User Guide
13
OSCILLATOR 2 (Continued)
WAVE OUT
The audio signal coming from this output is determined by the settings of the
Oscillator 2 OCTAVE, FREQUENCY, and WAVEFORM knobs, as well as the
state of the SYNC button.
PITCH IN
A control signal connected to this input will modulate the Pitch (Frequency) of
Oscillator 2. This input voltage is added to the voltage from the note played on
the keyboard.
LIN FM IN
Connecting an audio signal or high-frequency control signal to this input
introduces Linear Frequency Modulation (FM) to Oscillator 2, which can
be used to create brash, metallic, or bell-like tones.
WAVEFORMS
Each waveform has unique harmonic content that is based on the number and strength of the
harmonic overtones that it contains. These overtones are what impart a particular timbre, or
character, to the sound of an Oscillator.
TRIANGLE
The Triangle wave has an extremely strong fundamental, yet contains only
odd-numbered harmonics at very low levels. This makes the Triangle wave
an ideal choice for creating soft, ute-like sounds that have a pure tone with
little overtone activity.
TIP: Try mixing a triangle wave from one oscillator with a more complex wave from
another to emphasize one particular harmonic without adding unwanted overtones.
SAWTOOTH
The Sawtooth wave is the most harmonically dense of the four waveform
options, containing all of the natural harmonics in relatively strong levels. In
addition to creating thick, brassy sounds, the Sawtooth wave lends itself to
powerful lead, brass, and bass sounds as well.