The manner in which oscillators 2 and 3 and spread from oscillator 1 can be set to one of 4
modes:
(1) even
,
(2) scaled
,
(3) chord
, and
(4) clock
. The maximum frequency spread increases
through the modes.
1. The beating frequency does not change with pitch, which to the ear sounds like a larger
spread with lower frequencies. The beat output can be used as a steady clock.
2. The beating frequency scales with pitch, making the percieved detune amount even
across all pitches and giving a sound reminiscent to classic detuned oscillators.
3. The oscillators are spread out into chords, scaling to the root note and also staying
constrained to the chosen quantization. Note that when the root pitch as set by COARSE
is below C3, the chordal voices (oscillators 2 and 3) transpose into a higher register
while the center pitch (oscillator 1) is allowed to stay in the lower register. If the chord
is pulled to the center pitch with the UNITY input, the transposition is preserved. This is
implemented to combat muddy chord voicings and provide the opportunity explore bi-
timbral patching.
4. The beating frequency is controlled by an external clock at the UNITY input. The spread
control acts as a clock multiplier for the input.
OCT
The up and down arrows can be used to offset the coarse knob some number of octaves, much
as you would find on a traditional keyboard synthesizer. The maximum octave offset is 4
octaves up from the lowest register.
This affects the range of the octave drop with when the OCT
input is high. In the lowest
octave, the drop is a single octave. Press the up arrow, and the drop will be two octaves, again
and the drop will be 3 octaves, etc.. This allows you to rhythmically toggle between a bass tone
and a higher pitched lead with a gate sequence.
LVL S+H
When SH functionality is enabled, the 2 LVL and 3 LVL inputs are sampled and held
synchronously with oscillator 1. This will only have an effect when audio-rate signals are
patched into one or both of the level inputs.
Содержание OSC3
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