UVI Focus

Deep Dive

Falcon 2.8
Texture Oscillator

The Birth Of An Oscillator

In this UVI Focus article we’re taking a closer look at one of Falcon 2.8’s most important additions, the Texture oscillator. From a concept to real-life use cases, discover its inception, development, and see how you can make the most of it!

One of the main ideas behind the Texture oscillator was the simplification of adding and manipulating sonic textures in Falcon. To begin with, we designed, recorded, and tweaked 111 textures of all sorts, from sand and vintage electric organ clicks to cassette tapes, modular synths, and more. For instance, the Falcon Factory “Orchestra” category is mainly composed of instrument samples with the tonal material removed, in order to keep only the noise and textures from bow and breath interactions.

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The Texture oscillator has an internal signal chain designed to accentuate tonal elements. The Bandpass and Peak cutoff settings are automatically keytracked to let other oscillators fit in naturally.

The different playing modes allow for a great flexibility too, from the one-shot, loop, reverse and random play head modes to the legato one, which allows users to avoid phasing on notes ratchets.

There are three main use-cases possible for the Texture oscillator:

1. As a way to bring noise or raw texture into a preset, the oscillator lets you sculpt textures that fit ideally with a tonal sound source

2. As an excitation source for resonators, the oscillator lets you easily create rich textures for resonant filters

3. To create textured attacks and transients with organic sounds, instruments clicks and electronic glitches

1. As a way to bring noise or raw texture into a preset, the oscillator lets you sculpt textures that fit ideally with a tonal sound source

2. As an excitation source for resonators, the oscillator lets you easily create rich textures for resonant filters

3. To create textured attacks and transients with organic sounds, instruments clicks and electronic glitches

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