Add your Moog One MOD SOURCE requests here.
I have no authority to say they’ll be implemented.
But they will all be in one place.
Good one 
Did I write voice count? I meant voice number.
Actually, both could be really useful. Simple example: lower the level the more notes played to help even out the volume. Another: reduce the detune the more notes played.
Mono/legato gate. Some uses with this triggering env 3:
- model Hammond organ percussion
- model Yamaha CS60/80 ring-mod envelope
Related to this: trigger envelope on key up:
- Clavinet sticky pad sound
- Harpsichord key-up jack sound
David
MIDI controllers. Not the entire set - basic stuff like pedal controller, sustain pedal, breath control.
Not to overemphasize the point, but I have multiple MIDI controllers that transmit polyaftertouch, would like to see PolyAT response over MIDI implemented as soon as possible please.
^ polyAT big WANT!!!
Hi MC, my bad. I missed what you were asking for.
So you’re talking about a value that represents which particular voice card of the 16 (or 8 ) voice cards is firing as a modulation source?
I’ve managed to get this effect on my Subsequent by having the filter EG release time be shorter than the amp EG release time.
The Deepmind has this capability and it is useful doing things like having lfo speed per note be quasi-random.
Another nice feature to appropriate from the Deepmind is to have Unison Voice number as a modulation source. So if you are playing in Unison with say 4 voices, each voice can be panned/pitchshifted/etc. depending on which voice it is within the Unison.
Yes!
Source A + Source B = new Source result
Source A * Source B = new Source result
A very useful modulation parameter or feature from Korg workstations is AMS. This allows you to add or multiply 2 sources to get a resulting source parameter.
For example, let’s say you want a certain type of vibrato which fades in slowly, reaches max vibrato, then fades out back to the sustained pitch. But, you want this to occur periodically, once every other half second.
To do this, you need 2 sources. One is the normal triangle LFO with fade in and out assigned to osc pitch.
The second source is a slow square LFO with its rate set to a half second. While the pulse is on, the triangle wave LFO gets applied. But when the pulse is 0, no triangle LFO is applied; the original note pitch sounds.
The result is a periodic vibrato.
Other possible applications of this include:
The fading sound of a police or ambulance siren as it approaches then passes by into the distance (Doppler Effect)
A falling filter rez sweep consisting of repeating ramp ups.
Exponential velocity / after touch / etc
I was going to say release velocity. But a simple key up gate would probably be fine in most cases.
Actually, that would be useful, too in order to modulate the time and amount of the envelope.
To clarify… not to be confused with using key number as a source. Voice number is different. Think unison patch using eight voices, with the filter cutoff or glide rate modulated by voice number. Or voice number modulating the VCF EG Amount in a polyphonic patch with key assignment set to CYCLE.
Some early poly synths were not “perfect” but this can be a “feature”. A good example is OBX. When using glide in unison mode, the glide circuits per voice weren’t matched but this resulted in really fat mono lead sounds.
+1
Some Source suggestions:
Timbre (CC74)
Breath (CC2)
Alternate (switches between two values with each note on)
Perhaps Sequencer Gate
Also, usually Random modulation sources are a single value. So if one uses Random on say 4 different targets, all 4 are having the same ‘random’ pattern. If it is that way in the One, then it would be nice to either have a random that is unique per parameter, or at least Random 2 and maybe Random 3…
And since there is no thread for Destination requests… I would like LFO Start Phase as a destination.
CC74 will be important for MPE if/when it happens.
I’d take this one step further and allow any incoming Midi CC#. I know that some of the Midi functionality is being worked on still…
A few random number generators. i.e. RNG1, RNG2, RNG3, RNG4, RNG5. Each time you stuck a key, new set of numbers is generated. So it’s not a S&H LFO, but an actual random number generator that remains fixed value for the time the voice is being played. They are polyphonic, so in reality there are “n x 16” of them with n being highest RNG(n).
Some examples:
– each individual VCO can be programmed have a certain pitch offset for emulating manually calibrated voice board with each trimmer being slightly off. (unless there is already a random pitch per each VCO avail)
– or to randomize other stuff. i.e. differently calibrated filter “chips” per voice, etc.