Food for thought: Compare the amplitude compensation of the Juno DCO to a piano.
The short piano strings in the top octaves of a piano are much quieter than the longer strings for lower notes. These high-octave notes have tripled strings to boost the loudness. Similarly, the bottom handful of notes are just a single string, rather than the usual doubled strings.
How similar is the amplitude variation for piano strings when compared to the amplitude variation of a ramp-core DCO?
What would it sound like if DCOs were tripled in the highest octaves, doubled in the middle octaves, and soloed for the lowest notes? Obviously, this would consume more oscillators per note, and there’d be a significant benefit to allowing the pitch of each doubled or tripled DCO vary from its neighbors to thicken things, but I find it an interesting consideration.
I suspect that there is less amplitude variation between strings than there is between notes on an uncompensated DCO. There’s also the difference in decay time for piano strings of different pitches, but that’s a totally different factor.
