![]() Sawtooth (osc 1): Set to LF mode, applying osc 1’s sawtooth will create a rising, stepped effect. Here’s a handy reference for the Odyssey’s S/H mixer inputs, which are used as the voltage source for the sample-and-hold generator.ġ. Adding to the complexity, different input sources create different effects. The Odyssey’s S/H generator captures these voltage “snapshots” via either the LFO rate (for the classic “random waveform” effect) or, more interestingly, via the keyboard trigger, so that each note samples and holds (a-ha!) the voltage captured from the source. The way it works is quite simple: A source waveform-often white or pink noise-is captured in “snapshots” by a sample-and-hold generator, then the resulting value (or voltage) is used to modulate a given parameter. On most modern synths this classic LFO effect is simply labeled “random,” but sample-and-hold is useful for much more than just random stepping. The Odyssey’s modulation section includes a sample-and-hold mixer, LFO, and lag generator that can be combined in several unique ways. Oscillator 1 has some cool tricks up its sleeve too, as it can also be used as an LFO when the aptly named “LF” switch is active. Because oscillator 2 has high-note priority, whatever is played with your right hand will appear as a harmonic “melody” applied to the drone note. To begin experimenting with this technique, turn on sync, hold a note with your left hand, then play an arpeggio with your right. Another unusual approach relies on using the Odyssey’s duophonic capability to actually play the sync. Applying extreme Sample & Hold modulation-especially when combined with keyboard triggering (described in the next section)-is a dramatic effect that randomly changes the harmonic content of each note event.Ĥ. Low-rate sine-wave LFO modulation is cool for slowly evolving timbral sweeps.ģ. Increasing the attack slightly adds the squawk from “Atomic Dog.”Ģ. Using the ADSR envelope is the secret for re-creating The Cars’ lead (which incidentally, was originally done on a Prophet-5). Here are some tips for modulating oscillator 2’s pitch when sync is active.ġ. While merely changing the tuning can be a great resource for new textures, the hard sync effect really comes to life when it’s modulated. You should immediately hear a flanger-like harmonic effect in oscillator 2’s spectrum. To create this effect on the Odyssey, turn Sync “on” for oscillator 2, then move its coarse pitch slider. It was also a key component in many of Billy Currie’s leads for the ’80s UK band Ultravox. Classic examples of this sound can be found in the main leads for “Let’s Go” by The Cars or “Atomic Dog” by George Clinton. ![]() ![]() In a nutshell, hard sync causes oscillator 2 to reset its waveform every time oscillator 1 completes a cycle. The Odyssey was arguably the first mainstream synth to offer hard sync on its oscillators and is enhanced greatly by their range of modulation options. Setting all envelope parameters to their minimum (with maybe a tiny bit of increased decay) is great for adding a click-like transient to the attacks of notes. Increasing the attack slightly with a short decay gives the attack of each note a brass-like effect, especially when combined with a bit of pitch modulation on the other oscillator. ![]() Medium to long decays combined with a lot of modulation depth offers the most pronounced effect, which is great for sweeping leads and drones. Here are some rules of thumb for this type of envelope modulation: This adds a timbral sweep with a lot of harmonic character. The 18 best synthesizers 2020: keyboards, modules and semi-modular synthsĪnother approach is to modulate the pulse-width of one or both oscillators via the Odyssey’s ADSR envelope. ![]()
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