Acid Rain — Chainsaw
Chainsaw Stereo Super-Oscillator Manual (PDF)
Creative Sound Design with Chainsaw Stereo Super-Oscillator
Below is an analysis of how to modulate the Chainsaw module for unique sound design, with a focus on distorted percussive sounds, crazy basslines (dubstep/DnB), and haunting atmospheric pads.
Understanding Chainsaw's Modulation Capabilities
Relevant Controls & Inputs
- Detune Knob (4) & CV Input (6): Controls spread of 7 waves per voice; modulate for density & movement.
- Waveform Morph (5) & CV Input (7): Fades all waves from saw to square. CV morphing is very expressive.
- Linear FM Input (9): Linear frequency modulation affecting all voices, up to 2kHz CV.
- 1V/Oct Inputs (8, 10, 12): Individual pitch control per voice for polyphony, chords, or stacked intervals.
- Stereo Outs (11, 13): Waves distributed for wide image; use both or just one for mono.
Sound Design Techniques
1. Distorted Percussive Sounds
- Patch Ideas:
- Feed a sharp envelope (e.g., Maths, Function) to Detune CV (6) for a rapid detune burst. This creates metallic, punchy attacks as all waves move out of unison.
- Morph the waves quickly: Envelope into Waveform Morph CV (7) for a snap from saw to square or reverse.
- For extra bite, patch a high-frequency oscillator (audio rate) to Linear FM (9)—this can yield clangorous, noisy timbres with digital edge.
- Tips:
- Use a VCA after Chainsaw and trigger it with a short envelope for sharp transients.
- Post-process the output with aggressive overdrive and fast envelopes on a filter for more impact.
2. Crazy Basslines (Dubstep/Drum & Bass)
- Patch Ideas:
- Voltage sequence to main V/OCT input(s) for pitch slides & glides.
- LFO or envelope into Detune CV (6) for evolving, thick bass movement. Try modulating just a bit or exaggerated for slurred, chorus-like swarms.
- Use an envelope or LFO to morph between saw and square via Waveform Morph CV (7). Many dubstep basses are made by dynamically wavetable-scrubbing/morphing.
- Audio-rate modulation (e.g., another VCO) into Linear FM (9) for "formant" and dysphonic textures.
- Tips:
- After Chainsaw, patch through a low-pass filter with high resonance for “wub” sounds. Modulate cutoff with a fast envelope or synced LFO.
- Experiment with stereo image by using both outs and panning/filtering each further downstream for a wall-of-sound effect.
3. Haunting Atmospheric Pads
- Patch Ideas:
- Slow random voltages (Sample & Hold, Wogglebug, etc.) into Detune CV (6) and/or Waveform Morph CV (7) for drifting, evolving pads.
- Use all three 1V/OCT inputs for stacked chords (root/third/fifth, etc.) and send smooth modulations to each for subtle pitch drifting.
- Subtle LFO or slow envelope to Linear FM (9) for unstable, eerie textures.
- Tips:
- Blend the stereo outs for a wide image; follow with reverb and delay for atmospheric washes.
- Modulate detune slowly for a chorus-like shimmering pad.
Patch Example Tables
| Sound Type |
In 6 (Detune CV) |
In 7 (Morph CV) |
In 9 (FM CV) |
1V/Oct (8/10/12) |
| Percussive |
Envelope: fast, sharp burst |
Envelope: short spike |
Audio rate VCO |
Triggers > VCA |
| Bassline |
LFO (medium/fast sweep) |
Envelope or LFO (rhythmic) |
Audio/LFO rate for growl |
Pitch sequence |
| Atmospheric |
S&H or slow LFO |
S&H, multiple LFOs |
Slow LFO or S&H |
Triads/Chords |
General Tips:
- All mod inputs are bipolar (±5V), so unipolar sources (like envelopes) may need offset for symmetrical morphing.
- Linear FM is great for subtle vibrato or intense, digital atonality.
- Detune can go from sweet chorus to metallic, detuned madness—try automating it with slow CV for pads or fast for percussive shimmer.
- For maximum impact, post-process Chainsaw's output with envelopes, distortion, filters, and spatial FX.
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