Hello,
ths plg can also Xmod the an1x cant
this is from SOS review ..
http://www.soundonsound.com/sos/jan00/articles/yamahaplgs.htm?session=ee35292e3062bb53a9b2e1ca43b3ef4dIn the simplest terms, the PLG150AN has a 2-VCO, VCF, VCA structure, along
with two LFOs, but this description hardly does justice to the huge number
of routing and modulation options. For instance, both oscillators have
extensive waveform selections beyond the usual sawtooth and pulse (such as
Mix and Saw2, which combine the two in various ways). In addition, VCO2 has
a Triangle option, while VCO1 has a wonderful Multi Saw option that fattens
up the sound considerably by adding multiple saw waves together, complete
with Detune and Mix controls (and all generated by one oscillator!). Both
oscillators have width and depth controls for PWM (Pulse Width Modulation),
and unusually, these affect not just the pulse waveforms, but the sawtooths
as well. Sources for PWM include several envelope generators, the two LFOs,
and the other VCO. Each VCO also has an 'Edge' control which can be used to
model the waveshapes more closely on those of real analogue synths (the
square or saw waves produced by real VCOs inevitably have slightly rounded
corners). The effect of this is similar to a low-pass filter: it rolls off
the upper harmonics, and at extreme settings can reduce any oscillator wave
shape to its fundamental sinewave.
The two oscillators can also interact in various ways, with a comprehensive
range of sync options for those searing, tearing lead sounds, and X-Mod
(cross modulation), where the VCO2 Triangle or Sinewave output modulates
VCO1 to create FM–like bells and pianos. There is even a simple AD
pitch-envelope generator for dramatic swoops at the start of each note.
The two oscillators can be mixed together in any proportion in the Mixer,
along with their Ring Modulated product, Noise and Mix Feedback (where the
output of the final VCA is fed back to earlier in the signal chain for
somewhat unpredictable thickening and motor-boating effects). The combined
signal is then fed into the VCF. Here, once again, there is a host of
options, from the classic Minimoog-style 4-pole (24dB/octave) LPF, through
3-pole (18dB/octave) and 2-pole (12dB/octave) LPF, BPF (Band Pass), BEF
(Band Eliminate), and 12dB/octave HPF. The filter sounds wonderful, with a
rich fruity resonance, and is stable enough to stay in tune when the
resonance is turned up far enough for it to self-oscillate. There is also a
further HPF, which is useful for rolling off the overall low end so that
sounds don't dominate the mix.
Both the VCF and VCA have full ADSR envelopes, as well as the normal options
of keyboard tracking (for the filter), velocity sensitivity, and LFO1
modulation (for wah and tremolo). The two LFOs can also be pressed into
service for PWM, FM, and Sync modulation, each having a huge choice of 21
waveforms comprising various permutations of sine, triangle, square,
sawtooth, and sample & hold. The VCA output signal can also be passed
through an amp simulator for the added dirt and bite of Stack, Combo, or
Tube distortion, and finally through a 3-band EQ.
Regards
----------------------------------------------Env1-----Env2--Env3-----------
Andrea.TONI@... Vco1 \ | | \
Solar and Solar-Terrestrial Missions (Sci-Sh) Vco2-->--Vcf-->Vca-->Ducati996
http://www.rssd.esa.int Vco3 / | | /
----------------------------------------------Lfo1-----Lfo2--Lfo3-----------