over&sub-harmonic infinite oscillator

A digital dual-oscillator that never went passed the prototype stage :(
Although the frontpanel might seem simple, this oscillator packs some pretty unusual functions not seen in any other eurorack oscillator (nor any other synthesizer that I am aware of!) and allows for a broad range of applications to fatten up another oscillator as a second(&third) layer.

Utilizing a special algorithm to force the oscillator into a frequency region, whatever octave the incoming pitch is.
Using the continuous tracking parameter, you can make it follow the octave or inversely respond to the octave and anything in between. Very useful to be used as a secondary oscillator next to a melodic oscillator to make sure there's always a bass (or always a melody/drone/whatever?) that will follow this melodic oscillator in either sub-harmonics or sub-octaves.

Due to this function, the hard-sync also needed to work a bit different than normal. As the oscillator can stay in the bass region while the actual voice that synchronizes it might go into high frequency territory, another special algorithm is used to ensure the synchronization is either a sub-octave or sub-harmonic of the incoming synchronizing audio. This ensures that the synchronization doesn't happen faster than the wave-cycle of the oscillator so that it always produces a sound without locking into place as it's synchronized before it can really move away from the synchronization point.

The oscillator will always track the 1v/octave, ensuring it is playing the right root-note (A-G#), but the tracking algoritm allows for decoupling the octave while the octaveA/octaveB-parameter allows for crossfading through the octaves to set the desired "root-octave-region". These secondary functions are accessed using the push buttons.

The waveshape parameter allows to crossfade through a selection of 8 different modulatable waveshapes, which are modulated by the timbre-parameter. These include harmonic-crossfading sines, triangles, saws, pwm, hyper-sines, synced sines (and two more that I forgot haha).

By combining the sub-octave/harmonic synchronization with modulation of the timbre, the entire created "formant-waveform" can be shifted up and down. But also, because the octave can be offset quite a bit by the octave crossfaders, it can also go into lfo-range AND really high frequencies, where cross-frequencies above nyquist start to misbehave. This is not a bug, but allows the oscillator to enter a region where metalic overtones and noises start to appear enabling it to be used as a source for cymbals and glitch sounds.

The FM-input can be send to both oscillators independently by going into the modulation-depth page, where you can also set the desired modulation depth from the CV inputs for all other parameters for both oscillators (also independently).
FM is through-zero to make sure the "correct" overtones are created.