User Manual

16
TRY THIS
OSCILLATOR SYNC
With the HARD SYNC OSC 2 button engaged, you can step through the harmonic series by
turning Oscillator 2’s FREQUENCY knob. To begin, make sure both Oscillators are turned up in the
Mixer. Turn both OCTAVE knobs to their lowest settings, and then press the HARD SYNC OSC 2
button so that it’s illuminated. Begin with the FREQUENCY knob turned fully counterclockwise
and slowly turn it while listening for how the overtones change. Using your ears, try to step
through each harmonic one at a time. Now turn Oscillator 2’s OCTAVE knob to its 8’, 4’, and 2’
settings and slowly turn the FREQUENCY knob again to hear the harmonic series in successively
higher octaves.
MIXER
The Mixer lets you combine audio signals from each of the four Subsequent 25
internal sources. Each has a dedicated knob for controlling its relative level.
In addition to level knobs for each Oscillator, the Mixer has level knobs for
the Sub Oscillator and Noise Generator. When a level knob is turned fully
counterclockwise, its input is effectively turned off. Turning it clockwise
from 0 increases the level until it reaches its maximum at 12. Settings higher
than 6 overdrive the Filter, meaning that you can specify which sources are
distorted and which simply pass through the Filter.
MIXER CONTROLS
OSC 1: This knob controls the level of Oscillator 1. Settings higher than 6 push
the level beyond unity, imparting gentle Filter distortion. A setting of 6 or
below delivers a clean signal to the Filter.
OSC 2: This knob controls the level of Oscillator 2. Settings higher than 6
push the level beyond unity, imparting gentle Filter distortion. A setting of 6
or below delivers a clean signal to the Filter.
SUB OSC: This knob controls the level of the Sub Oscillator signal. Settings
higher than 6 push the level beyond unity, imparting gentle Filter distortion.
A setting of 6 or below delivers a clean signal to the Filter. The Subsequent
25 Sub Oscillator is always tuned exactly one octave below Oscillator 1’s
pitch, and its waveform is always a square wave. Typically, the Sub Oscillator
adds a solid foundation to the Subsequent 25 sound. It is especially useful for
crafting monstrous Moog bass Patches.
NOISE: This knob controls the level of the Subsequent 25 Noise Generator. Settings higher than 6
push the level beyond unity, imparting gentle Filter distortion. Noise is useful for programming punchy
percussion and other unpitched sounds.
Whereas an Oscillator generates a pitched waveform, Noise is an unpitched sound source. Just as
white light contains all colors of the visual spectrum in equal proportion, white noise contains a random
distribution of all audible frequencies. Every frequency has equal amplitude. We hear white noise as
a constant ssshh sound, like an FM radio between stations. Because of the way our brains respond to
white noise, the higher frequencies sound more prominent than the lower ones.
The Subsequent 25 Noise Generator produces a signal called pink noise. Pink noise has equal
amplitude in every octave, making it sound deeper than white noise—more like the sound of a
waterfall. Most synthesists consider pink noise more useful than white noise.
OSCILLATORS (Continued)