[Saw, Square, Triangle]
Selects the waveform for oscillator
Saw Wave (
A sawtooth wave. ( p.18)
Square Wave (
A square wave. ( p.18)
Triangle Wave (
A triangle wave. ( p.19)
If you do not hear the sound of
oscillator 2, raise the MIXER
"OSC2 LEVEL" (knob 2). If you
want to hear only the sound of
oscillator 2, lower the MIXER
"OSC 1 LEVEL" (knob 1).
Here you can make settings for oscillator 2.
You can create a variety of sounds by using two oscillators together. For example you can adjust "SEMITONE" (knob 3) and "TUNE (knob 4)
so that one oscillator acts as though it were part of the overtone structure of the other oscillator, set the pitches of the two oscillators to an
interval of harmony, or set both oscillators to the same pitch but slightly detune one of them to create a detuning effect.
You can also use Ring Modulation and Oscillator Sync to create very complex overtone structures. (This is set by "OSC MOD" (knob 2).)
[OFF, Ring, Sync, RingSync]
Specifies the detuning (pitch differ-
ence) relative to oscillator 1, in
Selects the type of oscillator modu-
semitone steps over a range of 2
lation that will be produced in con-
octaves upward or downward.
junction with oscillator 1.
The sound will be output without
applying oscillator modulation.
You can adjust "SEMITONE" and
"TUNE" to produce harmony,
detune, or harmonic-component
Ring modulation *
will be ap-
plied. ( Figure 4-1)
By adjusting "SEMITONE" and
"TUNE" you can create metallic
sounds with little sense of pitch.
This is effective for sound effects.
Oscillator sync *
will be applied.
This is useful for creating synth-
lead sounds. ( Figure 4-2)
This simultaneously applies Ring
and Sync modulation. ( Figure 4-3)
Specifies the amount of detune for
OSC2 relative to OSC1.
A setting of 63 produces a pitch
difference of 2 octaves, and 48
produces a pitch difference of 1
If you want to use the sound of
octave. A value near 0 will make
oscillator 2 as a component in
fine adjustments in the pitch.
the oscillator 1 overtone struc-
ture, try setting it one octave or
If "OSC MOD" is set to Sync,
a fifth higher than oscillator 1. If
adjustments in "Semitone" or
you want to use oscillator 2 in
"Tune" will change the pitch of
harmony, you can try intervals
the overtones. The pitch of the
such as a third, fourth, or fifth.
fundamental will not change.
*4-1: Ring Modulation:
This modulation generates a sum and
difference of the oscillator 1 and 2
For example you can select a square
wave for the oscillator, set "TRANS-
POSE" to 0, "SEMITONE" to 24, and
adjust "TUNE" to produce a clear
bell-like sound. The effect will be
easier to detect if you lower "OSC 1
LEVEL" and raise "OSC 2 LEVEL."
You can also create interesting effects
by using Virtual Patch to modulate
OSC 2 TUNE from LFO or EG.
*4-2: Oscillator Sync:
This modulation forcibly synchro-
nizes the phase of oscillator 2 to the
phase of oscillator 1.
For example, select sawtooth wave
for oscillator 1 and raise the "OSC 2
LEVEL." Then, edit "SEMITONE" and
"TUNE" to change the pitch, and no-
tice the result. The effect will be more
noticeable if the oscillator 2 pitch is
raised above the oscillator 1 pitch.
You can also produce interesting ef-
fects by using Virtual Patch to modu-
late OSC 2 Tune from LFO or EG.