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Coolness. Thanks for taking the time Joel.
If I may add something... here it is. I just would like to get more into details when it comes to unison and how it works, and finish your work off.
Basically with this technique, you're totally right, you have more control over the sound except that that unison knob on synths does 3 things.
1. detune: like you said 4 parts get detuned, to be exact 2 of them equally detuned at + or - x cents, and 2 others equally at a higher value, which is usually double value of the two first tones. That's important to keep in mind that everything is symmetrical. Without symmetrical values on both positive and negative sides, you end up with a signal that is out of tune. And I don't know for you all, but I'd rather detune the thing as a whole if that is exactly what I want.
2. spread: I can't agree more with you on that one, only a few synths offer the possibility to keep the signal centered and mono and it's quite annoying at times.
Now there's 3. Symmetrical delays between the parts. In order to make sure that your resulting signal won't flange, you need to add a slight delay, a few milliseconds long, to the most detuned pair. 1 ms might be enough. You can have a try at delaying part 2, 3 4 by respectively 1, 2 and 3ms, but... That's where the outphasing nightmare begins in fact, so be careful with those delays, or else the signal will get out of phase when spreading that thing out. It's better having a single delay on 3-4.
The Wasp bass sound that's famous in Drum and bass and Dubstep only features 2 oscillators/parts, equally detuned.
The Juno Hoover from the Mentasm/Dominator Tracks is a heavily detuned unison on 2 oscs playing at 12 semitones/an octave range, seconded by a pitch envelope with a slight attack.
Now you got all details... Enjoy.
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