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274 Chapter 20 ES2
Another Approach to Crybaby (Wheelsyncer)
Never obsolete—and undergoing a renaissance in new popular electronic
music: Sync Sounds
The technical aspects of forcing an Oscillator to sync are described in “Sync” on
page 207. Here’s the practical side of the playground.
Wheelsyncer is a single-oscillator lead sound, all others are switched off.
Although Oscillator 2 is the only one actively making any sound, it is directly
dependent on Oscillator 1.
If you change Oscillator 1’s pitch or tuning, the overall pitch of the sound will go out of
tune, or will be transposed.
The pitch of Oscillator 2 provides the tone-color (or the harmonics) for the sync sound.
Pitch changes are controlled by modulation 7—Oscillator 2 pitch is assigned to the
mod wheel.
If you move the wheel, you can scroll through the spectrum of harmonics that have
been programmed—for real-time changes. Any modification here starts with the pitch
of Oscillator 2 itself, which is set to three semitones below the overall pitch. Feel free to
start with a different pitch for Oscillator 2; it won’t effect the tuning of the patch.
The next modification may be modulation 7’s intensity (or the interval). The maximum
value has been chosen—if this is too extreme for your needs, feel free to reduce it.
Another modification lies in the tone color of the lead sound itself. Oscillator 1 is
switched off, as the patch is OK as it is. If you switch it on, all Oscillator 1 waveforms;
from Digiwaves, standard waveforms, or a sine wave (which can be further modulated
by FM) are available for use.
All real-time controls are via the mod wheel: It is used for opening the filter on
modulation 6, a panning movement on modulation 8, and acceleration of panning
movement on modulation 9. If you have deeper modulation ambitions, please refer to
“The Big Twirl, Basically (Wheelrocker)” section, on page 270, where a similar setup is
used for a Leslie speaker simulation.