The WAVEFORM OUTPUTS
There are three wave shapes that are derived from the oscillator core. These signals are all roughly 10V peak to peak and centered
around 0V (bi-polar). The Sine wave is derived from the Triangle core of the oscillator and is provided as an output because it is
great for blending with signals of greater harmonic content in order to strengthen the fundamental. The Sine shape has almost no
harmonics, so it is also a good starting point for creating complex FM sounds because the sidebands introduced through FM are
not be obscured by harmonics present in the signals utilized.
The Variable Shape is a unique waveform that is derived from the Sine. It is more harmonically rich then the Sine, but the
fundamental frequency is still very strong. The Variable Shape carries the harmonics and sidebands introduced through Hard
SYNC and FM with greater presence then the Sine shape. The end result is that the it will be more aggressive signal when using
Hard SYNC or FM. The Variable Shape is also excellent for patching Subtractive synthesis sounds.
The Sub-Oscillator is a stepped rectangular shape derived from the comparator on the core of the STO are aected by SYNC
patches as well as the EXPO, Linear FM, and 1V/Octave inputs and controls. The sound is similar to a Square wave, but it is one
octave below the frequency of the Variable Shape and Sine waveforms making it very pleasant to combine with these signals. It
thickens the sound and provides more harmonics for lters such as the MMG to work upon.
Control Inputs
There are several control inputs on the STO, all of which conform to the system wide standards. Just about any control or audio
signals are eective in some way at these inputs.
The EXPO CV Input is similar to the 1V/Octave Input and in fact could be used for adding a second sequence (combining two
sequences) or transposing a sequence patched to the 1V/Octave input. It is also highly useful for sweeping the Frequency of the
STO to animate SYNC sounds or percussion patches. If wild textures are desired, the Expo input could be used to implement
Exponential FM. When using for modulation be sure to patch a VCA such as the Optomix in series before the Expo CV Input as
there is no attenuator associate with this input.
The 1V/Octave Input is typically used for controlling the Pitch of the STO from a sequencer, CV Keyboard or Midi to CV converter.
It could also be used for all of the functions described above in the EXPO CV Input paragraph. When using for modulation, be sure
to patch a VCA such as the Optomix in series before the EXPO CV Input, as there is no attenuator associate with this input.
The S-Gate input turns ON, OFF, and Resets the Sub-Oscillator. Just about any signal will work as a gate at this input. There are
just two states, Sub On and Sub O. Additionally, the Sub resets at the onset of the Gate High state (Sub On). This input is useful
for animating the Sub-Oscillator, allowing it to have rythymic or percussive patterns not associate with the other outputs of the
STO. If more narrow signal is used at this input, such as Saw from VCO A on the DPO, it is possible to create sync type sound in the
Sub-Oscillator while the other outputs, Sine, and Variable Shape, are not aected.
The Linear FM input and associated attenuator is described below in the FM, Sync, and Variable Shape section. The SYNC input is
described below in the FM, SYNC, and Variable Shape section. The Variable Shape input and associated attenuator is described
below in the FM, SYNC, and Variable Shape section.
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