User Guide

CHAPTER 22. LIVE INSTRUMENT REFERENCE 320
parameters in the display. The LFO slider sets the amount that the LFO modulates pitch.
Again, this parameter is only enabled if the LFO is on. The Key slider controls how much
the oscillator tuning is adjusted by changes in MIDI note pitch. The default value of 100%
means that the oscillator will conform to a conventional equal tempered scale. Higher or
lower values change the amount of space between the notes on the keyboard. At 0%, the
oscillator is not modulated by note pitch at all. To get a sense of how this works, try leaving
one of the oscillators at 100% and setting the other's Key scaling to something just slightly
different. Then play scales near middle C. Since C3 will always trigger the same frequency
regardless of the Key value, the oscillators will get farther out of tune with each other the
farther away from C3 you play.
The Pitch Env settings apply a ramp that modulates the oscillator's pitch over time. Initial
sets the starting pitch of the oscillator while Time adjusts how long it will take for the pitch
to glide to its nal value. You can adjust both parameters via the sliders or by adjusting the
breakpoints in the envelope display.
The Sub/Sync parameters in the display allow you to apply either a sub-oscillator or a hard
synchronization mode. When the Mode chooser is set to Sub, the Level slider sets the
output level of an additional oscillator, tuned an octave below the main oscillator. The
sub-oscillator produces a square wave when the main oscillator's Shape control is set to
rectangle or sawtooth and a sine wave when the main oscillator is set to sine. Note that the
sub-oscillator is disabled when the main oscillator's Shape is set to white noise.
When the Mode chooser is set to Sync, the oscillator's waveform is restarted by an internal
oscillator whose frequency is set by the Ratio slider. At 0%, the frequency of the internal
oscillator and the audible oscillator match, so sync has no effect. As you increase the Ratio,
the internal oscillator's rate increases, which changes the harmonic content of the audible
oscillator. For maximum analog nastiness, try mapping a modulation wheel or other MIDI
controller to the Sync ratio.