Greg,
The "Variable/VC Waveform" output of the NTO is what I
think you mean by its' "waveshaping" ability, as this
is the only reference to variable wave shape on the
oscillator. This function bears little resemblance if
any to the functions of the triple waveshaper module.
The variable output of the NTO is exactly that. Rather
than a static Tri/Sine/Saw output, it is another audio
waveform output that is simply variable. It can be
changed, or the desired waveshape selected, by two
methods. You can turn the knob, or you can apply a
varying modulation to the input. Normally? this input
would be an LFO of some type. This gives the effect
often heard in wavetable synthesis of the basic
oscillator waveform varying over time. Sort of like
waveform "morphing". You can also apply audio range
signal to the input with varying degrees of success.
this will produce anything from "digital" oscillator
tones to downright clangorous or even distasteful
(whatever That is) tones. This output is, by the way,
the only way to get a square wave or variable pulse
width wave out of the NTO. I think very often people
must use it simply as a square wave out. There are
other ways to achieve a square wave output, deriving
from the three other outs, but these are somewhat OT.
As to the Triple waveshaper module. I am Not
"underwhelmed" by its' capabilities. I Love it. Having
looked at its' output on O-scope, I can tell you it
does some twisted things, from "squareing up" ala
Comparators, to some real convolution of the input
waveform. Stuff that the Variable output of the NTO is
Not capable of. There are at least three ways to wire
the thing up. One is to use each section seperately
(and if you really want to See what you are doing,
nothing beats an O-scope, although you have to be
careful not to make decisions based on the Look of a
waveform alone, unless you are a scientist/researcher,
but on your subjective listening, i.e., your ears).
another method is to use all the sections seperately
and simultaneously, sending each of the outputs to a
mixer channel and mixing them that way. Third is to
use the switch to send the outs to the ins succesively
Internally. These methods all produce completely
different sets of timbres, are hard to describe
objectively one from the other. Of course you can use
combinations of these methods, as well as VC the
sections, seperately or together, some in low freq.
ranges and some in audio ranges, to further cloud the
issue. But mainly, don't confuse the variable output
of the NTO as supplying the same types of timbral
resources as the triple waveshaper. They are just too
different to replace each other in practice. Juuuust
Thinking out loud,
BarryM
--- gredmond@... wrote:
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The "Variable/VC Waveform" output of the NTO is what I
think you mean by its' "waveshaping" ability, as this
is the only reference to variable wave shape on the
oscillator. This function bears little resemblance if
any to the functions of the triple waveshaper module.
The variable output of the NTO is exactly that. Rather
than a static Tri/Sine/Saw output, it is another audio
waveform output that is simply variable. It can be
changed, or the desired waveshape selected, by two
methods. You can turn the knob, or you can apply a
varying modulation to the input. Normally? this input
would be an LFO of some type. This gives the effect
often heard in wavetable synthesis of the basic
oscillator waveform varying over time. Sort of like
waveform "morphing". You can also apply audio range
signal to the input with varying degrees of success.
this will produce anything from "digital" oscillator
tones to downright clangorous or even distasteful
(whatever That is) tones. This output is, by the way,
the only way to get a square wave or variable pulse
width wave out of the NTO. I think very often people
must use it simply as a square wave out. There are
other ways to achieve a square wave output, deriving
from the three other outs, but these are somewhat OT.
As to the Triple waveshaper module. I am Not
"underwhelmed" by its' capabilities. I Love it. Having
looked at its' output on O-scope, I can tell you it
does some twisted things, from "squareing up" ala
Comparators, to some real convolution of the input
waveform. Stuff that the Variable output of the NTO is
Not capable of. There are at least three ways to wire
the thing up. One is to use each section seperately
(and if you really want to See what you are doing,
nothing beats an O-scope, although you have to be
careful not to make decisions based on the Look of a
waveform alone, unless you are a scientist/researcher,
but on your subjective listening, i.e., your ears).
another method is to use all the sections seperately
and simultaneously, sending each of the outputs to a
mixer channel and mixing them that way. Third is to
use the switch to send the outs to the ins succesively
Internally. These methods all produce completely
different sets of timbres, are hard to describe
objectively one from the other. Of course you can use
combinations of these methods, as well as VC the
sections, seperately or together, some in low freq.
ranges and some in audio ranges, to further cloud the
issue. But mainly, don't confuse the variable output
of the NTO as supplying the same types of timbral
resources as the triple waveshaper. They are just too
different to replace each other in practice. Juuuust
Thinking out loud,
BarryM
--- gredmond@... wrote:
> As a future Serge owner (still dreaming) I was__________________________________________________
> wondering about the
> Triple Waveshaper. I've read the comments of some
> users who seem
> underwhelmed by its capabilities, particulary in
> systems that have
> NTOs, while other users seem to really like it.
>
> How is it different from the "waveshaping" section
> of the NTO? What is
> the effect of ganging all three sections in a
> series? Any
> comments/opinions?
>
> Thanks,
> Greg Redmond
>
>
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