Moog Subharmonicon User Manual
3
IMPORTANT SAFETY INSTRUCTIONS
WARNING - WHEN USING ELECTRIC PRODUCTS, THESE BASIC PRECAUTIONS SHOULD ALWAYS
BE FOLLOWED:
1. Read all the instructions before using the product.
2. Do not use this product near water - for example, near a bathtub, washbowl, kitchen sink, in a wet
basement, or near a swimming pool or the like.
3. This product, in combination with an amplifier and headphones or speakers, may be capable of
producing sound levels that could cause permanent hearing loss. Do not operate for a long period
of time at a high volume level or at a level that is uncomfortable.
4. The product should be located so that its location does not interfere with its proper ventilation.
5. The product should be located away from heat sources such as radiators, heat registers, or other
products that produce heat. No naked flame sources (such as candles, lighters, etc.) should be
placed near this product.
6. Do not operate in direct sunlight.
7. The product should be connected to a power supply only of the type described in the operating
instructions or as marked on the product.
8. The power supply cord of the product should be unplugged from the outlet when left unused for
a long period of time or during lightning storms.
9. Care should be taken so that objects do not fall, and liquids are not spilled, into the enclosure
through openings.
There are no user serviceable parts inside. Refer all servicing to qualified personnel only.
NOTE: This equipment has been tested and found to comply with the limits for a Class B digital
device, pursuant to Part 15 of the FCC rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equipment generates, uses, and can
radiate radio frequency energy and, if not installed and used in accordance with the instructions, may
cause harmful interference to radio communications. However, there is no guarantee that interference
will not occur in a particular installation. If this equipment does cause harmful interference to radio
or television reception, which can be determined by turning the equipment o and on, the user is
encouraged to try to correct the interference by one or more of the following measures:
— Reorient or relocate the receiving antenna.
— Increase the separation between the equipment and receiver.
— Connect the equipment to an outlet on a circuit dierent from
that to which the receiver is connected.
— Consult the dealer or an experienced radio/TV technician for help.
CAUTION: Please note that any changes or modifications made to this product not expressly approved
by Moog Music, Inc. could void the user’s authority granted by the FCC to operate the equipment.
TABLE OF CONTENTS
OVERVIEW
6
UNPACKING & INSPECTION
8
SETUP & CONNECTIONS
8
ABOUT SUBHARMONICON
9
INTRODUCTION
10
A BRIEF HISTORY
10
UNDERSTANDING SUBHARMONICS
10
UNDERSTANDING POLYRHYTHMS
11
EXPLORING YOUR SUBHARMONICON
12
CREATING A SEQUENCE
13
PLAYING YOUR SEQUENCE
15
UNDERSTANDING TUNING SYSTEMS AND TEMPERAMENT
17
PANEL CONTROLS & FUNCTIONS
18
THE OSCILLATORS
18
THE MIXER
21
THE FILTER
23
THE AMPLIFIER (VCA)
23
THE ENVELOPE GENERATORS (EG)
24
TEMPO
25
THE SEQUENCERS
26
TRANSPORT CONTROLS
28
POLYRHYTHM GENERATORS
30
THE PATCHBAY
31
USING SUBHARMONICON TO CLOCK DFAM
38
SYNCING SUBHARMONICON TO MOTHER-32
39
USING SUBHARMONICON AS A EURORACK MODULE
40
GLOBAL PARAMETERS
41
MIDI OPERATIONS
42
PRESETS
45
BLANK PRESETS
50
SIGNAL FLOW
56
SPECIFICATIONS
58
ACCESSORIES
58
WARRANTY
59
SERVICE & SUPPORT INFORMATION
59
RHYTHM GENERATORS
Dividing the tempo creates a new rhythm.
Each of the four rhythm generators can drive
one or both sequencers. Combine rhythms
for exciting polyrhythms.
PAGE 30 PAGE 26
SEQUENCER
Sequencer 1 controls VCO 1 (and its subs).
Sequencer 2 controls VCO 2 (and its subs).
Each sequencer has four tunable steps.
