MOTM

My limited experience says your basic understanding is OK.  I love hard sync
type sounds.  In fact, some of my first MOTM samples on Paul's website were
made with two VCOs using hard sync to get what Paul calls the screaming
gee-tar sounds way back before the first MOTM filter. :)

When I do it, both VCOs get their CV from the same source, so everything
tracks.  But, you could do it differently if you wanted the timbre to change
across the frequency range.  But, the frequency of VCO # 1 that is providing
the signal for hard sync actually controls the frequency of both VCOs.  The
frequency setting on VCO # 2 only determines how much wave you travel
through before VCO #1 cause VCO # 2 to reset. (That's my simple way of
looking at it).  VCO # 2 frequency adjustment needs to be lower than VCO # 1
so that VCO # 1 is forcing VCO faster as you cannot force it slower.

Larry Hendry (experience level above zero, but just barely) <snicker>

P.S.  I like to use a EG to modulate the frequency of the VCO under sync.
That way the EG can be dialed in to give the sync sound an almost filter
like effect with each new gate.


----- Original Message -----
From: sucrosemusic <sucrosemusic@...>
First off is a technical question that'll sound newbie-ish.  That's
ok, since I could easily be considered a newbie.  All of my analog
synths are single VCO based, so I have *zero* experience with hard
sync.  My understanding is that it's a way of retriggering the wave
(say sawtooth) even though it may have gone through more or less than
one oscillation, so you'll get a one-and-a-half cycle wave every
cycle, or a less-than-one cycle wave every cycle.  Assuming I'm
right, here's the question:

How do you wire it?

Say I have a 310 uVCO and a 300, can I run the output of the 310 into
the "hard sync" jack on the 300?  If so, the CV going into the 310
controls the pitch, whereas the CV going into the 300 only controls
the timbre of the sound?  (they could both track the main CV i'm
playing with the coarse adjustment on the 300 set to give me a
specific sound)

If that's how it works, then great, my understanding is mostly right,
and I've got lots of interesting hard-sync modulation ideas that I'm
sure everyone else has been doing since the mid 70s.  <grin>