Oscillator sync?


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.

depending on what sync mode you choose be sure to vary the speed of the other oscilator either above or below it to hear the effect !!

By speed, do you mean pitch?

yep - it depends on what shapes you have what mileage you’ll get from certain combinations, just experiment (it shouldn’t)

i’ve noticed what seems like inconsistencies tho, not sure yet, exploring, but trust me it does work !

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

OK thanks for that. The oscs were probably too much in unison when I was trying it. I’ll mess around with it some more :slight_smile:

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

also…activating sync will leave the bend note function happening only to the slaved osc.

So if you have say OSC 1 with volume up - OSC 2 no volume - you can sync 2>1 and bend up with slide to taste.
your OSC 1 will make something similar to that song.

then you have waveforms and especially the PW that lets you find some sweet spots

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.

Dunno bout that. I’ve gotten some pretty ear shattering stuff from the osc sync. Feedback and Overdrive beef it up a notch or two

Does anyone have any tips on how to make interesting sounds with the OSC. Sync function?

I use to enjoy making some cool synced sounds on my Miniak but I mostly used SOFT sync. Seems to me that the Analog Four uses hard sync only, so I’m not entirely sure what I’m doing lol.

With the SNC Parameter you can change the sync amount.

For interesting sounds maybe p-lock it :wink:

Usually I simply activate it (Sync1) and modulate OSC 2 pitch, wirh an lfo or envelope.

Sync, Unison. Slow env2 with OSC 2 tune dest.


I stumbled into a fun sync patch the other day.

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.


i had a real wtf reaction when first hearing a patch that utilsed the weird arp-like sync you’re talking about. it’s one of my favourite tricks on the AK.

here’s an audio snip of a patch i made using sync modulation (no arp used)…