There are three options here, along with the ability to disengage modulation completely.
EREBUS V3 OR DREADBOX NYX 2 MOD
The final routing control dictates how these mod sources interact with the cutoff of each filter.
EREBUS V3 OR DREADBOX NYX 2 GENERATOR
The NYX 2 has two routable rise/fall modulation generators, plus an additional generator for the VCA. There are four options: both filters in low-pass mode Filter 1 low-pass and Filter 2 high-pass, creating a band-pass filter both filters in high-pass mode and parallel low-pass mode. The next routing control sets the arrangement of the filters. These are Normal, whereby both oscillators are fed into filter 1, Split, which has Osc 1 and 2 feeding separately into Filter 1 and 2 respectively, VCA mode, which makes the oscillators bypass the filters, and Half, which bypasses Filter 1 and routes both oscillators into Filter 2.
The relationship between these two filters, and where they sit in the signal flow, is dictated by a trio of routing controls.įirst up, VCO routing has four options dictating where the signal from each oscillator ends up. They share a single cutoff and single resonance rotary between them, but there’s a bi-directional offset dial for adjusting the cutoff point of the second filter relative to the first. There’s a separate gate input here for triggering the envelopes independently of any incoming notes, and the VCA can be set to an always-open ‘drone’ mode, giving more flexibility when it comes to creating weird paraphonic textures and two-note chords. The second method for paraphonic control is to use the individual CV inputs for each oscillator’s pitch in the patchbay. It can do meaty analogue monosynth sounds but it’s best when it is pushed into more unusual territory If two notes are played at the same time, the lower note takes priority (i.e. If a second note is played whilst the first is still held, this will affect the pitch of the second oscillator without retriggering the envelopes or altering the pitch of Oscillator 1. In this mode, if a single note is played via a MIDI keyboard or sequencer it will set the pitch of both oscillators and trigger the envelopes.
Firstly, using the DIP switches on the rear of the unit it’s possible to switch between duophonic and unison modes, the former allowing the two oscillators to be fed individual notes via the standard MIDI input. Paraphonic operation can be controlled in one of two ways. I found myself turning to an attenuator in order to dial in slightly subtler levels. This noise source is fairly loud though dialling in just a little level results in quite dominant noise presence, even with oscillators turned up to high in the mixer. The NYX 2 is also equipped with a white noise generator that is only accessible via the patchbay, where it has its own small level control.
A switch above the mixer can engage sync between the two oscillators. There are individual glide controls for each oscillator, plus level sliders for each in the mixer section.
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