Helpful advice from Robert Rich.
>
> The best use I found for soft sync on the 300 is to
> add the essential non-linear element for chaos
> patches. The "talking chaos" patch, for example, has
> two 300s cross-modulating each other with sign waves,
> both set to approximately the same basic frequency.
> The sync buss is connected, and both are set to soft
> sync. That creates a complex interaction where the
> modules get stuck and unstuck. Wiggling one a tiny bit
> (with a low lagged sample&hold random voltage for
> example) will prevent them from getting locked into a
> pattern.
>
> As the questioner mentions, The trick of modulating
> VCO pulse width with a high frequency sine for example
> adds a great "fret buzz" sort of timbre to bass
> sounds. For timbral variation within patches, try
> audio-frequency modulating anything with something
> else. Sine waves often make the best sources for audio
> rate modulation, because there's already plenty of
> overtones resulting, so I frequently put a filter into
> full resonance for that purpose.
>
> If you have two LFOs with FM input, try
> cross-modulating them for complex interactions. If you
> put that output into the VC-in on an oscillator,
> you'll open up a wide range of bleebly sounds, birds,
> wiggly bits, etc.
>
> Split the output of a filter and process one half with
> other filters and VCAs before putting that signal back
> into an input on the same filter (either audio input
> or the FM input). The feedback loop will affect the
> resonance, and dynamic processing will make the
> interaction very complex.
>
> For the above idea and for any other patch, add a
> time-domain digital effect - like echo, reverb,
> chorus, flanging, etc - to the inside of a patch. Use
> outboard effects as if they are modules in the system.
> This opens up an entire realm of options for
> feedback-type patches.
>
> Rethink the standard use for a module. Did you know
> that a lag processor is a low pass filter? An envelope
> generator is a lag processor? An envelope can even be
> a waveshaper for low audio frequencies at its fastest
> settings. Likewise the 320 LFO makes a good audio-rate
> oscillator for bass sounds with very cool waveshaping
> features.
>
> Two oscillators at their highest frequencies - above
> hearing - can cross-modulate each other to create
> difference tones you can hear. That's how a Theremin
> works, and radio. You can do it on MOTM oscillators.
> Try modulating a super-sonic VCO with an external
> audio signal. It's very odd. You can do the same with
> resonating filters.
>
> Speaking of resonating filters, you can "ping" them
> when they are almost ringing by putting a sharp
> envelope blip into their audio input. It makes a very
> ghostly gamelan-like sound.
>
> The idea behind all of these tips is to break the
> established paradigms and rethink the possible role of
> each module. Don't assume a patch has to go
> VCO-VCF-VCA.
>
> I hope this helps a bit. - Robert Rich
>