OSCILLATORS
Two analog oscillators (VCO 1, VCO 2) form the
foundation of the sound. Change the waveform to
select a new timbre. Each VCO can be continuously
tuned over a specific range, or quantized to the steps
in one of four scales. Two subharmonic oscillators
per VCO are individually tunable to one of the first
16 undertones of the VCO’s current pitch.
PAGE 18
FILTERS
The famous Moog ladder filter provides
excellent timbre control. This VCF operates
as a low-pass, four-pole (-24dB/octave) filter.
Resonance control is provided.
PAGE 23
TEMPO & TRANSPORT
The tempo drives the rhythm generators, which in
turn drive the sequencers. The transport controls
start and stop the sequencers, advance to the
next step, and more.
SUBHARMONICON
MIXER
The mixer allows the levels of all six Subharmonicon
sound sources (VCO 1, SUB 1, SUB 2 and VCO 2,
SUB 1, SUB 2) to be set individually to create the
perfect mix. The combined signal is sent from the
mixer to the filter for further sound-shaping. (This
section is also home to the quantize and sequencer
assign functions.)
6 7
PAGE 21 PAGE 24 PAGE 31PAGE 25 & 28
ENVELOPES
Two envelope generators define how
the sound changes over time. The VCF
EG controls the attack time and decay
time of the filter (VCF); the VCA EG
controls the volume (VCA).
PATCHBAY
This patchbay offers 32 connections
(17 inputs and 15 outputs) for connecting to
other modular or semi-modular synthesizers
and audio equipment. MIDI data can be received
at the MIDI IN jack using the included Type A
MIDI adapter at the MIDI IN jack.
UNPACKING & INSPECTION
Check the contents of the shipping carton. Be careful when unpacking your new Moog Subharmonicon
so that nothing is lost or damaged. We recommend saving the carton and all packing materials in case
you ever need to ship the instrument for any reason.
Subharmonicon ships with the following items:
Subharmonicon Semi-Modular Analog Polyrhythmic Synthesizer
1.
Power Supply
2.
DIN Socket to 3.5mm Plug (Type A) MIDI Adapter
3.
Patch Sheet Overlays
4.
Owner’s Manual
5.
Patch Cables
6.
Registration Card
7.
What you will need:
1.
Headphones with a 1/4” TRS plug, or a 1/4” TS instrument cable and an amplified speaker
2.
A properly wired AC outlet
SETUP & CONNECTIONS
POWER
Plug the included power adapter into the
12VDC power jack on the rear panel of your
Subharmonicon.
NOTE: There is no power switch on your Subharmonicon. Once connected to the power supply, the unit is On.
Subharmonicon is an analog instrument and should be allowed a few minutes to warm up before use. In cases
where it has been left in a cold car overnight, for example, it may take even longer for the oscillator tuning to
stabilize. For optimized tuning do not operate your Subharmonicon in direct sunlight.
Amplifier or Headphones
Power Supply
AUDIO OUT /
With the Subharmonicon VOLUME knob turned all the way down (counterclockwise), plug one end
of a 1/4” instrument cable into the Subharmonicon AUDIO OUT / jack on the rear panel. Then plug
the other end into an amplified speaker or mixing console input. This jack can also be used with a set
of mono or stereo headphones, providing the same signal to each ear. Now, raise the VOLUME knob
(clockwise) to bring the sound to an appropriate level.
WARNING: Do not use a TRS (balanced) cable for line output applications, as this will cause phase cancellation
and can produce a very weak signal.
KENSINGTON SECURITY SLOT
Your Subharmonicon can be securely attached to a desk, stand, or other fixture by connecting a
Kensington security device to this slot.
8
ABOUT SUBHARMONICON
Subharmonicon is an intensely creative semi-modular analog polyrhythmic synthesizer that uses
mathematical ratios to tune its four subharmonic oscillators, and to control the timing of its four
rhythm generators. Because these tuning and timing values are integer-derived, there is something
uniquely coherent about how patterns and phrases created using Subharmonicon blend together
musically. As with Mother-32 and DFAM, Subharmonicon conforms to the 60HP Eurorack format;
features aluminum rails, finished wood side pieces, an extensive patchbay; and can perform as
a standalone electronic instrument.
