Arturia minibrute 2 series, Руководство пользователя

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Now to contrast the Linear FM with the Exponential FM, do the following:
• Retune VCO 2 to an octave higher than VCO 1 and reduce its level to zero again
• Turn the Att 1 > Cutoff knob to the 12:00 position (but no higher; results are less
predictable beyond that). If you trace the patch bay connections you will see that
this knob is controlling the level of VCO 2 as it is being sent to the Linear FM input
jack.
• Play a note and gradually change the tuning of VCO 2. Even though the Linear
FM is affecting the overall sound, it is still fairly easy to detect the original pitch
of VCO 1.
• Now lower the Att 1 > Cutoff knob to zero and raise the FM knob in the VCO
1 section. As you do, the fundamental pitch of VCO 1 will change as it did
earlier in this example. Changing the tuning of VCO 2 will provide a lot of
interesting sounds through the exponential FM but it does so at the expense of
the fundamental pitch.
So there you have it: two different forms of FM (Exponential and Linear), each with its
own strengths and sonic possibilities. Neither is better than the other; they're just suited for
different types of sounds.
7.2.9. Sawtooth
This jack provides the full-strength output of the VCO 1 Sawtooth waveform. The setting of
the Sawtooth slider in the OSC MIXER has no effect on this connector. To control its level,
route it through one of the Attenuator [p.71] pairs.
Linear FM example: patch bay connections
Arturia - User Manual MiniBrute 2 - The Patch bay 62