You could also just use a sawtooth wave to start with, unless you specifically want an FM transition between sine and saw.
You could also keep the FM mutator, set up a wave list that goes from sine to saw, and then modulation/macros so that when FM amount increases, the wave shape also moves away from sine, toward saw. Sort of “faking” it, but you might get unexpected results.
I tried that way without luck.
My goal is to use last waves “Harmonics” which seems to be sine. Working with sines only.
I want to use wavescan to morph between 5 waves (octaves only). Use Osc 2 with similar setting and morph octaves with a saw sound.
I wish HS had user wavetables, apparently, no saws with higher octaves.
Doable with saws and the 3 oscs, morph with mixer.
I thought it was easier to get a saw. It is also curiosity. Linear FM limitations ? Digitone and DX7 apparently use phase modulation.
Hmm, so if I understand right, you want to create some kind of control to morph smoothly between the octaves, so that once you have the saw working, you can morph both between octaves and between saw-to-sine? That’s pretty clever, I like that 
I think, again, if you can, it might be useful to just be more circular with the modulation and have the mutant use itself as the source, if possible. Otherwise set mutant 2 as mutant 1’s source and vice versa. With this setup, the ratio control won’t have any effect, as it’s going to control the ratio of the modulator that is provided only for the sake of the mutant (which I’m suggesting you don’t use for this case). You might also find that the built-in feedback control is too aggressive for this case, and just relying on the depth is better. I’m not 100% certain on any of this, though - these are just suggestions based on my experience and understanding of the FM mutants.
To be honest with you, I have been spending less time on helping out with this kind of focused, intentional experimentation due to WeeklyBeats. But there are only 3 weeks left in the year now, so I will be more generous with my music time very soon
Yep. It already works as is, same settings and wavescan for Osc1 and Osc2, FM ratio 1 between them. I can modulate FM depth and feedback. Possible to use Osc 1 only, but Osc2 as operator open possibilities.
Make it sound like a saw is a challenge, not an obligation.
The Microfreak in spite of how random it can get doesn’t have a random patch generator but what it does have is every knob controllable via CC.
So riffing on this, Param TX set to CC + Randomizing the whole patch does wonders at randomizing the Microfreak sounds.
It doesn’t affect the mod matrix and patch options but it does change the oscillators/filters/envelopes so using different patches as a base will get different results.
Update: This also works well on the Novation Peak which doesn’t have a randomizer (outside of the sigabort editor). This has probably resulted in some of the most bizarre sounds I’ve heard come from the Novation Peak.
I don’t have a Hydrasynth, but love this guy’s patches and I bet you could learn a lot from dissecting them.
I tried it with Octatrack, per step (holding a trig while receiving CCs). Can be fun but I’d have to set random %. Instant random scenes !
Have to try with Syntakt, planned to map CCs with a midiprocessor.
Settings to alternate OSC 1/2/3 mix (you can hear them separately). Can be improved.
Macro assignments.
In order to hear OSC2 only in the middle position I added Filter 1/2 parameter, parallel filters, Filter 2 cutoff set to 0.
Option : Lfo assigned to Macro 1
This does show value in a more customizable MIDI CC/NRPN randomizer utility with targeted profiles for various synthesizers.
However this mechanism is already random enough and easy enough to get into the undiscovered regions of the parameter space and get sounds you don’t typically hear from a particular synth simply because it is lacking a random button.
And when you get down to it making weird sounds is half the fun of synthesizers.
If anyone is wanting to make their hydras sound and behave more like a dusty old analog synth in need of servicing (in a good way!) try these 11 tips and stack em 🪄
Lol’d at the familiar sight of macros called ‘2nd’.
I wish one of the browser categories was ‘User’. The ‘Sequence’ one seems to be the least initially populated so I save what I’m working on into there and then filter them into the ‘Favorites’ to line up with the drum machine projects.
With the only thing as the CV Mod In on the Ring Mod, the Hydrasynth can operate as an oscilloscope for other devices.
I’ve seen a bit of ‘‘it doesn’t do good bass’’ talk kicking around forums/youtube comments etc.
Those using the Hydrasynth - is this kind of in the same ball park as people talking nonsense about the A4 not being able to do ‘deep bass’?
I just realised that MOD MATRIX OSC Pitch max depth is very limited (12.8 semitones). Any workaround, apart from adding modulations ?
(In order to make a kick I added 3 envelopes on Osc 1 Pitch with max depth, PITA).
Edit : Macro idea…
Yep. A Macro assigned to x4 Osc Pitch (4 octaves) can do the job, this macro assigned to an envelope in Mod Matrix. Not convenient…A Coarse pitch dest would be welcome.
Any other solution ?
The CV Mod Out is good for getting other pieces of hardware controlled by MIDI CCs they wouldn’t normally have in the mod matrix.
The Novation Peak has a small set of modulatable CCs compared to the Hydrasynth but using the CV conversion gets one general purpose one available.
It can be a bit steppy though as I don’t have anything to slew the CV so probably more useful for switch based controls.
There are 2 kinds of patch randomization:
Plus randomize by module, and setting percentages.
Making kicks right now with the Hydra and it is, indeed, limited in terms of depth with the pitch, but I wanted to clarify something, not sure if this is what you meant : you can add 3 times (or more) the same enveloppe (with a 32 slots mod matrix, you have plenty of space), it’s fast and you can go basically as high as you want.
Thanks. I think that’s what I did first. A Macro controlling these 3 matrix mod depth would be necessary. So maybe I prefer my 2nd solution (Macro assigned to Osc Pitch, depth 120, 4 times (4 octaves).
Using an exponential envelope on Filter with high resonance can also make a good kick without cumulating envelopes or use a macro.
Love my HS, def not for bass. Textured, morphing bass where the lack of warmth is made up for by crazy harmonics, then sure. Much better for pads and leads and arps.
