Maybe I should correct myself a little.
I just ran an experiment with 2 PCOs. I tuned them, then swept the slave with a very
slow sine, and I must admit that when the slave is pitched above, there is more
happening than I thought would be. It definitely emphasizes certain harmonics and
locks up to a degree.
Also I tried Papiewski's suggestion of hard-sync with 2 DSG's and got some
interesting results. The effect sounds to me more like filtering or PW modulation
than hard sync, but fun nonetheless. I'm sure it depends on the application. But then
again, I didn't buy this monster to sound like any keyboard I've ever heard.
jmr
I just ran an experiment with 2 PCOs. I tuned them, then swept the slave with a very
slow sine, and I must admit that when the slave is pitched above, there is more
happening than I thought would be. It definitely emphasizes certain harmonics and
locks up to a degree.
Also I tried Papiewski's suggestion of hard-sync with 2 DSG's and got some
interesting results. The effect sounds to me more like filtering or PW modulation
than hard sync, but fun nonetheless. I'm sure it depends on the application. But then
again, I didn't buy this monster to sound like any keyboard I've ever heard.
jmr
--- In SergeModular@yahoogroups.com, "johnrichoux" <jrichoux@m...> wrote:
> I don't get anything useful when the slave is at a higher pitch than the master.
(thanks
> for reminding me of the correct terminology) just periodic buzzes, and a very very
> slight stepping. When the slave is lower in pitch, the stepping up and down a
> harmonic scale is very pronounced. For bass patterns, I prefer the result from
> triggering a DSG over sync-ing a PCO. Maybe it's because I have more DSG's than
> PCO's.
>
> jmr
>
> --- In SergeModular@yahoogroups.com, John Papiewski <johnp299792@a...>
wrote:
> > The soft sync slave can be either higher or lower pitch than the master.
> > I think usually you'd want a higher pitch.