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EXPLANATIONS OF THE WAVEFORMS IN THE SUBTRACTOR SOUND MODULE
Sawtooth
This waveform contains all harmonics and produces a bright and rich sound. The Sawtooth is perhaps the most 'general purpose' of all the available waveforms. Square
A square wave only contains odd number harmonics, which produces a distinct, hollow sound
Triangle
The Triangle waveform generates only a few harmonics, spaced at odd harmonic numbers. This produces a flute-like sound, with a slightly hollow character. Sine
The sine wave is the simplest possible waveform, with no harmonics (overtones). The sine wave produces a neutral, soft timbre.
Waveform 5
This waveform emphasizes the higher harmonics, a bit like a sawtooth wave, only slightly less bright sounding. Waveform 6
his waveform features a rich, complex harmonic structure, suitable for emulating the sound of an acoustic piano.
Waveform 7
This waveform generates a glassy, smooth timbre. Good for electric piano-type sounds. Waveform 8
This waveform is suitable for keyboard-type sounds such as harpsichord or clavinet.
Waveform 9
This waveform is suitable for electric bass-type sounds. Waveform 10
This is a good waveform for deep, sub-bass sounds
Waveform 11
This produces a waveform with strong formants, suitable for voice-like sounds. Waveform 12
This waveform produces a metallic timbre, suitable for a variety of sounds.
Waveform 13
This produces a waveform suitable for organ-type sounds. Waveform 14
This waveform is also good for organ-type sounds. Has a brighter sound compared to waveform 13.
Waveform 15
This waveform is suitable for bowed string sounds, like violin or cello. Waveform 16
Similar to 15, but with a slightly different character.
Waveform 17
Another waveform suitable for string-type sounds. Waveform 18
This waveform is rich in harmonics and suitable for steel string guitar-type sounds.
Waveform 19
This waveform is suitable for brass-type sounds. Waveform 20
This waveform is suitable for muted brass-type sounds.
Waveform 21
This waveform is suitable for saxophone-like sounds. Waveform 22
A waveform suitable for brass and trumpet-type sounds.
Waveform 23
This waveform is good for emulating mallet instruments such as marimba. Waveform 24
Similar to 23, but with a slightly different character.
Waveform 25
This waveform is suitable for guitar-type sounds. Waveform 26
This is a good waveform for plucked string sounds, like harp.
Waveform 27
Another waveform suitable for mallet-type sounds (see 23-24), but has a brighter quality, good for vibraphone-type sounds. Waveform 28
Similar to 27, but with a slightly different character.
Waveform 29
This waveform has complex, enharmonic overtones, suitable for metallic bell-type sounds. Waveform 30
Similar to 29, but with a slightly different character. By using FM (see page 104) and setting the Osc Mix to Osc 1, this and the following two waveforms can produce noise.
Waveform 31
Similar to 30, but with a slightly different character.
Waveform 32
Similar to 30, but with a slightly different character.
Sawtooth
This waveform contains all harmonics and produces a bright and rich sound. The Sawtooth is perhaps the most 'general purpose' of all the available waveforms. Square
A square wave only contains odd number harmonics, which produces a distinct, hollow sound
Triangle
The Triangle waveform generates only a few harmonics, spaced at odd harmonic numbers. This produces a flute-like sound, with a slightly hollow character. Sine
The sine wave is the simplest possible waveform, with no harmonics (overtones). The sine wave produces a neutral, soft timbre.
Waveform 5
This waveform emphasizes the higher harmonics, a bit like a sawtooth wave, only slightly less bright sounding. Waveform 6
his waveform features a rich, complex harmonic structure, suitable for emulating the sound of an acoustic piano.
Waveform 7
This waveform generates a glassy, smooth timbre. Good for electric piano-type sounds. Waveform 8
This waveform is suitable for keyboard-type sounds such as harpsichord or clavinet.
Waveform 9
This waveform is suitable for electric bass-type sounds. Waveform 10
This is a good waveform for deep, sub-bass sounds
Waveform 11
This produces a waveform with strong formants, suitable for voice-like sounds. Waveform 12
This waveform produces a metallic timbre, suitable for a variety of sounds.
Waveform 13
This produces a waveform suitable for organ-type sounds. Waveform 14
This waveform is also good for organ-type sounds. Has a brighter sound compared to waveform 13.
Waveform 15
This waveform is suitable for bowed string sounds, like violin or cello. Waveform 16
Similar to 15, but with a slightly different character.
Waveform 17
Another waveform suitable for string-type sounds. Waveform 18
This waveform is rich in harmonics and suitable for steel string guitar-type sounds.
Waveform 19
This waveform is suitable for brass-type sounds. Waveform 20
This waveform is suitable for muted brass-type sounds.
Waveform 21
This waveform is suitable for saxophone-like sounds. Waveform 22
A waveform suitable for brass and trumpet-type sounds.
Waveform 23
This waveform is good for emulating mallet instruments such as marimba. Waveform 24
Similar to 23, but with a slightly different character.
Waveform 25
This waveform is suitable for guitar-type sounds. Waveform 26
This is a good waveform for plucked string sounds, like harp.
Waveform 27
Another waveform suitable for mallet-type sounds (see 23-24), but has a brighter quality, good for vibraphone-type sounds. Waveform 28
Similar to 27, but with a slightly different character.
Waveform 29
This waveform has complex, enharmonic overtones, suitable for metallic bell-type sounds. Waveform 30
Similar to 29, but with a slightly different character. By using FM (see page 104) and setting the Osc Mix to Osc 1, this and the following two waveforms can produce noise.
Waveform 31
Similar to 30, but with a slightly different character.
Waveform 32
Similar to 30, but with a slightly different character.