Interesting… 
i didn’t think to that
A pure sine is just not something you easily come across in analog. Digital, analog, everything has its pros and cons. Why the insistence on having an analog sine, when obviously you liked the sound of it that you’ve heard in a digital setup? I mean there’s tons of solutions for it depending on your setup. Just layer up your bassline with a pure sine from a digital oscillator.
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just make sure the voltage levels are ok, or you risk of frying the input!
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Hahaha 
maybe i will try that one later. i’m always delicate with kind of feedback for my hears and device
Understand why to me is not insistence… I will do with what i have and maybe buy something second hand digital or FM that’s not a problem at all. I just wondering why… guess i had my answer
that you’ve heard in a digital setup?
Actually it was more on old equipment sold second hand. I regret my MS2000 still now… i will try to buy it or find something better in the same AREA For now i will try if sel-oscillating is ok, and then sample with my OT…
Not sure if mentioned already mentioned but by passing a Triangle wave through a Low Pass filter you are effectively generating an approximation of a Sine wave. You can visualise this with any oscilloscope. The sharp points of the triangle become smoothed the more the cutoff frequency is reduced. In the frequency domain this amounts to the removal of higher order harmonics. There were some similar points made in a thread here some time ago. Even posted some images in there that are relevant
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The SH-2 plug-out for the Roland System-1 emulates the VCO1 sine oscillator (that @TokyoDisco mentioned) really nicely. It then has a square wave-based sub oscillator, in addition to VCO2. It’s probably the nicest of the plug-outs, I rarely swap it out of my S-1.
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Yes. VCOs have to generate time-varying signals, and the easiest way to do that is simply to vary a voltage linearly in time.
Triangle and sawtooth waves can be made from simple increasing and decreasing voltage levels.
Not only that but, from a sawtooth, a triangle wave can be obtained by rectifying the sawtooth voltage and a pulse wave can be obtained by clipping a sawtooth or triangle.
There are many oscillator circuits to generate sine waves but they either required separate circuits from that used for the other waves, or it was simply cheaper to clip or filter a triangle wave.
Digital systems have no such restrictions: it’s as easy to generate a sine wave as any other wave shape.
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[quote=“William_WiLD, post:28, topic:35306, full:true”]
Understand why to me is not insistence… [/quote]
Sorry if this came across the wrong way. I wasn’t questioning your insistence in finding out. I am always curious too and I lean something new everyday. I was questioning why you seemed to insist on using an ANALOG sine in your setup when digital alternatives are so much easier.
peace
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Yes understood … no i’m curious too and finding out on this… Questioning me if it was electronic, technical etc… the answer. Then it lead to how to do without… That’s why i modify the thread in two part. So people should not ask twice for that and by looking for, maybe felt on that one and find useful tips on Sub / Low End
Only sine wave on the little phatty is to crank the filter resonance as gbravetti mentions. It makes massive bass and tracks in tune…
This thread reminded of this trick:
"A great use of the CV track if you aren’t using it on any external devices. This kick is generated by using the LFOs of the CV track as well as one CV output
You know, LFOs can go fast and since they got sine wave and you can make it reset at each trigger you can get a solid boomy kick out of them.
Just go to LFO1, set it at a speed that you can hear, then choose CV value as destination and then use the second LFO to modulate LFO1´s speed (pitch) with an expo decaying wave in “one” mode
then you can use ENV2 to shape the amplitude of your kick…or just the fade out parameter of LFO1 (much less accurate though) or a combination. of course it´s not for kicks only, you can make a lot of stuff with the LFO1´s waves…metallic FM tones, lo-fi noise stuff, sine bass, you name it!
although LFO1 is fast enough to actually be heard it doesn´t have the quality of the proper oscillators, and it´s digital, not analog. anyway with some tweaking and p-locks you can get another track of sound just sacrificing one CV channel and if you don´t want to mix it externally just plug it again into one of the audio inputs!””
From:
http://patcharena.com/synth-resources/elektron-analog-four/
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