None of the Sync controls in the oscillator page have any effect at all on the sound. I know everything’s interdependent, and if you close down a LP filter you lose the top-end harmonics etc. But on a bright sound where the sync effect should be obvious, it still does nothing.
*What Am I Doing Wrong Now? - my Elektronauts refrain.
sorry, it depends what other settings are set up on other sounds, but keeping it simple, from a default sound - you have to use the second ‘active’ setting ie 2->1 where Osc 1 is synced to 2 - when you have both oscillators turned up and start messing around with pitch it can be hard to tell what’s driving what, but you get more sonic gold when the two are at different pitches obviously
yeh you need to modulate the pitch of the slaved osc to get the most from osc sync
using an env or lfo
a very typical osc sync sound using an env to modulate the slaved osc pitch is found here:
its the synth sound in the intro part there
depending on the synth in question, the sync sound is variously effective… i think the best ive heard are the oldschool small moogs (rogue, mg-1, liberation, micromoog) … they all made a seriously ripping sync sound, very grindy
Just to add a tip I picked up from the wigglers over at muffwigglers, if you use what you might call a “hard-edged” wave form as the sync master you will get a more prominent sync effect. By hard edged I mean square, saw, pulse waves. As opposed to sine and triangle which could be considered as soft edge waveforms.
sounds logical for a VCO, do you reckon it pans out for these DCOs, haven’t really listened hard enough, it’d be good advice if it makes much diff esp when you can elect to listen to just one OSC - will try laters !! might make me hungry for a minibrute with all its box o’ tricks
Guess I was contrasting it with the sync in my Supernova II. That has a very obvious effect when you crank it up regardless of what the oscs are set at! Maybe they’re faking it in the digital domain - who knows. Sounds pretty good nonetheless!
Yep, the A4 sync is so subtle and polite compared to the Supernova’s and the Supernova doesn’t use interaction between oscillators to produce its sync so you can have all three oscillators screeching away at the same time.
Osc 1 fdbk, tuning at 31, pwm at 59 with spd at 12, osc level 54
Osc 2 triangle wave, level 100
am2 on, sync 1>2, sync amount 48
LFO 1 spd 32, x4, start phase 96, mode trigger, shape saw, dest1 snc amount, depth 64, dest2 osc1 detune, depth 32
The pitch of oscillator 1 is heard only indirectly, through its sync effect on osc 2. Because the frequency of oscillator 1 is so much higher than oscillator 2, sweeping the sync amount with LFO 1 causes a causes osc 1 to catch a bunch of subdivisions of oscillator 1 (think moog subharmonicon) that fall in between the two oscillators’ pitches. This acts as a sort of pseudo arp in a minor key.