4
The third switch allows either KEYBOARD VOLTAGE ONE or KEYBOARD
VOLTAGE TWO to be added, respectively, to either SEQUENCE OUT-
PUT ONE or SEQUENCER OUTPUT TWO. Thus one of the keyboard volt-
age outputs may be used to transpose a sequence from one note
to another without affecting the pitches produced by the other
voltage in controlling the other voice module.
3. The SEQUENCE LENGTH switch is used to shorten a full eight-
step sequence down to anywhere from seven steps to only one.
When this switch, for example, is set to "7", the sequencer
will count through positions 1-7 and then skip the 8th step,
starting over instead from position 1. This is useful in set-
ting odd or asymmetrical rhythms.
4. The two rotary pots in this section of the panel determine
respectively the RANGE covered by the sample/hold output vol-
tage, and the amount of LAG (low-frequency filtering) applied
to the sample/hold voltage. Turning the lag control to the
right produces, in other words, the same effect on pitches
being governed by the sample/hold, that the PORTAMENTO control
produces on pitches being governed by the keyboard.
5. This is the MASTER CLOCK that steps the sequencer and oper-
ates the sample/hold. The rotary knob determines the frequency
of this clock--i.e. the stepping rate or tempo. The three-posi-
tion switch turns the clock on and off; it can also be clicked
momentarily down to advance the sequencer one step or to cause
a new sample voltage to be taken.
A switch is incorporated into the clock tempo control, allowing
the knob to be pulled out from the panel. In this position, the
clock rate will be controlled by SEQUENCER OUTPUT TWO. This
voltage control of the clock frequency is also affected by the
third VOLTAGE ASSIGNMENT SWITCH: in its uppermost position (#2
above), the keyboard voltage is added to sequencer output two
and will therefore also determine the clock rate.
