Well OK. . .

Imagine you have an oscillator with a voltage input.

At 1v you have C3, At 2v you have C4, at 3v you have C5 and so on. That works out very well, because you know when you increase voltage one volt you go up an octave.

So imagine you have three parallel oscillators tuned to the root, the 3rd, and the 5th (the steps that make up a major chord.)

You have it set up so that oscillator 1 gets 1v for C, oscillator 2 gets something like 1.4 volts for E, and something like 1.6 volts for G. You increase everything by one volt, and all the notes remain the same.

However, if you build an oscillator that doesn’t have a linear response- say that instead

C2 = 1v
C3 = 1.5v
C4= 2.5v
c5 = 5v

and so on and so forth. . . this means that the voltage change to get a certain musical interval is never constant. If the voltage change to get a certain interval is different for every voltage, when you increase the voltage to raise your C an octave, since your E and G are higher notes, they’ll go higher than an octave since the voltage increase per octave goes higher with each note. So then although the chord will be in tune on one setting, it would be way out of tune on another.

If your oscillators have a linear response, yes you could do that.

And sorry, it’s not a new idea. I can make patches on my synth that allow me to play full chords with a key press.

I don’t know if the trio of oscillators forming a chord is going to satisfy you. For a really great oscillator sound, having multiple oscillators playing the same note helps a lot. Usually the oscillators are all a little bit off in tuning and in phasing, which really fattens up the sound.

The other thing that helps is filtering. When you have a square wave you’re getting the base note with all the harmonics. Filtering it will take away some harmonics and give you a more interesting sound. This is known as subtractive synthesis. Another thing that helps with oscillators is called pulse width modulation. In a usual square wave we see that the up and down time are both the same. With pulse width modulation you can make the up be longer or shorter than the down, to fatten or thicken the sound respectively.

That’s a Bassman 135. I need to get a new set of tubes for it, right now it’s sitting there dead because a tube went bad and decided to blow the fuse. IT’s also got a dead Bandmaster that I picked up for 25 bucks sitting on top of it. I’ve got some work to do!

That’s actually a pretty old pic (by internet standards anyway.) The Pulsar and Clone Theory are gone, and now there is a Tone Wicker Big Muff on the board as well as the Little Big Muff.

nice as always! I especially liked it in the DMM loop.

Some pedals can get a little warm during use. I don’t have a Micro POG, but I know my HOG definitely gets a little warm sometimes.

If it’s getting HOT then I’d think there’s a problem.

Those Vox guitars are so wonderfully awesome. I wish that someone would make palm wah type expression pedals that could mount without routing to a TOM bridge.

Hi!