Mixer Section
Much of the routing performed on the Destiny v2 is
achieved using the mixer section, shown here:
Use sliders (2)&(3) to mix the output of the Destiny’s oscillators.
The switches below allow you to select between saw and pulse
waveforms - you cannot have both at the same time coming into the
audio mixer.
You can mix in an independent
noise source
or
ring modulation
effect (1).
Noise is like the sound you might get if an analog radio is left out of
tune - a completely random waveform.
The Destiny v2 offers ‘white’ and ‘pink’ noise varieties; pink is the
courser sounding of the two - you can switch between them in the
control section, described later.
Ring modulation is an effect derived from mixing the VCOs output
together such that the amplitude of one is multiplied to the other. It
produces a ‘Dalek’ type of effect.
1
2 3
5
4
6
7
8
AUDIO MIXER
The inputs here control filter cut-off. Note that these inputs are simply added together, so filter envelope clipping can occur.
Slider (4) feeds the filter with modulation from either Sample & Hold MIXER, or key-tracking.
Slider (5) feeds the filter with modulation from either Sample & Hold, or LFO sine wave.
Slider(6) controls the envelope’s influence on the filter and you can select either envelope 1 or envelope 2 as the source.
VCF MIXER
The Destiny v2 does not have a master volume. It’s output level is controlled by an amplifier
inside the instrument, known as the ‘VCA’ (Voltage Controlled Amplifier).
You can control its gain directly using slider (8).
Slider (7) controls how much VCA gain will be affected by envelope modulation, selectable between ADSR1 &
ADSR2.
When slider (8) is set to zero, slider (7) acts as a master volume control.
VCA
15 Programming - Mixer Section
