#16

Good characterization!

#17

I owned both DPO and Cs-L for quite a while and really could not make up my mind on which to keep. They really do sound quite different, and have different approaches to workflow.

Ultimately I actually sold both, but if I had to get one again I think it would be the DPO. Not only did I prefer the workflow, but the sound of the oscillators just really appealed to me, despite the Cs-L possibly being the more full-featured of the two.

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#19

(Moderators note: By request, this topic was split into Complex Oscillators, posts that were more generally about complex oscillators are now in that topic. If you feel anything was moved in error please flag the post and choose “Something Else” to let us know)

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#20

Still learning how to get subtle but distinctive sound out of it. The internal FM routing can add just a touch of vibration it dialed in right.

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#21

Any patching suggestions for the Cs-L? I seem to have a hard time getting to a good starting point with this thing. Others have done amazing things but, for some reason, this module make me feel like a moron.

#22

One thing I’d like to chime in with is that even by themselves and with very little modulation, the outputs sound great. Listen to the final out, or the bottommost output with the funny stairsteppy waveform. Wiggle the knobs. Doesn’t need to be more complex than that. (EDIT: My point here was that even if the Cs-L offers a ton of options, very simple patching can yield great results with this thing – don’t let the versatility daze you.)

Of course, that possibly doesn’t help at all :smiley: What I enjoy doing is patching envelopes to various destinations. Kicking the wavefolders, or the modulation index, with a quick envelope to give a sound an attack phase is very nice. Also explore the button combos, they give you a lot of results that at least I don’t really understand as of yet, but they sound great.

Things I’ve yet to fully explore are at least the various sync options, plus I’d like to dig deep in the ring modulation/AM section. The latter can give very nice, fragile tones.

#23
  • The wave folders respond well to linear decay envelopes, producing a plucky sound. They’re exponential, so if you want smooth swells, I recommend using logarithmic envelopes.
  • I really recommend just playing with the possible routings and controlling the VCA with different LFOs or envelopes, and seeing what you like. It can get to some really aggressive places really quickly.
  • Try self-parching! All the modulation points should handle audio rate signals.
  • It’s good to remember that the top oscillator is a saw core, and the bottom oscillator is a triangle core, so they are going to respond slightly differently to modulation.
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#24

Thanks - I appreciate the input. I’ll try to keep it simple. I agree, the staggering options with this thing tend to make me try to build something complex right out of the gate. I will try it out with simplicity in mind. I’m good at turning something simple into something overly complex :slight_smile:

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#25

I hear you, that is my entire mindset 95% of the time :slight_smile:

#26

Just took delivery of mine, and thanks to all here for making getting started less confusing than it might otherwise have been!
I have one quick question / observation - neither of my wavefolders resolve to silence with the slider at minimum. The bleed on the sawtooth is very noticeable, on the triangle it’s more subtle, like an Optomix, or similar.
I have a note into Jason to see if this is normal. I hope not, because the pluck sound sending an envelope to the wavefolder is lovely and woody, and different to DPO…

#27

Correct me if I’m wrong, I don’t have a Cs-L but normally a wavefolder at zero should output the base waveform, not silence, except on the DPO.

#28

Cs-L is similar to DPO. The base waveform is when the fader is at 50% (I think).

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#29

It depends on the wavefolder. A lot of them are silent at minimum, because it’s basically a VCA in front of a folding circuit. The ones that are passthrough at minimum are set up that way as a convenience I think, crossfading from dry to wet at the low end of the setting.

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#30

I just won one of these in an auction, pristine and practically half price! Couldn’t believe my luck and had to jump on it. Such a delicious module, and my first complex osc experience. Love it to bits already.

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#31

Manual up for Cs-L (and many other Instruo modules).

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#32

Going to be picking this beauty in a couple of weeks. Can’t wait already!

#33

Have to say, this manual has really helped me understand the module with all the possibilities it holds. There are some moments to be had where you’re just shaking your head at the sound that comes out of this thing.

Instagram doesn’t do it favors, but here’s a small clip – tried to keep it subtle, as there’s a lot of great subtle stuff in addition to the in-your-face.

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#34

I just got one of those, I love it!
It’s super rich sounding, pushes the tone that extra 2% over the top for me. Its really a joy to play. I’m also really happy to have a complex VCO now, its my first one and I wish I ggot one sooner. It encourges you to do things I wouldn’t have done before because its pre-routed. Its a super deep module and there’s really nothing I don’t like about it so far, except for the aesthetics. I wish it was a little plainer but not a big deal. I’d buy a grayscale panel for it if it existed.

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#35

Right on the fence about getting one and would looooove hearing more demos of some of the gentler sides of it. I’ve gone through seemingly most videos and there are a few that highlight it but most videos seem to have this fizzy quality that I’m not sure I’m super fond of

#36

Not sure if this is the sort of thing you’d want to hear or if this is too gentle, but a recent example:

The first voice is Cs-L with different sequences sent to each oscillator, AM, with the final output of osc A modulating osc B’s sine. Sequence courtesy of Orca’s Heart.

I have a few gentler sounds with a bit more character, but this was the first I could find.

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