FL Studio Mobile
3x Osc 3x Osc is a deceptively powerful 3 x Oscillator, subtractive synthesizer. Presets from the Desktop Version are compatible. 3x Osc has been used in 1,000,000s of FL Studio projects since 2000 and continues to bring bright sunny days to music producers world wide!
NOTE: 3x Osc is a deceptively powerful synth with the option to create an aliased raw sound from the 90's or a modern pristine sound of the present with a flip of the HQ switch.
This section covers parameters for Oscillators 1 to 3. These can generate standard subtractive synthesis shapes or use custom single-cycle waveforms
- Shape Selectors - The menu in each oscillator allows you to select Sine, Triangle, Square, Saw, Rounded saw, Noise (white) and Custom shapes. Custom further allows you to load your own waveform from the file browser. NOTE: Single-cycle waveforms are expected.
- Invert (Switch) - Invert the phase of the oscillator. When you mix two oscillators with equal settings, and one is inverted, they cancel so no sound is produced. However, if you then set Fine frequency to a slightly different value, this will produce interesting flanging/phasing effects.
- Free run (Switch) - When enabled the oscillator phase is allowed to run free, creating interesting flanging effects on quick successions of same-pitch notes. When disabled the oscillator phase is reset every time a note is triggered, so all voices play in phase.
- Phase - Allows you to set starting phase offsets for the left and right channels of the generator. The offset allows the oscillator to start at the highest value of the sine function instead at the zero point. Stereo phase offset can add richness and stereo field.
- Detune - Allows you to de-tune the stereo sound of the oscillator, by applying a slightly different frequency at the left and right sound channels. This adds to the stereo panorama of the sound and creates a 'stereo flange' effects. When the knob is in the middle, the effect is turned off.
- Coarse - Coarse tuning (in the range -24 to +24 semitones) of the individual oscillators.
- Fine - Fine tuning (in the range -1 to +1 semitone) of the individual oscillators.
- Pan - Sets the stereo panning of the oscillator.
- Phase Rand - Adds 'randomness' to the stereo phase of all oscillators. Low values can make the sound slightly more natural, while higher values can be used as a special effect.
- Level - Sets the relative volume of each of the oscillators. Relative, here, means the overall sound output is kept at the same level, but the relative amount of each of the oscillators is adjustable. Oscillator 1 does not have a Level control. For example, to mix 50% of oscillator 1 and 2, set the volume of oscillator 2 to 50%. To mix all 3 oscillators at 33.33..%, set the volume knobs to 50% for oscillators 2 and 3. To mix only oscillator 1 at 100%, set all other volume levels to zero.
- AM (Amplitude Modulation) - Switch on to use Oscillator 3 as an AM source for Oscillators 1 and 2.
- HQ (High Quality) - Uses anti-aliased oscillators provide virtually alias-free sound from 15 Hz to 20 kHz. NOTE: Switch this off for a more raw 90's digital 'aliased' synth sound. Most notable on high pitched notes.
This section applies panning modulation to the pan parameter.
- Global - The LFO setting is used globally, so that it does not restart with each note onset and the same value is used across all notes. If unchecked, the LFO is applied to each note locally.
- Tempo - When selected LFO effects are tempo-synced.
- Shape - Choose from three LFO shapes; Sine, Triangle and Square.
- Delay - May be used to add a 'delay' between the start of a note and the application of the LFO.
- Attack - Sets the attack length for the LFO modulation to reach full value.
- Amount - Is a global multiplier value to control how the LFO envelope is applied to the target it's modulating. If the Amount knob is centered (AMT = 0), the LFO will NOT be applied to the target. Turn right for positive multiplier values and left for negative multiplier values (this inverts the phase of the LFO).
- Speed - Controls the frequency (speed) of the LFO. Left is faster (because we are strange sometimes).
Envelopes in this section apply to the volume envelope of the notes. The envelopes are similar to ADSR envelopes with a few additional properties (Delay, Hold and Amount).
These envelope controls appear on most tabs, so will only be described here for Volume. There are three columns of related controls:
- Delay - Delay can be used to add a gap between the start of a note and the envelope attack ramp.
- Attack - Controls the attack length of the envelope (attack shape in tension edit mode). Tension (below the knob) - Controls the convex/concave shape of the curve.
- Tension (Slider) - The shape of the curve of the Attack slope.
