4. Panel RefeRence | 21
Squeeze
Fold
ESaw
ESquare
MUlTI
The
Multi
category contains a selection of multi-oscillator waveforms. In
all instances, the
OSC CTRL
parameter determines the amount of
Detune
between the oscillators.
Dual Saw:
Two sawtooth waveforms tuned an octave apart.
Dual Saw 5th:
Two sawtooth waveforms where one is tuned a fifth
above the other.
Dual Saw 5th+:
Two sawtooth waveforms where one is tuned an oc-
tave and a fifth above the other.
Triple Saw:
Three sawtooth waveforms, each separated by an octave.
Triple Saw 5th+:
Two sawtooth waveforms where one is tuned an
octave and a fifth above the other, with an added sub octave sawtooth
waveform below the fundamental.
Super Saw, Super Square, Super Bright, Super Organ:
a large
number of simulatenously sounding oscillators, producing a very rich
and full sound. The stereo width is increased in Unison mode.
SYnc
“Oscillator Synchronization” involves using the signal from one oscillator
to
restart
another oscillator. When sync is applied, the basic pitch of
Oscillator 1 is locked to that of Oscillator 2 (the “sync” oscillator). as the
relative pitch of the synchronized oscillator is varied, this will be per-
ceived as a dramatic change in timbre.
With Oscillator Sync, it can be useful to have the
OSC CTRL
amount
modulated from one of the Morph sources, or by the Osc Mod enve-
lope. This generates a signal with continuously varied harmonic content.
The “chop” waveforms in this category apply a sawtooth or square
“window” to the synced waveforms which gives a unique and compari-
tively soft quality to the produced sound.
Sine
Triangle
Saw
Square
Pulse 33
Pulse 10
Chop Saw
Chop Saw 2
Chop Square
Bell
amplitude modulation is used to create a complex bell-like waveform.
OSC CTRL
controls the pitch of the modulator, and thereby the harmonic
content and character of the waveform.
nOISe
There are three types of noise generators available:
White:
full-band noise, i.e. a random signal with equal spectral density
at all frequencies.
Pink:
a noise signal where the spectral density decreases with higher
frequency, making it “softer” than the White noise option.
Red:
a noise signal with more energy in the low frequencies, and more
dampened high frequencies than the Pink noise option.
WaVeTaBle
These waveforms have been carefully designed and selected to provide
rich and interesting timbres with great variety, for those sounds that
cannot be reached with the other oscillator types. advanced wavetable
synthesis techniques have been used to reproduce these waveforms
perfectly over the whole keyboard range.
The
OSC CTRL
parameter has no effect on the Wavetable waveforms.
The available categories contain digital waveforms covering a wide
range of tonal characteristics. Some of the waveforms are distilled from
acoustic instruments while some are combinations of several overlap-
ping spectra. Yet others are extremely bright, with a fundamental that is
softer than the many harmonics.
fM
The basic principle behind
frequency modulation
(fM) synthesis is that
one sine oscillator (the modulator) modulates the frequency of another
(the carrier). The carrier can in turn modulate the frequency of yet an-
other oscillator, etc. The resulting waveform is far more rich in harmonics
than the original Sine waveform, and drastic changes in tonal character
are provided by altering the amount of modulation.
Traditionally, fM oscillators are referred to as
operators
, and the fM cat-
egories of the nord Wave 2 provide algorithms with 2, 3 and 4 operators
(in reality 8 operators when using the Unison settings).
The
OSC CTRL
parameter controls the amount of frequency modulation
for all fM categories.
HaRMOnIc
for the
Harmonic
categories the
Partial
parameter determines the
relationship between the modulator and the carrier, expressed as a
mul-
tiple
of the root frequency. The Partial is selected with the
WAVEFORM
dial.
With these algorithms the modulator and carrier retain a harmonic rela-
tionship regardless of setting, making these categories suited for tonal
fM sounds.
available partials (
P
) range from 0.5 to 24.
FM Harmonic A:
2-OP algorithm at ratio P:1.
FM Harmonic B:
3-OP algorithm at ratios P:1:1. The modulation
amount is greater at the first modulation stage than at the second.
FM Harmonic C:
3-OP algorithm at ratios P:3:1.
FM Harmonic D:
3-OP algorithm at ratios P:1:1. The modulation
Summary of Contents for Nord Wave 2
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