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Category / techniques
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Integrator #1
By routing BRENSO’s yellow V/oct signal through the integrator, we can control the green oscillator as well, with the advantage of a linear slew limiter. It can introduce a lag between the two oscillators, which can create some temporary dissonances when using the FM modulation, like here!
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PWM #2
We didn’t have enough PWM, so here’s another trick! This time, without even patching a cable.
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Lock & Flip Sync
The Lock Sync is excellent when we want to remove any beats between the yellow and green oscillators. It provides a subtle and precise synchronization, excellent for blending multiple waveforms. The Flip Sync is more aggressive and changes the green oscillator’s timbre dramatically because it forces the green waveform to the rising stage at every yellow wave cycle.
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PWM #1
Who doesn’t love pulse width modulation? This is the first tip on how to do that with our BRENSO oscillator.
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Noise Oscillator #2
What do you use your noise sources for? We can’t have enough so this time, we used the white noise to frequency-modulate BRENSO’s green oscillator, which is also flip-sync’d to the yellow one. It’s almost like tuning the noise!
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Random-Clock Sequencing
If we set SAPÈL’s random clock output to Less than mode, we obtain some random clocks that are always synced to the main one. Randomness, but with a groove!
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Noise Oscillator 1
In this patch, we used SAPÈL’s blue noise to do some thru-zero FM over BRENSO’s yellow oscillator. By controlling the FM deviation through an LFO we’re able to bring the noise in and out and obtain a soothing seashore effect.
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Random Delay
We’ve seen SAPÈL modulating pretty much everything, but what about a stompbox? Today we explored how it pairs with the Empress Zoia – and it’s NICE!
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Double Clock Trick
The best way to copy a clock is through the 333 module. But what if you don’t have it? Check out this workaround to get two clocks out of the same SAPÈL’s section!
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Unvoiced Input
Let’s talk a bit about FUMANA’s Unvoiced input! We use it mainly to add a realistic sibilant effect to vocoding tracks. We patch a “sibilant” sound to its input, like a noise, or even a copy of the voice signal.
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