9
OSCILLATORS
The Oscillators (OSC1-3) are the main sound sources of the instrument. They are identical, except
to their pre-patched frequency modulation sources and the fact that OSC1 can be switched to LFO mode.
Oscillators are equipped with seven waveforms, sync and different frequency and pulse width modulation
routes. Given that, the oscillators offer a great flexibility in wave shaping process.
The oscillator's frequency is controlled by RANGE, TUNE, MASTER CONTROLLER and FM LEVEL.
RANGE determines the octave range of the oscillators within six octaves respective to the coarse tuning of
OSC1 in LFO-mode.
TUNE finetunes the oscillators (± 6 semitones).
FM LEVEL determinates the intensity of frequency modulation. Frequency modulation for oscillators has
different modulation sources (see table on the page 10) for a maximal modulation flexibility. Frequency
modulation, by an audio signal, creates so called "side-bands" that consist of sum and difference of signals
frequencies. These additional frequencies do mostly have a non harmonic sound. Modulation, by low periodic
waveforms, such as LFO or envelope generator creates momentary pitch shift of modulated oscillator common
named vibrato (by LFO) or pitch bend (by envelope generator).
More interesting things happen as soon as both frequencies are in the audio-range. The fast modulation
of the frequency creates so called "side-bands" that consist of sum and difference of signals frequencies.
These additional frequencies do mostly have a non harmonic sound or (with extreme modulation) noise.
Experiment first with sine waves at different frequency ranges, and then go for more complex waveforms.
SYNC means that sync'ed oscillators frequency is tracked by the frequency of controlling oscillator;
OSC3's frequency is syncronized to OSC2's frequency, OSC2's frequency is syncronized to OSC1's
frequency. When the tuned frequency of sync-ed oscillator has the same or multiple of frequency of controlling
oscillator then sync-ed oscillators waveform has no or very little "glitch" which results in a sync-ed smooth
waveform (i.e. sinus waveform). The sync-ed waveforms (with additional FM modulation) are perfect for
cutting edge lead sound and hard, funky basses.
You want to know how to trigger oscillators at zero-crossing to get most natural and static drum sounds?
Simply tune the synced oscillator to a multiple number of cycles (i.e. OSC1 = 110Hz and sync-ed
OSC2 = 880Hz). Listen to the synced oscillator only with a sine wave only and tune it, until the tone sounds
most "pure".
PULSE WIDTH % adjusts the pulse width of the pulse wave from 5% to 95%.
WAVEFORM selects the waveform or a mix of waveforms from an oscillator. PULSE WIDTH control works
also on the waveform mixes where the pulse wave is included.
The different waveforms contain different harmonic structures respective to their overtone content.
Thus they sound different from each other and can be used as raw material for creating different types
of sounds.
This is a brief description of waveforms:
*
Sine contains low order harmonics with low amplitude and sounds "dull" or "pure". It's very useful for
creating of whistles, flutes and other pure sounds.
*
Triangle contains more high order overtones than sine and sounds still "dull" and "pure" but with more
"edge". It is great for flutes or vibraphone-like sounds.
*
Saw contains many overtones and sounds "rich" and "cutting". It is especially useful for strings,
brass and vocal-like sounds
*
Pulse depends on the pulswidth. A symmetric wave (PW 50%) contains only odd harmonics and is
hollow- sounding. The more it differs from the symmetric wave, the more it sounds "edgy" and "nasal".
It is very useful for woodwind-like, pads, bass and string-like sounds.
*
Mixed triangle + saw
*
Mixed triangle + pulse
*
Mixed saw + pulse
To Next Page
Loading...
Need help?
General