Dirtywave M8 - Page 63

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Dirtywave M8 Operation Manual
SQUARE SYNC / SAW SYNC
Two oscillator hard-sync with both oscillators emitting square or saw waves. Note pitch
controls the main frequency, with TIMBRE controlling the synced frequency. The mix is
controlled by COLOR.
TRIPLE (SAW, SQUARE, TRIANGLE, and SIN)
Three sawtooth (or square, triangle, sine) oscillators which can be individually tuned.
COLOR and TIMBRE control the relative frequency of the second and third oscillator
with respect to the main oscillator. These two controls are quantized to “snap” on mu-
sical intervals like octaves or fths.
TRIPLE RING
Three sine wave oscillators are ring-modulated together, and colored by a waveshaper.
The main oscillator frequency controls the frequency of the rst sine wave, and TIMBRE
and COLOR control the relative frequency of the second and third sine waves.
SAW SWARM
This model simulates a swarm of 7 sawtooth waves. TIMBRE controls their detuning,
and COLOR applies a high-pass lter to the resulting sound.
SAW COMB
This model generates a sawtooth waveform, and sends it into a comb lter (tuned delay
line). The frequency of the delay line tracks the frequency of the sawtooth oscillator, with
a transposition controlled by the TIMBRE knob. COLOR selects the feedback amount
and polarity: at 80 no feedback is applied. From 80 to FF, positive feedback is increas-
ingly applied. From 80 to 00, negative feedback is progressively applied.
TOY
This model traverses a space of timbres typical of (circuit-bent) electronic musical toys.
TIMBRE simulates an alteration of the toy’s clock rate, while COLOR creates glitches
or short-circuits on a converter or memory chip’s data lines.
DIGITAL FILTER (LP, PK, BP, and HP)
This family of models directly synthesize in the time-domain the response of a low-pass,
peaking, band-pass or high-pass lter excited by classic analog waveforms. Rather
than synthesizing the waveform and ltering it (which is what a VA synthesizer would
do), this approach directly aims at building the ltered waveshape from scratch. This
technique has been used in the Casio CZ or the Roland D series, but is extended here
to cover dierent lter types and waveshapes. TIMBRE controls the cuto frequency of
the lter. COLOR continuously modies the waveshape, from saw to square to triangle.