User's Manual

38
Harmonic parameter Range Description
Ratio 0.250-64.000 in varying
increments
Selects initial harmonic for emphasis.
Hold [SHIFT] to jump by harmonics.
Depth 0-128 in increments of 0.1 Controls harmonic range
Feedback 0-150% Feeds the harmonic output back into
itself;
can tame eect due to phase cancellation
Dry/Wet 0-100% Mix raw waveform + harmonic; 100% =
pure Mutant
Try this experiment to see how the Harmonic mutator aects dierent waveforms:
1. Initialize the patch by pressing [INIT] twice. This provides a Single mode saw wave from
oscillator 1.
2. Access [MUTANT 1] and turn Control knob 1 to select the Harmonic mode.
3. Set the Depth parameter to 0.0.
4. Set the Dry/Wet parameter to 100% so only the eect will be heard.
5. Hold the second-lowest C until step 8. You should hear almost nothing at this point.
6. Slowly increase the Depth to 128. Each of the frequencies in the harmonic series is
emphasized.
7. Return the Depth slowly to 0. Gradually all harmonics disappear, even the fundamental.
8. Release the note.
9. Access [OSC 1] and change the Wave to Square.
10. Access [MUTANT 1] and repeat steps 5-8. You will hear a limited set of harmonics
emphasized.
Here’s why they were dierent: As the depth increased the Harmonic eect revealed the
harmonics that are present in each waveform. A sawtooth wave contains all harmonics, but a
square wave contains only odd-numbered harmonics.
Try the experiment with other waveforms. It’s a good way to learn why the various waveforms
sound dierent: each contains a dierent set of harmonics in varying strengths.
Ring-Noise Module
This module contains two additional sound sources that can be blended with the oscillators to
make sounds that are even more interesting.
Ring Modulation (Ring Mod or RM) takes two audio signals and generates a sound based on the
sum and the dierence of their frequency content. Depending on the sources the result can be
bell-like and pure, or it can be wiry, robotic, trashy, and/or pleasingly unnatural.
A noise generator produces random, simultaneous frequencies across a broad range. The
dierent colors represent specic frequency ranges and power levels:
• White noise sounds brightest: it has a relatively at frequency spectrum.
• Pink noise has more initial low frequency content, which decreases at a rate of 3 dB per
octave.
• Brown noise is darkest: its frequency content decreases at a rate of 6 dB per octave.