Make Noise STO - Manual (Page 8)

Patch Ideas:
The Sub Timbral Voice:
Patch Variable SHAPE output to AC input of MMG. Patch Sub-Osc output to DC input of MMG. Set STO
Freq to around Noon. Set MMG input attenuator to 60%, MMG Freq to 0%, MMG Q to 40% and Mode to LP.
Patch slow LFO logarithmic from MATHS to SHAPE CV IN on STO and set SHAPE attenuator to about 60%.
Patch sequencer or keyboard CV to 1V/ Octave input on STO. Patch sequencer or keyboard gate to enve-
lope generator such as MATHS or FUNCTION, programmed for fast Rise Time, Slow Fall Time and Expo-
nential shape. Patch this exponential envelope to the FREQ 2 CV IN on MMG. Monitor MMG Output.
Analog Bass Drum:
Patch SINE to Optomix CH. 1 Signal IN. Patch Gate from René or other sequencer to Linear FM IN and
Optomix CH. 1 Strike IN. Set Linear FM amount to 50% and Frequency panel control to roughly 9 o' clock.
Set Optomix CH. 1 Damp and Control panel controls to full Counter Clock-Wise. Monitor Optomix CH. 1
Signal OUT. Adjusting the Linear FM amount, Frequency setting and DAMP settings will allow you to create
many different Bass Drum sounds. Adding Expo FM from another VCO will expand the possibilities.
Transposition/Superimposition
Patch a sequence such as from Rene to the STO’s 1v/oct input. Patch another sequence of a different
speed, or control voltage from a keyboard, to the Expo input. The two sequences will be “added” together for
transposition. Variations would include: clocking the transposing sequence at an odd division of the master
clock, resulting in long periods between exact repetitions; deriving the transposing sequence from the
master sequence via sample and hold; tuning a square wave LFO to +/- 1v for double octave leaps.
Dual Sync
Patch an audio-rate square or sawtooth wave to the STO’s S-Gate input, and another to the Sync input. The
SUB output will be “pseudo-synced” to a different frequency from the Sine and Variable outs. If the sync
sources are related, such as from two sides of a DPO with Following engaged, so will be the STO’s outputs.
Key Tracking
Mult the control voltage in the 1v/oct input to the SHAPE CV input, and take output from Variable wave Out.
This will result in higher pitches having more harmonic content, similar to keyboard tracking on a low-pass
filter.
Bassline
Patch a low-frequency square wave (or EOR/EOC gate from cycling Function or MATHS) to the S-Gate
input, and take output from SUB Out. Mult the square wave to the Clock input of a sequencer, and patch the
sequencer’s output to the STO 1v/oct input. Adjust square wave pulse width (or MATHS/Function Rise/Fall
times) to change the length of “notes.”