Filter
Top Products
22
4. OSC2 (Oscillator 2) — SYNTH
WAVE [Saw, Square, Triangle]
Selects the waveform for oscillator
2.
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).
OSC MOD
[OFF, Ring, Sync, RingSync]
Selects the type of oscillator modu-
lation that will be produced in con-
junction with oscillator 1.
OFF ( ):
The sound will be output without
applying oscillator modulation.
You can adjust "SEMITONE" and
"TUNE" to produce harmony,
detune, or harmonic-component
effects.
Ring ( ):
Ring modulation *
4-1
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.
Sync ( ):
Oscillator sync *
4-2
will be applied.
This is useful for creating synth-
lead sounds. (➝Figure 4-2)
RingSync ( ):
This simultaneously applies Ring
and Sync modulation. (➝Figure 4-3)
SEMITONE [-24...24]
Specifies the detuning (pitch differ-
ence) relative to oscillator 1, in
semitone steps over a range of 2
octaves upward or downward.
If you want to use the sound of
oscillator 2 as a component in
the oscillator 1 overtone struc-
ture, try setting it one octave or
a fifth higher than oscillator 1. If
you want to use oscillator 2 in
harmony, you can try intervals
such as a third, fourth, or fifth.
TUNE [-63...63]
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
octave. A value near 0 will make
fine adjustments in the pitch.
If "OSC MOD" is set to Sync,
adjustments in "Semitone" or
"Tune" will change the pitch of
the overtones. The pitch of the
fundamental will not change.
*4-1: Ring Modulation:
This modulation generates a sum and
difference of the oscillator 1 and 2
waveforms.
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.
Figure 4-1
OSC1 Wave
OSC2 Wave
OSC1 Output
OSC2 Output
Figure 4-2
OSC1 Wave
OSC2 Wave
OSC1 Output
OSC2 Output
Sync
Figure 4-3
OSC1 Wave
OSC2 Wave
Sync
OSC1 Output
OSC2 Output
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).)