 Hello, this is OscillatorSync. Welcome to one of my monologue sound design tricks videos. In this video, we're going to be looking at the monologue's super secret oscillator. Okay, so that's the clickbait title out of the way. What we're talking about is how we can get an additional sound source that we can blend into our two VCOs that we already have. And it's no great secret, but you know, you don't get the clicks if you don't do those titles. So let's start. Here's an initialised patch. Okay, so we know we have VCO1 as a sound source. We know we have VCO2 as a sound source. And if we turn them both down, we get no sound at all. So there is one other sound source that we can create, and that comes from the filter. So the filter on the monologue, when the resonance is cranked all the way up, we'll go into self-oscillation. So if we press a key and open up the envelope, you can see here that we can see that there's something happening on the oscilloscope. You can't hear anything, and that's just because it's out of the audio range at the moment. But if we dial the cutoff down, we can see that we've got a sine wave, essentially. It's probably just off a sine wave, but basically a sine wave. Now at the moment, if we play a note, or rather if we play any note, nothing changes. So we have to, if we want the filter to move with notes that we're playing, we need to go into the edit mode. We need to go into the program edit, and we want to go into the other settings. We want to scroll through until we see cutoff key track, and we want to turn that up to 100%. Now what the cutoff key track usually does for us in normal patches, if you like, is it means that as we play higher notes, it has the effect of basically turning up the cutoff knob for us automatically, and that approximates the idea that when you play higher on acoustic instruments, there's more harmonic content let through. So you get a brighter sound as well as a higher sound. But in our case, now that we've turned cutoff key track on to 100%, it means that if we play the keys on the keyboard, this knob has been moved, which basically means that we can play it like we can any of the other oscillators. So now we can bring in one of the other oscillators, we'll bring VCO1 back in, and we can hear that there's quite a discordant at the moment, but if we tweak the cutoff knob, we can actually get it in tune. And we can tune it to different intervals as well. If we use the resonance knob, we can kind of get a bit of a different volume going on in our special cutoff oscillator. Also change the tone a little bit. But what this means is we can get three note chords. So if we bring in VCO2 and then tune it. The thing you have to remember, of course, is that we are still using the filter, so things are going to get darker lower down. Sounds really cool, but it's certainly darker. And brighter higher up. So the other thing to remember now is that anything that would usually adjust the filter cutoff will basically give us the pitch control for our special third oscillators here. So if we go over to our LFO here and we make sure we're on cutoff mode here, anything we do here is actually going to affect the pitch of this oscillator without affecting the pitch of the other two. And that's quite interesting because you can't usually do that on this synth. The pitch LFO setting here will affect both VCOs at once. So that gives us a new sound that we can get at. Which is quite neat. One other thing to bear in mind is that because we're using key track to move the cutoff, if we pitch bend our VCOs with our lever here, it's currently in normal pitch bend mode, it's not going to move our third oscillator. So we can use that to get new and interesting harmonic ideas going on as well. One other thing that I will just point out which is a particular favourite trick of mine when I'm using the cutoff as another oscillator is actually, I'll take rid of, get rid of VCO1 and switch VCO2 into noise mode. Now, usually, obviously, noise mode isn't going to give us a pitched sound if we turn the resonance down. You can hear the effect of the key tracking there though. You can hear how it's much brighter, very dark down here, and totally open up at the top there. So that's a great example of what the cutoff key track usually does. But if we bring it in as an oscillator now, we get this lovely sort of wind instrument kind of thing happening. And because the noise is kind of affecting what's going on with the filter, it gives it this sort of burbling which I really like, especially nice low register. Maybe we can bring in some of our filter LFO to get a bit of pitch movement. Maybe we'll bring in our first VCO again. So, there we go. That is how we get a third oscillator happening on the chord monologue sort of. Of course, in order to do what we are, actually sacrificing our filter. But at least some really interesting textures and you can get those sort of three-note chords that you couldn't possibly do in any other way. If you found that useful, if you enjoyed the video, please do hit that like button and also the subscribe button so you don't miss any of the upcoming videos that I'm also doing on the monologue and some other sound design ideas that we have here. Thank you so much for watching guys and see you again soon.