2 VOLTAGE CONTROLLED
OSCILLATORS (VCOs)
Each VCO features two
additional subharmonic
oscillators
POLYRHYTHM SECTION:
4 RHYTHM GENERATORS
Each rhythm generator can be
set to drive a single sequencer –
or both
TWO 4-STEP SEQUENCERS
Each sequencer controls any
combination of its associated
VCO, SUB 1, and SUB 2
2 ENVELOPE GENERATORS
Two Attack/Decay envelope
generators control the VCF
and VCA
RESONANT MOOG FILTER
4-pole (-24 db/octave) low-pass
Moog ladder filter
PATCHIN G
32-point modular patchbay
oering 17 inputs and 15 outputs
9
INTRODUCTION
A BRIEF HISTORY
Throughout the 1960s and 70s, groundbreaking artists like Herb Deutsch, Wendy Carlos, and Keith
Emerson were looking for new ways to explore electronic sound, and found themselves collaborating
with electronic instrument pioneer Bob Moog to create the instruments of their dreams. If we set our
clocks back to the 1930s, we find a similar situation. Cutting-edge musicians and composers such
as Henry Cowell, Joseph Schillinger, Paul Hindemith, and Oskar Sala were teaming up with the likes
of Leon Theremin (of Theremin fame) and Freidrich Trautwein to create the instruments needed to
bring their musical visions to life. These were heady times for composers, performers, and instrument
creators. Electricity and electrical circuitry held the promise of a mechanical prowess that could
enhance and extend existing compositional and performance abilities.
Freidrich Trautwein’s Trautonium was a vacuum tube electronic instrument that created a rich sawtooth
wave, tamed by a resonant low-pass filter, to create an early model of subtractive synthesis. Oskar Sala
eventually took over development of the Trautonium (later renamed the Mixtur-Trautonium), adding a
series of subharmonic oscillators that generated undertones pitched at fractions of the original pitch
(and not the overtones created at multiples of the original pitch, such as in Laurens Hammond’s tonewheel organ). Around the same time, Henry Cowell and Joseph Schillinger collaborated with Leon
Theremin on the Rhythmicon, an instrument capable of sounding up to 16 polyrhythm generators
simultaneously. Schillinger’s theories included combining rhythmic “generators” occurring at integerrelated durations.
Their work contained the seeds of today’s algorithmic composition software. The subharmonic
oscillators of the Mixtur-Trautonium were derived from the oscillator’s initial pitch, while the
Rhythmicon created polyrhythms that were derived from the original tempo. It is these concepts
of subharmonics and polyrhythms that form the historic roots of your Moog Subharmonicon, an
inspiring and innovative semi-modular analog polyrhythmic synthesizer.
UNDERSTANDING SUBHARMONICS
In the world of synthesizers and electronic
keyboards, we often refer to harmonics
– a series of overtones occurring at
fixed mathematical intervals above the
fundamental pitch that are responsible
for a wave’s shape and timbre. A wave
shape may contain certain harmonics in
a particular pattern of relative strength,
for example. We know that pitch can be
modified by changing the length of an
organ pipe, a guitar string, the column
of air in a trumpet, etc. The remarkable
thing is that the ratio between the original pitch and the altered pitch always follows the same pattern
– the harmonic series. So if we have a guitar string vibrating at a frequency (ƒ) of 440 Hz, and we halve
its length by playing at the 12th fret, the string sounds one octave higher (ƒ*2) at 880 Hz, or double
the original frequency. One-third the length produces the fifth above that (ƒ*3), etc. In every case,
multiplying the original frequency by an integer creates a specific harmonic.
Creating an undertone, or a subharmonic, is more challenging in the physical world. Instead of
multiplying the original frequency by an integer value, we must divide by an integer value. We cannot
simply build a guitar that becomes twice as large in order to play the first subharmonic, one octave
down in pitch at 220 Hz (ƒ/2) from the original pitch (ƒ) of 440 Hz.