- Hold - 'Holds' the attack at its maximum level for a period before the decay starts.
- Decay - Controls the decay length of the envelope (decay shape in tension edit mode). Tension (below the knob) - Controls the convex/concave shape of the curve.
- Tension (Slider) - The shape of the curve of the Decay slope.
- Sustain - Determines the sustain level of the envelope.
- Release - Determines the release length of the envelope (release shape in tension edit mode). Tension (below the knob) - Controls the convex/concave shape of the curve.
- Tension (Slider) - The shape of the curve of the Release slope.
- Amount - When available, this is a global multiplier value for the envelope as it's applied to the target it's modulating. If the Amount knob is centered (AMT = 0), the envelope will
NOT be applied to the values. Slide to the right for positive multiplier and left for negative multiplier values (this inverts the effect of the envelope).
- Tempo - Turning this option on makes lengths of attack, hold, decay, etc. tempo based, so they change whenever the
tempo is changed. With this option checked, you can Right-Click all knobs in an envelope section (except Amount and Sustain, which don't set a time
period) and open the Set submenu that contains some pre-defined tempo-based lengths. Select any of these to apply them. If you
select a pre-defined tempo-based length from this menu and the Tempo Based option is not checked, it will turn itself on automatically.
These controls appear on most tabs, so will only be described here for LFO:
- Global - Select to apply the LFO setting globally, so that it does not restart in the beginning of each note. If deselected the LFO is applied to each note locally.
- Tempo - When selected LFO effects will be tempo-based.
- Shape - Choose from three LFO shapes; Sine, Triangle and Square.
- Delay - May be used to add a "gap" between the start of a note and the application of the LFO.
- Attack - Sets the attack time for the LFO modulation to reach full value.
- Amount - Is a global multiplier value to control how the LFO envelope is applied to the target it's modulating. If the Amount knob is centered (AMT = 0), the LFO will
NOT be applied to the target. Turn right for positive multiplier values and left for negative multiplier values (this inverts the phase of the LFO).
- Speed - Controls the frequency (speed) of the LFO (left is faster just to confuse you).
There are three tabs that work together; FLT (Filter), CUT (Cutoff) and RES (Resonance).
- Type - Filter type, choose from:
- Fast LP - Light CPU load, Low Pass filter (frequencies above the 'Cutoff' band are removed).
- LP - Low Pass filter (frequencies above the 'Cutoff' band are removed).
- BP - Band Pass filter (frequencies above and below the 'Cutoff' band are removed).
- BS - Band Stop filter (frequencies at and around the 'Cutoff' band are removed).
- LPx2 - Low Pass filter steep cutoff (frequencies above the 'Cutoff' value are removed).
- SVF LP - State Variable Filter Low Pass (frequencies above the 'Cutoff' value are removed).
- SVF LPx2 - State Variable Filter Low Pass, steep cutoff (frequencies above the 'Cutoff' value are removed).
- Cutoff Envelope - Modifier of the Filter Cutoff from the CUT controls (ADSR style envelope and LFO):
- Resonance LFO - Modifier of the Filter Resonance from the RES controls (ADSR style envelope and LFO):
Applies an envelope or LFO to the pitch. LFO with a small delay is useful to simulate vibrato effects when recreating natural instrument sounds.
- Enable - Enable the Pitch Envelope and LFO sections.
- Tempo - LFO will be tempo synced.
- Envelope (Tab) - See Envelope controls here.
- LFO (Tab) - See LFO controls here.
- Voices - Adjust the maximum polyphony (number of notes that can play simultaneously). The '---' setting means unlimited.
- Slide - Portamento Time (Slide) is used to set the slide length when portamento is turned on. Also used for overlapping notes in monophonic mode. As the slider is increased, the longer the slide.
- Porta - Enables the portamento feature for this channel (sliding the pitch from note to note). The portamento transition also includes all other properties of the note (cutoff, resonance and panning).
- Mono - Sets 3x Osc to monophonic mode (maximum one note played at a time). In this mode, when two notes overlap (the overlap amount does not matter) they will 'slide' one to another (including their properties - cutoff, resonance and panning). You can set the transition length with the Portamento Time (Porta) knob (see above).
- Gate - Defines the maximum length of a note event in the channel - i.e. Long notes are truncated to the set length. To disable the gate effect turn the knob fully clockwise.
