Reference Manual

378 Live Instrument Reference
of space between the notes on the keyboard. At 0%, the oscillator is not modulated by note
pitch at all. To get a sense of how this works, try leaving one of the oscillators at 100% and set-
ting the other’s Key scaling to something just slightly different. Then play scales near middle C.
Since C3 will always trigger the same frequency regardless of the Key value, the oscillators will
get farther out of tune with each other the farther away from C3 you play.
The Pitch Env settings apply a ramp that modulates the oscillator’s pitch over time. Initial sets the
starting pitch of the oscillator while Time adjusts how long it will take for the pitch to glide to its
final value. You can adjust both parameters via the sliders or by adjusting the breakpoints in the
envelope display.
The Sub/Sync parameters in the display allow you to apply either a sub-oscillator or a hard syn-
chronization mode. When the Mode chooser is set to Sub, the Level slider sets the output level of
an additional oscillator, tuned an octave below the main oscillator. The sub-oscillator produces
a square wave when the main oscillator’s Shape control is set to rectangle or sawtooth and a
sine wave when the main oscillator is set to sine. Note that the sub-oscillator is disabled when
the main oscillator’s Shape is set to white noise.
When the Mode chooser is set to Sync, the oscillator’s waveform is restarted by an internal os-
cillator whose frequency is set by the Ratio slider. At 0%, the frequency of the internal oscillator
and the audible oscillator match, so sync has no effect. As you increase the Ratio, the internal
oscillator’s rate increases, which changes the harmonic content of the audible oscillator. For
maximum analog nastiness, try mapping a modulation wheel or other MIDI controller to the
Sync ratio.
24.1.3 Noise Generator
Analog’s Noise Generator.