A multi-purpose modular polyphonic synthesizer, with 6 voices of polyphony completely built with Usine modules by Sylvain Thévenard.
It's an emulation of the MiniMoog synthesiser. See www.moogmusic.com.
You have 3 oscillators per voice. The range knob selects the fundamental octave for each oscillator over a five octave range Oscillator–2 and Oscillator–3 are each equipped with a frequency knob that can be used to detune the Oscillator from the pitch of Oscillator–1. Slight amounts of detuning can create a rich, chorusing effect. Tuning the Oscillators to an interval (Perfect Fifth above, Perfect Fourth below, etc.) provides a powerful voice for playing lead passages or creating chords.
Then, the oscillators are modulated by the Midi Note and by the modulation LFO (see below). For each oscillators you can choose 4 technologies (from MoogMusic Inc documentation).
The Sine wave contain just one fundamental harmonic.
The Triangle wave has an extremely strong fundamental, yet contains only odd-numbered harmonics at very low levels. This makes the Triangle wave an ideal choice for creating soft, flute-like sounds that have a pure tone with little overtone activity.
The Sawtooth and Reverse Sawtooth waveform is the most harmonically dense of the waveforms, containing all of the natural harmonics in relatively strong levels. In addition to creating thick, brassy sounds, the Sawtooth waveform lends itself to powerful lead and bass sounds as well.
The harmonic content of a Pulse wave is based on the width of the top half of the wave in relation to the bottom half of the wave, also known as the duty-cycle. In the Square wave, the width of these two portions of the wave are equal. As with the Triangle wave, the Pulse 1/Square waveform contains only odd-numbered harmonics, but with greater energy. A Square wave provides a rich starting point for string-like sounds.
Mixing a Triangle wave from one Oscillator with the more complex wave of another Oscillator allows you to emphasize one particular harmonic without adding unwanted overtones. Changing the relative tuning of the Triangle wave Oscillator can enhance this effect.
The simplest oscillator, with four waveforms
This is the most common oscillator.
With his oscillator, you find a vibrato button, active on the phase of the second oscillator. You can change speed and depth of the vibrato in the settings. (See below).
Wavetable synthesis is based on periodic reproduction of an arbitrary, single-cycle waveform modulated according the pitch value.
The waveform is created with an array.
The waveform knob allows you to have combination of a sine wave and a sawtooth inverse wave or a sawtooth wave and a square wave, and the square wave can create different width pulse waves. The noise knob adds noise to the waveform.
Wavetable synthesis is based on periodic reproduction of an arbitrary, single-cycle waveform modulated according the pitch value. The waveform is create with an audio sample, useful to create unusual waveform.
The VPS oscillator takes a pair of sine waves with specified frequencies and glues them together at a specified time. Via its two parameters, which control the frequencies of the sine waves and the location at which they are glued together, a VPS oscillator provides direct control of the waveform’s intricate harmonics.
By varying these parameters, a VPS oscillator can create a wide variety of rich sonic textures that range from clean, crisp tones to distorted leads and thick rumbles. You can modify manually the cutoff and the formant of the oscillator, or choose to link to the note (the higher the note is, the higher the cutoff and the formant are) or to random those two parameter for each new note.
You can also decide to mix different oscillators to create new possibilities and different sounds. The third oscillator can be turn to a LFO that modulate oscillator 1 and 2.
On the right of the oscillator bank, you find the mixer section. A knob for the level of each oscillator, on/off button.
Noise can be a very desirable sound source-either alone, or mixed in with other sources. It can be used to create anything from a rocket launch to the subtle breath of a flute sound. In addition to the Noise Volume knob, there is a switch for selecting either WHITE or PINK noise. White Noise contains all audible frequencies at equal amplitude levels, much like white light. Pink Noise contains equal energy in each band of the audio spectrum, and is perceived as having more low-frequency components. If you think of White Noise as TV static, consider Pink Noise more as a waterfall pounding the rocks below.
This is probably the most significant part of the synthesizer, where you can sculpt and modulate the signal of the oscillators.
You find three sections :
The Loudness Contour, where the volume is shape by a simple ADSR.
The Filter Contour, the ADSR will shape the filter. You can use a negative ADSR, simply the reverse of the ADSR to create unusual shape.
The filter can also be modulate with the LFO and with the keyboard (see below). At the bottom of the Modifiers Section, you find a general Low Pass Filter, a general High Pass Filter and a Master Volume.
The Glide generates portamento between two notes, the glide knob set the time to reach the new note.
The Tune knob is useful to precisely tune the synthesizer (0 means that the synthesizer is tuned at 440 Hz).
The Pitch Wheel and the Modulation Wheel can be midi learn with your keyboard.
The LFO : it can modulate the oscillators and/or the filter. The LFO provides 6 different waveform, and you can have the in between of two different waveforms to create a new one.
In the settings, you can add a smoother and/or a ramp for unusual waveform. (see below)
The LFO rate has a basic range from 1 Hz to 200 Hz, but can have extended low limit, to reach 0.1 Hz. The rate can also be linked to the tempo of Hollyhock.
The Modulation knob fixed the amount of modulation send to the oscillators and/or to the filter.
You can decide to use noise as modulation, very strange results.
The Global Pitch Fader changes the global pitch of the Midi Notes.
Allow the possibility to send the note frequency to special effect controls.
You can link the Cutoff frequency of the Moog Filter with the frequency of the Bass Note (related to the Keyboard Split), create harmonic mist with significant emphasis.
You can link the Cutoff frequency of the Moog Filter with the frequency of each note. You can choose the number of octave the cutoff frequency is above the note.
With the oscillator VPS, you have the possibility to random parameters. You can also smooth the changes. You have also a smoother for the LFO : basically, if you smooth a square wave, you have a sine wave. But with unusual wave, the smooth gives you another result.
The Vibrato is linked to the phase of the second oscillator. The ramp is activate each new note, providing life on the vibrato, like acoustic instrument. You can link this ramp to the LFO, for more effective action of the vibrato.
The slider gives you different specialization of the sound :