I've found that the subharmonic labeled #6 is not really subharmonic #6 (ie fundamental/6). It is made up from pulses of the #2 subharmonic (fundamental/2 or 1 octave down) in a 3-4 pattern. Since the outputs are square waves the spectral content of #6 is closer to that of subharmonic #8 (fundamental/8 or 3 octaves down). If you mix #8 with a little bit of #2 you end up with something that sounds like #6. A true subharmonic (or undertone) sequence based on C6 would be 2:C5, 3:F4, 4:C4, 5:G#3, 6:F3, 7:D3 and 8:C3. On Canyon we are missing the F3 and instead we get more of C3. You can mix in a little #3 and get some F tone back. The results are quite satisfactory. And it can be fun to experiment mixing these tones.
OMG!!! you have a Milo Goes to College tattoo!!!! Can you do a Descendants song on modular???
I've found that the subharmonic labeled #6 is not really subharmonic #6 (ie fundamental/6). It is made up from pulses of the #2 subharmonic (fundamental/2 or 1 octave down) in a 3-4 pattern. Since the outputs are square waves the spectral content of #6 is closer to that of subharmonic #8 (fundamental/8 or 3 octaves down). If you mix #8 with a little bit of #2 you end up with something that sounds like #6.
A true subharmonic (or undertone) sequence based on C6 would be 2:C5, 3:F4, 4:C4, 5:G#3, 6:F3, 7:D3 and 8:C3. On Canyon we are missing the F3 and instead we get more of C3. You can mix in a little #3 and get some F tone back.
The results are quite satisfactory. And it can be fun to experiment mixing these tones.
Digital or analog? VCO (CANYON)