Version 2 Oscillators

 

Unlike the version 1 Oscillators, there are no different versions of the Version 2 oscillators offering different types of pitch mod. Instead, there are a number of seperate pitch mod modules which can be used to modify the pitch of the Oscillator. This greatly reduces the number of Oscillators, and reduces the 'which Oscillator should I choose' confusion. If you decide you need to add pitch mod for an Oscillator, it is much easier to add a Pitch Mod module, rather than replace an existing Oscillator module.

 

After most Oscillator names you'll find the DSP usage for each module - this shows you what percentage of a single DSP chip a single voice of the module will take up. These figures are taken from Robin Chard's Modular II DSP usage chart.

 

See this section on the Version1 oscillators page here for further explanations on Pitch Mod and the difference between exponential & linear modification.

 

Basic Oscillators

The Pulse, Sine, Saw and Square oscillators are the most basic of the Oscillator modules, distinguished, as their name suggests by the different shape of the waveform they generate. See the V1 Oscillators page for more information on the differences between these different sorts of waveform.

Each basic Oscillator has controls for Fine and Coarse tuning, the Pulse Oscillators are further distinguished by having an Input for a Modulation source for the Pulse Width.

 

See here for an explanation of Pulse Width Modulation.

 

Pulse OSC (4.3%)

Basic Pulse Oscillator, with input for Pulse Width  Modulation source.

Sine OSC (2.2%)

Basic Sine Oscillator.

Sine OSC Partial (2.9%)

Specifically for use in additive synthesis, this module can be tuned to allow pitches in the harmonic series. The partial knob controls factor by which the basic frequency at Freq In is multiplied. By adjusting this value to integer (whole number) values, harmonics are produced:A factor of 1.000x produces the basic frequency, or first harmonic. A factor of 2.000x produces the octave above the basic frequency, or the second harmonic, etc.

Saw OSC Up

Basic ascending Sawtooth wave.

Saw OSC Down (2.9%)

Basic descending Sawtooth wave.

Morphing Pulse (6.3%)

New in Version 2, the morphing Pulse produce a continuous waveform change (morph) from Sine to Pulse. The Pulse width and Morph factor can both be modulated.

Morphing Saw (4.0%)

As above, but the change is from Sine to Saw. Morph factor can be modulated.

Spectral Osc

Also new in Version 2, the Spectral Oscillator is similar to the Morphing Oscillators (above), except that it morphs between Saw and Pulse waves. WF sets the morph factor which controls the relationship of the sine wave to the saw/pulse wave. This can be modulated by the WfmA input.

Multi Oscillators

These are modules which allow you to choose between any of the above Oscillators' wave shapes. Very useful when initially designing a patch, but more heavy on DSP usage, so once you've decided on a single Oscillator type to use it is best to replace the Multi Osc with one of the Single Oscillator modules above. However, you may want to be able to switch between different Oscillators for different presets, in which case you would retain use of this module.

Multi Oscillator

Offers each type of Oscillator from the group above - Sine (3.8%), Triangle (3.1%), Saw Up(4.4%), Saw Down(4.4%), Pulse(4.5%, with Pulse Width Mod input. (See the Sync Oscillators section for the othe Multi Oscillators.)

Others

Noise Generator (2.5%)

Produces White & Pink Noise

BPF Nz (1.9%)

Procduces White noise which passes through a Bandpass filter with variable Cutoff. Filtered and unfiltered signal available at different outputs.

FM Operator (3.8%)

An oscillator module optimize for use in FM synthesis. 

FM Synthesis is the technique of using one audio-frequency signal to modulate the frequency of another. 

Read a good introduction to FM Synthesis from Sound on Sound here and here 

EG In can be used to modify the Gain using the output of an Envelope Generator. 

The Mod inputs accept outputs from other sources for Frequency Modulation.

In an FM Operator, the Coarse/Fine controls are used not only to determine the pitch of the output, but also the spectrum (e.g. frequency modulation). Coarse changes the frequency in integer steps, resulting in simple spectra with recognizable pitch. Changes to the Fine setting result in less recognizable pitch, and more complex spectra reminiscent of bells or ring modulation. In order to use the Coarse/Fine controls, Fixed must not be enabled, and the blue LED beside the controls must be lit.

Tube resonator (6.8%)

Based on a comb filter, but designeded to perform as an oscillator. Comb filters are particularly effective when imitating sounds such as a flute (from which the module got its name, since a flute is little more than a ‘tube’). To produce a flute sound, you would start by sending some noise to the resonator. Other modulation inputs provide signals to control the spectrum.

U KNOW Oscillator (7.9%)

Used in the Uknow 007 synth, this oscillator actually consists of three oscillators: a pulse oscillator with variable pulse width, a sawtooth oscillator, and a square wave sub-oscillator. PP controls Phase of the Pulse wave, SP the phase of the Saw Wave. The level of each wave is varied by the P, S and Sub controls.

Sample Osc (3.8%)

Allows you to load up your own samples for use as Oscillators. Wav or Akai samples can be loaded. Allows for fine-tuning of sample, setting of Hi & Lo keyboard ranges. Don't forget to connect Smpl F to the Smpl F output in the MVC module!

Waldorf Oscillator (5.0%)

Designed for the Pulsar by Waldorf, this Oscillator incorporates the Waldorf Wavetables for extremely versatile sound creation. See the Waldorf Wavetable manual here for more details.

Sync Oscillators

The following are versions of  the regular Oscillators above, but with SyncMaster or SyncSlave variants. The SyncMaster supplies a signal that adjusts the waveform of the SyncSlave to restart with each new SyncMaster cycle.

Normally you would connect the Sync Out of a SyncMaster to the Sync In of the slave(s). Then use a pitch modifier (see under Modifiers) to modulate the pitch of the slave(s) using any modulation signal.

 

See the Sync Workshop article on the Nord Modular site, for an excellent explanation of the theory behind  Sync Oscillation.

PulseOSC SyncS (4.7%)

As Pulse Osc, but with Sync In

SawOSC SyncS

As Saw Osc, but with Sync In

SineOSC SyncS 

As Sine Osc, but with Sync In

unknowOsc SyM (8.0%)

As Uknow Osc, but with Sync Out

unknowOsc SyS (8.4%)

As Uknow OSC but with Sync In

MultiOSC SyM (3.9%)

As Multi Osc, but with Sync Out

MultiOSC SyncS (4.2%)

As Sine Osc, but with Sync IN

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