice 16 audio
inputs that are scanned by the microprocessor and then appear
in the modulation Source list about three-quarters of the way
down as EXT TRIGGER1 and 2. These are useful as triggers for
the Envelopes, as evinced by factory Program User 124,
“AudInV16->EnvWah”. Set the level of your audio source so that
it regularly fires the Envelope and you’re set to send it into any
of the audio inputs.
-The Voice 15 and Voice 16 inputs are of course separate and can
be used in any Programs desired. To process in stereo, two
Programs must be created using each input, selected in Mix mode
and set to the same MIDI channel to be played simultaneously
from the keyboard, and also panned hard left and right.
-Selecting the V15 and V16 audio inputs automatically turns off
the oscillator audio to allow concentration on the input signals.
The V1-16 input blends the external audio input along with the
oscillator signals for each voice. Factory Programs User Bank
numbers 120 through 123 inclusive take advantage of this path.
Be sure to play across the keyboard as the filters are set to track
the keyboard, in the same manner as with the factory Program
045, Resonatorr. Hold several notes across the keyboard and then
hit the sustain pedal. Now use the wheels and ribbon to alter the
overall filter frequencies and hear up to 16 resonant filter pairs
sweep across their entire spectrum.
-The Voice 1->16 audio inputs have no trigger associated with them,
so if you want to trigger sections of the synth from the audio level
of the 1-16 input, you’ll have to use a “y” cord or other method to
simultaneously feed into the 1-16 input and one of the other
external audio in jacks and utilize it’s associated Schmitt Trigger.
-Moog once produced (and Modusonics.com still produce) a “String
Filter Synthesis” unit; a number of bandpass filters tuned to specific
frequencies with specific resonance amounts will imply the
resonant characteristics of a violin and other stringed instruments.
As the A6 provides 32 dynamic, resonant filters, all you’ll need is
a Google search for “Violin Body Modification” and you’re on the
way. This should also be useful for both open and closed-pipe
resonant synthesis.
You should allocate 16 Program locations for this task and use the
ALL external audio input. Set each pair of filters as indicated and
create a Mix to sum the results. Use the Distortion and DIGFX to
taste if desired. Modulate all of it with the ribbon…