10
UNDERSTANDING SUBHARMONICS (Continued)
Fortunately, electronic circuits can create subharmonics quite easily. Regardless of whether the initial
frequency (ƒ) is being multiplied by an integer to create an overtone, or divided by an integer to create
a subharmonic undertone, the ratios and intervals will remain the same, as in the following examples:
Original Note
2nd Harmonic
3rd Harmonic
4th Harmonic
5th Harmonic
6th Harmonic
...
15th Harmonic
16th Harmonic
Overtones
(f)
(f) * 2
(f) * 3
(f) * 4
(f) * 5
(f) * 6
Continued
(f) * 15
(f) * 16
Original Note
2nd Subharmonic
3rd Subharmonic
4th Subharmonic
5th Subharmonic
6th Subharmonic
...
15th Subharmonic
16th Subharmonic
Undertones
(f)
(f) / 2
(f) / 3
(f) / 4
(f) / 5
(f) / 6
Continued
(f) / 15
(f) / 16
UNDERSTANDING POLYRHYTHMS
Polyrhythms employ multiple rhythms
playing at once to create complex,
interweaving phrases. In the same
way that a subharmonic oscillator uses
an integer value to modify the initial
pitch (ƒ) of an oscillator to create a
musically related subharmonic, each
Subharmonicon rhythm generator uses
an integer value to divide the current
clock value (t) to create a new rhythm.
These individual rhythm generators
are used to drive one or both of the
Subharmonicon’s sequencers. Once you engage more than one rhythm generator, you will hear how
the dierent clock divisions can play o or against one another to synthesize a polyrhythm. Because
each rhythm generator references the same clock, they will eventually re-sync to the same downbeat,
causing the overarching polyrhythm to finally repeat. In this way, you can think of the rhythm
generators as combining to create one larger, cyclic pattern. Rhythm generators can be switched on
and o and assigned to dierent sequencers as you perform, creating complex polyrhythmic content –
as well as some truly unique phrasing and grooves.
11
EXPLORING YOUR SUBHARMONICON
If you are new to synthesizers, or if you just want a deeper understanding of your new instrument
before you get started, join us for a quick hands-on Subharmonicon tour. Knowing what to expect as you
explore the controls will make it easier to achieve your musical goals. You can also begin by following
some of the patch examples (beginning on page 45) and tweaking them to suit your own taste.
START YOUR EXPLORATION
To begin, connect Subharmonicon to either a set of headphones or a monitoring system, and set the
controls on your Subharmonicon to match the settings shown above.
LISTENING TO VCO 1
Hold the EG button until it begins to blink. This locks the
VCF EG and VCA EG at their highest values, allowing you
to hear what is happening as you experiment. Raise the
VCO 1 LEVEL knob to the halfway (or center) point, and
then raise the VOLUME knob to a comfortable listening
level. You are now hearing VCO 1.
TUNING VCO 1
Press the QUANTIZE button until no lights are lit
(unquantized), and rotate the VCO 1 FREQ knob to listen
to the tuning range of VCO 1, and you will hear the pitch
change smoothly over a wide range. Next, press the
QUANTIZE button until the 12-ET LED indicator is lit.
Now, as you rotate the VCO 1 FREQ knob, you will hear
the frequency step from note to note, following the steps
of a 12-tone equal tempered scale.
12
12
EXPLORING YOUR SUBHARMONICON (Continued)
ADDING IN A SUBHARMONIC OSCILLATOR
Rotate the SUB 1 LEVEL knob clockwise and you will hear
the sound of the first subharmonic oscillator associated
with VCO 1 mixed in with the sound of VCO 1. With the
SUB 1 FREQ knob all the way clockwise, VCO 1 and SUB 1
are playing in unison. As you rotate the SUB 1 FREQ knob
slowly counter-clockwise, you will hear the pitch of SUB 1
step through the available undertones.
CREATING A SEQUENCE
INTRODUCTION
Before we can create a sequence, we need to let Subharmonicon
know what our intentions are. First, press the OSC 1 button (located
in the SEQ 1 ASSIGN buttons) so that it is lit. This allows the
individual STEP knobs of Sequencer 1 to modify the pitch of VCO 1.
