The original OB-X was a “low-note” priority synthesiser. These two features need a little more explanation! Let’s begin with VAM. The MIXER section is fairly self-explanatory, providing volume controls for both OSC as well as a third, NOISE OSC.
BRIGHT AMT - Adjusts the brightness of the upper harmonics.SYNC - Synchronises the +/- oscillations of both OSC1 and OSC2 resulting in a narrower, more precise tone.STEP - Switches the OSC tuning dials from continuous to stepped (exact pitches).XMOD (cross-modulation) - Modulates OSC1 according to (the tuning and amplitude of) OSC2 - great for chorus-like modulating effects and/or FM-style grittiness.When neither sawtooth or pulse is selected, the OSC produces a triangle wave. There are four OSC shapes: triangle, sawtooth and pulse (with adjustable pulse width - PW), and a ramped pulse-wave, which is achieved by selecting both sawtooth and pulse options combined.
This draws the user’s attention first and foremost to manipulating each oscillator’s individual fine tuning (spanning four octaves!), invoking all manner of narrow/loose unsynchronised unison, invoking thickening, chorus-like effects, tonal intervals, or even dissonant textures and soundscapes. With that in mind, like a bold statement of intent on the designers’ part, the dials at the very top of the OSC section (which one might intuitively assume to be volume/loudness of each OSC) are actually tuning/pitch. It’s arguable that a great deal of the OB-X’s tonal philosophy stems from the relationship between the two primary oscillators (as opposed to filter characteristics).
0 kommentar(er)
