Oakley manual Operating Instructions, Reading the front panel for the 3031 from left to right

Operating Instructions

The following will be a description of the pots and switches in the 3031. Refer to the diagram at the end of this document for a drawing of the front panel.

Reading the front panel for the 3031 from left to right:

TUNE: Alters the frequency of the VCO and thus tunes the whole instrument.

SLIDE: Controls the amount of portamento on the pitch when the note changes and slide is enabled. The little red LED will light if the slide is active.

VCO WAVE: The VCO produces two basic output waveforms. The square wave, a hollow sound; and a sawtooth wave, a more brassy sound. The WAVE switch actually controls two things. When SAW is selected, the sawtooth output of the VCO goes into the audio input of the filter. However, it also routes the square wave to the filter modulation pot. When SQR is selected, the square wave is sent into the filter’s audio input, and the sawtooth goes to the modulation pot.

SUB OSC: Adjusts the volume of the discrete sub-octave generator. This will add a triangle or a sawtooth wave output one octave below the VCO’s pitch to the filter input, for really deep bass.

SUB OSC WAVE: Selects whether the triangle or the sawtooth output of the sub oscillator is sent to the filter’s audio input. The triangle will give you deep bass without the harshness associated with normal square wave waveforms. The sawtooth is far more bolder and harmonically rich, but I think it still sounds better than the TB3030’s square wave.

FREQUENCY: Alters the voltage controlled filter’s cut-off frequency. The more clockwise the pot the brighter the sound.

RESONANCE: This alters the amount of feedback applied to the filter. What this does is to create a peak in the filter’s response. Thus certain frequencies are heavily emphasised. It also controls the amount that the accent signal modulates the filter’s cut-off. This last bit is rather unusual, but it gives the 3031 its characteristic ‘th-wap’ sound when accents are triggered.

FILTER CONTROL: This is a three position switch that selects which external control signal will affect the filter’s cut off frequency. Set to VEL, the velocity will control the cut off. This is good for those touch sensitive keyboard solos. Set to MOD, the modulation wheel will control the filter’s cut-off. This is great for controlling filter sweeps from your sequencer or master keyboard. The switch’s middle position removes any external control on the filter.

AMOUNT: The filter’s cut-off frequency can be modulated with an envelope generator. Thus dynamic filtering is possible. By increasing the amount of envelope modulation, the cut-off point is increasingly moved by the envelope generator. The generator itself is triggered by the gate signal, and produces a decaying voltage immediately after being triggered. This produces

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