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Here are the definitions for the modulation targets:
OSC 1
refers to the frequency of oscillator 1
OSC 2
refers to the frequency of oscillator 2
PW 1+2
means that the pulse widths of both oscillators are controlled in unison
RESO 1+2
refers to the resonances of both filters. Please keep in mind that although each set of
these parameters is assigned a common modulation intensity, you can still dial in
different sound-shaping settings manually. In other words, the audible result of a joint
modulation varies according to the values you have determined for the other
parameters.
different sound-shaping settings manually. In other words, the audible result of a joint
modulation varies according to the values you have determined for the other
parameters.
FILT GAIN
This term refers to the input level of the first filter (and of course the subsequent
saturation level) - although WITHOUT THE LEVEL COMPENSATION CONTROLLED VIA
OSC VOL. Here you can actually modulate a parameter that is not manually accessible.
The effect of a FILT GAIN modulation is a periodic change in the saturation level which
is linked to a corresponding tremolo (periodic change in volume). If the signal is not
saturated in any manner, then the only audible result is a tremolo effect.
OSC VOL. Here you can actually modulate a parameter that is not manually accessible.
The effect of a FILT GAIN modulation is a periodic change in the saturation level which
is linked to a corresponding tremolo (periodic change in volume). If the signal is not
saturated in any manner, then the only audible result is a tremolo effect.
Modulate the five parameters separately and in combinations with different intensities. Try to anticipate
the sound you will come up when you modulate the first oscillator, the second oscillator or both
oscillators at once and see if the results match your expectations. If you can fairly reliably predict the
outcome of your sound-shaping effort, this should you have a handle on the information discussed thus
far and can use it to create specific sounds you have in mind.
the sound you will come up when you modulate the first oscillator, the second oscillator or both
oscillators at once and see if the results match your expectations. If you can fairly reliably predict the
outcome of your sound-shaping effort, this should you have a handle on the information discussed thus
far and can use it to create specific sounds you have in mind.
During the course of your experiments, it is entirely possible that you have generated modulations that
have no effect whatsoever on the sound, for instance if you modulate the frequency of Oscillator 2
although it is dialed out of the oscillator mix. When you run into this type of problem, check out the
signal routing, see if any configurations conflict with each other and memorize the situation, problem
and solution. If you make a habit out of this, you won’t panic when you run into similar situations;
instead you’ll keep your cool, analyze the unexpected sound and fix the mix.
have no effect whatsoever on the sound, for instance if you modulate the frequency of Oscillator 2
although it is dialed out of the oscillator mix. When you run into this type of problem, check out the
signal routing, see if any configurations conflict with each other and memorize the situation, problem
and solution. If you make a habit out of this, you won’t panic when you run into similar situations;
instead you’ll keep your cool, analyze the unexpected sound and fix the mix.
You are currently using a triangle as the LFO waveshape. You shouldn’t have any problem associating the
periodic up and down fluctuation of the target parameter with this waveshape. Now activate the other
available waveshapes for LFO 1 and try to picture the respective waveshape and associate it with the
results of the modulation.
periodic up and down fluctuation of the target parameter with this waveshape. Now activate the other
available waveshapes for LFO 1 and try to picture the respective waveshape and associate it with the
results of the modulation.
The second waveshape is a descending sawtooth wave. You can convert it into to an ascending sawtooth
by simply dialing in the requisite negative modulation intensities (AMOUNT).
by simply dialing in the requisite negative modulation intensities (AMOUNT).
Two waveshapes require an in-depth explanation: S&H (Sample and Hold) is a structured random
modulation. Here random modulation values are generated. The value is held until the next beat
impulse, then it abruptly jumps to a new random value.
modulation. Here random modulation values are generated. The value is held until the next beat
impulse, then it abruptly jumps to a new random value.
S&G (Sample and Glide) is a continual random modulation. Here the random values glide seamlessly
into one another, the rate of which is determined by random modulation of the RATE value.
into one another, the rate of which is determined by random modulation of the RATE value.
Continued your experiments with different LFO waveshapes. Note that after a while you no longer
consciously hear minimal modulation intensities - depending on the waveshape and modulation target
(e.g. S&G +1 on OSC 1 or 2). However they do pep up the sound of lend it a certain vitality. The key to
many great sounds are these types of minimal modulations.
consciously hear minimal modulation intensities - depending on the waveshape and modulation target
(e.g. S&G +1 on OSC 1 or 2). However they do pep up the sound of lend it a certain vitality. The key to
many great sounds are these types of minimal modulations.