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KNOB & BUTTON REASSIGNMENTS CONT.
PARAMETER: EXTERNAL INPUT LEVEL
KNOB: NOISE
To manually control the level of signals coming from the Sub Phatty’s
EXT IN
jack, engage Shift mode and turn the
NOISE
knob.
PARAMETER: OSCILLATOR 2 BEAT FREQUENCY
KNOB: OSCILLATOR 2 FREQUENCY
Engage Shift mode and turn oscillator 2’s
FREQUENCY
knob to set the “beat
frequency” of oscillator 2 against oscillator 1. The range is plus or minus 3.5 Hz,
with no detuning (0Hz) in the middle. This parameter creates a linear constant
detuning of oscillator 2 relative to oscillator 1, so that oscillator 2 is always
detuned by the same number of cycles per second (Hz) regardless of the
musical pitch. The result is a musical detuning effect which phases or “beats”
at a consistent rate on every note.
By contrast, the
OSCILLATOR 2 FREQUENCY
knob detunes oscillator 2 by
musical cents, where the rate of beating between oscillators is halved or
doubled as you play an octave lower or higher in pitch. NOTE: for this reason,
if you want a constant beat frequency at all pitches, make sure that the regular
OSCILLATOR 2 FREQUENCY
control is centered. If you want absolute unison
between oscillator 2 and oscillator 1, make sure this
BEAT FREQUENCY
control
is centered.
PARAMETER: OSCILLATOR GATE RESET
BUTTON: HARD SYNC OSC 2
Engage Shift mode and press the
HARD SYNC OSC 2
button to turn on
oscillator reset. This function forces the audio oscillators to simultaneously
begin their cycles whenever you play a new note. When turned on, the result is
a more well defined leading edge to sounds with a hard attack.
PARAMETER: LFO GATE RESET
BUTTON: PITCH AMT OSC 2 ONLY
Engage Shift mode and press the
PITCH AMT
OSC 2 ONLY
button to turn on
the LFO gate reset. This function forces the LFO to begin a new cycle each time
you play a new note.
When LFO reset is turned off, the LFO runs freely, without regard to the notes
you’re playing. When it’s turned on, however, its instantaneous amplitude
always ascends from its zero-crossing point whenever an envelope is triggered.
This can be especially important for creating realistic vibrato when you’re
emulating acoustic instruments, or for programming filter sweeps.