Next, press the SEQ 1 button (located under the RHYTHM 1 knob) so that it is
lit. This step attaches a rhythm source to Sequencer 1, so that we can use the
NEXT and RESET buttons to navigate the individual steps of Sequencer 1.
Finally, use the SEQ OCT button to select the range, in octaves, of the
sequencer STEP knobs. An LED will indicate the current selection. Use the
SEQ OCT button to cycle through the available options. For now, let’s use
the ±2 option.
Press the RESET button to return the sequencer(s) to Step 1.
This will also reset the rhythm generators to their starting position.
13
13
EXPLORING YOUR SUBHARMONICON (Continued)
CREATING A SEQUENCE (Continued)
TUNING STEP 1
Step 1 is now selected, and the LED indicator located under
the STEP 1 knob will be lit. As you listen, rotate the STEP 1
knob to set a pitch for Step 1 of your sequence.
ADVANCING TO STEP 2
Press the NEXT button to advance to Step 2
of the sequence. The LED indicator located
under the STEP 2 knob will be lit. As you
listen, rotate the STEP 2 knob to set a pitch
for Step 2 of your sequence.
ADVANCING TO STEP 3
Press the NEXT button to advance to Step 3
of the sequence. The LED indicator located
under the STEP 3 knob will be lit. As you
listen, rotate the STEP 3 knob to set a pitch
for Step 3 of your sequence.
ADVANCING TO STEP 4
Press the NEXT button to advance to
Step 4 of the sequence. The LED indicator
located under the STEP 4 knob will be lit.
As you listen, rotate the STEP 4 knob to set
a pitch for Step 4 of your sequence.
NOTE: You can use the NEXT button to
continually cycle through the steps, so you
can change the STEP knob values until you
have a pattern you like.
14
14
EXPLORING YOUR SUBHARMONICON (Continued)
PLAYING YOUR SEQUENCE
Press the blinking EG button so that it remains lit. This
releases the envelope generators from their held state, so
that each step of the sequencer will now trigger the EGs.
Now, press the PL AY button. Your sequence will begin
to play.
ADJUSTING THE TIMING
Rotate the TEMPO knob to see how the sequencer and rhythm generator
tempos are aected.
Rhythm Generator 1 is currently producing a division of the master tempo to
drive Sequencer 1, indicated by the illuminated SEQ 1 button. Notice that as
you turn the RHYTHM 1 knob, you are selecting one of 16 discrete steps. These
steps are produced by dividing the tempo by an integer value of 1 through 16.
NOTE: This is the same method (dividing by an integer value of 1 through 16) that is
used for deriving the pitch of a subharmonic oscillator.
CREATING A POLYRHYTHM
As your sequence continues to play, press the SEQ 1 button associated with
Rhythm Generator 2. You are now using the output of two rhythm generators
to drive Sequencer 1, creating a polyrhythm. As you rotate the RHYTHM 2 knob
further from and closer to the RHYTHM 1 knob position, you can hear how the
complexity of this polyrhythm changes.
TIP: As you are trying new polyrhythm settings, you can use the RESET button to
instantly set the sequencer(s) and the rhythm generators to their initial starting
position, inviting you to explore how the polyrhythm unfolds and cycles back.
15
15
EXPLORING YOUR SUBHARMONICON (Continued)
EXPLORING THE FILTER
As your sequence continues to play, you can rotate the
CUTOFF and RESONANCE knobs and listen to how changing
the filter settings can aect the timbre of your sequenced
sound. The VCF EG AMT knob defines how much eect the
VCF Envelope Generator (VCF EG) will have on the filter
settings. By turning the RESONANCE knob toward maximum
and experimenting with the CUTOFF knob, you can coax the
filter to “chirp” as it approaches a self-resonant state. Try it!
CHANGING THE WAVE
As you explore the ways dierent filter settings aect the timbre of each note,
you can also use the VCO 1 WAVE switch to hear how dierent waves aect the
overall sound.
