I’m attempting to wrap my head around how to incorporate LFO 1 into patches using high frequency mode and copying over waveforms from DDS1 to the LFO in HF mode.
It seems to result in FM/worldish sounds most times I do it, and frankly I’m not sure I’m doing the correct process to ‘copy’ over DDS1’s waveform and then move DDS1 back to a SAW wave etc. Anyone have thoughts or want to share what they’ve been doing with this?
I feel like this is one of the points that could get sounds out of the Super 6 that most other hardware synths don’t do, but maybe I’m wrong on that.
In HF mode with keytracking you simply have a third oszillator and by using the DELAY slider some kind of minimalistic wavemorphing.
In HF mode without keytracking you could use it like the fixed pipes (drones) of a bagpipe.
Another interesting patch idea is to use it as a very deep sawtooth that stimulates the filter resonance and than play the filter with keytracking.
An easy example for that:
p6_PlayTheFilter.s6 (35.4 KB)
… with this settings:
You can try to use other waveforms (see Waveform and Spectrum visualization to see how they look), but I think the effect of the melodic filter ringing comes best with a simple sawtooth.
Some other synths have a function to disable keytracking for regular VCOs what results in the same effect.
Found the idea fascinating, so i made a custom waveform for the drone and a patch that uses this like a bagpipe.
w6_drone.ws6 (8 KB)
p7_Bagpipe.s6 (35.4 KB)
The drone is tuned in A, so you have to play your stuff in A (or detune LFO1).
I love that synth! Rapid sound prototyping at it’s best.
Awesome gonna check it out. I’m out of town at the moment.