- Adjustment - Automating these controls can give an extra dimension to expressiveness of presets.
- Pan - 3x Osc panning (Left to Right)
- Volume - 3x Osc volume.
- Cutoff - 3x Osc filter cutoff.
- Resonance - 3x Osc filter resonance.
- Volume Tracking - How note velocity is mapped to parameters other than level, inside 3x Osc.
- Middle - Middle value where no modulation offset is generated. For the velocity tracker, the middle value of a note's velocity (e.g. ~ 64 relative to 0 to 127) determines the 'no-change' point. Use this control to skew the mid-point up or down in the range.
- To Pan - Velocity is used to modulate Pan.
- To Cutoff - Velocity is used to modulate Filter Cutoff.
- To Resonance - Velocity is used to modulate Filter Resonance.
- Key Tracking:
- Middle - Middle value where no modulation offset is generated. For the Key tracker, the middle value of a note's velocity (e.g. ~ C5 relative to C0 to B9) determines the 'no-change' point. Use this control to skew the mid-point up or down in the range.
- To Pan - Note value is used to modulate Pan.
- To Cutoff - Note value is used to modulate Filter Cutoff.
- To Resonance - Note value is used to modulate Filter Resonance.
This section lets you add a real-time arpeggio effect to the sequence of an instrument. To activate the arpeggiator, select a direction. T
- Direction - Off (default; turns off the arpeggiator), Up, Down, Up-Down, Up-Down (twice the lowest and highest notes), Random (selects random notes from the range and chord specified).
- Slide - Select this option to make the arpeggiator slide between notes. This option will not work with instruments that do not support slides.
- Gate - Gates the arpeggio notes, this results in shorter notes and a more staccato sound.
- Time - Delay between the successive notes generated by the arpeggiator.
- Range - Set the arpeggio range in octaves. The arpeggiated chord is transposed within the specified range to create additional notes for the effect.
- Repeat - This is dependent on the 'Range' value. It determines how many times a note or arpeggio chord is repeated prior to playing in a different octave range.
- Chord - Single notes will play Chords according to the settings.
- None - The arpeggiator will progress with a step of 12 semitones (1 octave) within the specified octave range.
- Auto & Auto (sustain) - Operate the arpeggiator in classic mode - it will create arpeggio effects based on any chords contained in the instrument sequence. Auto (sustain) will not apply arpeggio effect on monophonic sequences (given that the octave range is set to 1)
- Other modes - The remaining presets are predefined chords that will be applied to the instrument sequence (sequence chords will not be arpeggiated as in classic mode).
Note based echo effects.
Echo effects are note-based (rather than audio). That is notes are repeated like echoes. This enables some special effects like pitch shifted echoes, but also requires additional CPU power for each echo generated (as each echo is a retriggered note voice).
- Echoes - The number of echoes generated for each note. NOTE: It is recommended to keep this number down for lower CPU usage. Feedback needs to be active for the echoes to sound.
- Time - The delay between echoes in units of beats. This enables you to set a tempo based delay, so echo will follow properly tempo changes in the song.
- Pan - -Panning of echoes. The first note will sound where its panning is set. The echoes will sound at the Pan location. All echoes are panned the same amount
- Pitch - Pitch offset of echoes. Each subsequent echo will pitch by the amount set in an ascending or descending sequence.
- Feedback - Sets the volume of echoes. At 100%, echoes have the same volume as the original note. Turning it to left creates fading out echoes. Turning it to right increases the volume of each successive echo. 0% is off.
- Cutoff - Applies filter to the echoes. Negative values become progressively more filtered.
- Resonance - Applies resonance to the echoes. Positive values become progressively more resonant.
- Ping Pong - The note Pan value will 'bounce' more left/right as the value approaches 100%.
- Fat Mode - This is a special mode of the echo delay effect, which makes subtler echoes with alternating panning. It's useful for creating flange and chorus-like effects (similar to Unison).
Notes & Tips
- Presets - 3x Osc can load presets from the 3x Osc desktop version. If you use a Custom Waveform, you will need to save this to your device and select it manually.
- Stereo Phasing can introduce clicks when the oscillators start somewhere inside the waveform other than zero level. You can fix this by using a Volume Envelope with a short attack time.
Plugin Credits: Maxim Zaev (Implementation), Didier Dambrin (Original design).