TWEAKING THE ENVELOPES
As your sequence continues to play, you can change the
Attack and Decay rates for both the VCF EG and the VCA EG.
The VCF EG changes the Cuto Frequency of the Voltage
Controlled Filter (VCF) over time; the VCA EG changes
the Voltage Controlled Amplifier (VCA) setting, or output
volume, over time. Using relatively quick attack and decay
rates can be best for percussive eects and punchy basses
or leads. Slower decay times can add more of a drone or
atmospheric feel to the sound.
And don’t forget, the VCF EG AMT knob is bi-directional,
with the center position creating no eect. Rotating the
VCF EG AMT clockwise adds a positive amount of envelope
control, while rotating this knob counter-clockwise adds a
negative amount of envelope control, creating some very
useful and unusual eects.
16
16
EXPLORING YOUR SUBHARMONICON (Continued)
SUMMARY
In this exploration of your Subharmonicon, we have used only one VCO, one subharmonic oscillator,
one sequencer, and two rhythm generators — working with each to become familiar with how they
contribute to your overall sound.
This is only scratching at the surface of the sound design potential and rhythmic phrases that are
possible within this instrument once all of its oscillators, sequencers, and rhythm generators are
dialed up. We hope that this exercise provides you with a foundation from which you can continue
your experimentations.
Keep in mind that Subharmonicon is a performance instrument. Changing the rhythm generator
assignment in real time, using the RESET button, pushing the SEQ ASSIGN buttons, and tweaking
the filter controls and mix levels can result in an engaging and fluid electronic music event.
UNDERSTANDING TUNING SYSTEMS & TEMPERAMENT
When talking about musical instruments, tuning systems are the method
used to determine which frequencies or pitches an instrument is able to play.
Subharmonicon’s sequencer section is unique in its ability to easily work within
two dierent tuning systems: just intonation (JI) and equal temperament (ET).
Just intonation is an older approach to generating musical scales based around
whole number ratios (i.e. the harmonic series). So, if we wanted to work in the
“just scale” of C major, we’d be determining our note values based on whole
number fractions related to C’s frequency (e.g. C=1/1, D=9/8, E=5/4, F=4/3,
G = 3/2, A=5/3, B=15/8, C=2/1, etc.). Working in just intonation becomes
complicated when you want to play music in more than one key. Because a just scale’s note values are
based around a root note’s frequency, the moment you try and modulate to a dierent key, all of your
notes will sound incorrect since they were derived from the original root note; this is when the idea of
a temperament becomes important. A temperament is a tuning system that compromises the pure
intervals of just intonation in order to achieve better harmonic relationships between diering keys.
The most commonly used temperament is equal temperament.
Equal temperament is based around the idea of dividing an octave into 12 evenly spaced semitones,
so that scale intervals will be the same in any key. This creates scales in which all intervals are imperfect
(when compared to just intonation) but still tolerable to the ear, and by making all the note values
equally ‘incorrect’ you can easily write music that jumps between keys without needing to retune
your instrument. Equal temperament has been the standard tuning system in western music since
the 18th century, and is what most people will consider as sounding “in tune,” despite the fact that
just intonation is technically more in tune due to its basis in the harmonic series.
As a listening exercise, try building up a complex chord using the VCO FREQ and SUB FREQ
knobs, and use the QUANTIZE button to listen to how your chord voicing changes with the dierent
quantization settings. One aspect that should be especially noticeable in just intonation, is the lack
of frequency beating typically heard in minor chords.
17
PANEL CONTROLS & FUNCTIONS
THE OSCILLATORS
In the synthesizer world, the
primary role of an oscillator is
to generate sound. Oscillators
can be assigned a wave shape
to determine the initial timbre
of the sound, oscillators
can be tuned to specific
frequencies, and an oscillator
can be played — its pitch
varied by a control voltage
source such as a keyboard
or sequencer.
Each voltage controlled
oscillator (VCO 1 and
VCO 2) is equipped with two
subharmonic oscillators.
These subharmonic oscillators
can be independently set to a
specific note, or subharmonic,
of the undertone series.
OSCILLATOR 1 PARAMETERS
VCO 1 FREQ
Rotating this knob will set the initial frequency, or pitch, of VCO 1. The range
of this knob is four octaves. Rotating the VCO 1 FREQ knob fully counterclockwise will specify the initial pitch as Middle C (262 Hz) on a piano. Rotating
this knob fully clockwise will specify the initial pitch as the highest C (4186 Hz)
on a piano.
NOTE: Engaging the QUANTIZE settings will limit the available values for the VCO 1
FREQ knob to the specific scale steps set by the current value of the QUANTIZE button.
SUB 1 FREQ (VCO 1)
The pitch or frequency of SUB 1 (the first subharmonic oscillator of VCO 1) is
derived from the initial frequency (ƒ) of VCO 1. The SUB 1 frequency is equal to
the initial pitch of VCO 1, divided by a whole number integer value from 1 to 16.
As you rotate the SUB 1 FREQ knob, you are actually selecting the integer value
used. You can hear the pitch of SUB 1 change in stepped values, starting with 1
[unison tuning to VCO 1: (ƒ)/1 = (ƒ)] when this knob is rotated fully clockwise,
and proceeding in steps to a value of 16 as this knob is rotated counterclockwise. Each one of these values produces a note on the undertone scale
derived from the initial pitch of VCO 1.
18
THE OSCILLATORS (Continued)
OSCILLATOR 1 PARAMETERS (Continued)
SUB 2 FREQ (VCO 1)
The pitch or frequency of SUB 2 (the second subharmonic oscillator of VCO 1) is
derived from the initial frequency (ƒ) of VCO 1. The SUB 2 frequency is equal
to the initial pitch of VCO 1, divided by a whole number integer value from
1 to 16. As you rotate the SUB 2 FREQ knob, you are actually selecting the
integer value used. You can hear the pitch of SUB 2 change in stepped values,
starting with 1 [unison tuning to VCO 1: (ƒ)/1 = (ƒ)] when this knob is rotated
fully clockwise; and proceeding in steps to a value of 16 as this knob is rotated
counter-clockwise. Each one of these values produces a note on the undertone
scale derived from the initial pitch of VCO 1.
WAVEFORM (VCO 1)
The waveform being output by VCO 1, SUB 1, and SUB 2 is determined by this
three-position switch.
UP: In this highest position, a square wave is output from VCO 1, SUB 1, and
SUB 2. Square waves produce a hollow sound, providing a rich starting point
for nasal clarinet and bass sounds.
MIDDLE: The middle position is a special case. With the switch in this position,
SUB 1 and SUB 2 will both output sawtooth waves. However, VCO 1 will output a square (pulse) wave.
By default, the sawtooth output of SUB 1 is normalled for use as a PWM (Pulse Width Modulation)
source for the square wave of VCO 1. PWM can change the width of the pulse wave, altering its timbre
which is popular for creating string-type sounds.
DOWN: In this lowest position, a sawtooth wave is output from each. In addition to creating thick,
brassy sounds, the sawtooth wave also lends itself to powerful lead and bass sounds.
TIP: In the middle position, the PWM of VCO 1, caused by the audio-rate frequency of SUB 1, can appear to add
a second pitched component to VCO 1, even when the SUB 1 LEVEL knob is at its minimum position.
NOTE: The normalled connection described above can be overridden by connecting a control signal to the
VCO 1 PWM input jack of the patchbay.
OSCILLATOR 2 PARAMETERS
The Oscillator 2 parameters function in the same way as the Oscillator 1 parameters.
VCO 2 FREQ
Rotating this knob will set the initial frequency, or pitch, of VCO 2. The range
of this knob is four octaves. Rotating the VCO 2 FREQ knob fully counter-
clockwise will specify the initial pitch as Middle C (262 Hz) on a piano. Rotating
this knob fully clockwise will specify the initial pitch as the highest C (4186 Hz)
on a piano.
NOTE: Engaging the QUANTIZE settings will limit the available values for the
VCO 2 FREQ knob from continuous to the specific scale steps set by the current
value of the QUANTIZE button.
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