But of a noob query
So in pairing a Microvolt 3.9k with my Mother 32 my intention was to have a compact but extremely capable modular playground with which to get wild (which it does…in spades…electricity💜)
But I also know that 2/3-Osc mono synths are the epitome of bass and leads.
So my sincerely curious question is: why? What are the things done with a 2/3osc monosynth that makes them the end all? Is it that you can tune a 2nd osc to a different pitch? Modulate FM?
Tia for all your insights.
Slight detune is the mother of devastating bass, I’d say ^^
Very simplyfied … and definitely not complete … 
one oscillator gives us:
two oscillators add to the equation:
three or more oscillators just add more of the obove and a couple of combinations. As an example: With three oscillators we can have
Whenever I hear synch on a record I melt.
Can a synch be done without (in my case) a synch patch option?
I’m assuming you’re asking why they have two or more oscillators rather than one if it’s a monophonic synth? The reason is fatness. They can be detuned against each other to make them sound huge or have more movement as the sound progresses. Or else you can blend more than one waveform (a saw and a square for example) for more interesting sounds. Or an oscillator can as you say modulate another one for more evolving sounds etc. If you’re wondering if you’ll love the sound of a mono synth, have a look at what Boards or Canada or Squarepusher have done with the relatively simple Roland SH-101 for example. They’re great!
AFAIK No.
Sync means that one oscillator is the master and forces the other to restart its wave every time the master does. This must be implemented in the electronics.
Hmm, single oscillator bass can also be extremely powerful/defined, it depends on the oscillator, filter, envelope, the Roland SH-101 is a good example.
But then fat bass often requires detuned oscillators, so there’s that, probably the minimoog being the epitome of that kind of bass.
the main difference between mono- and polysynth is not oscillators, but amplifiers.
poly synth amplifiers must have some headroom to handle summing multiple sounds without overload. mono synths don’t require this, and their amplifiers sound different and color the sound.
Thank you. I understand poly requires essentially 4/6/8 monosynth paths but I was just curious 1osc vs 2/3osc monosynths.
Dub techno requires it.
This is all I know 
even one oscillator of monosynth sounds very rich when it comes through overdriven amplifier.
Absolutely. The MV has two options to drive waveforms and resonance sounds filthy and can take on 2-3 different characteristics through it.
2 or more oscillator synths just give more sonic options. Hard sync, detuned oscillators. And if it’s really well featured, some sort of PWM or wave shape modulation on multiple oscillators, plus detune, plus hard sync, etc. But, do not underestimate single oscillator synths! 303, 101, Dark Energy, Mother 32 come to mind.
I prefer single oscillator basses and leads most of the time. Sound more clean and punchy to me.
But then, analog fm and am can be something awesome
I do not. The bass I’ve gotten from both of these is beautiful and very different from one another. Im just curious what the two can do together (apart from deconstructing one another) in a conventional sense.
It was incredible just the M32 itself. Combined now with the MV (particularly with the cyclable function generator) 
most 2/3 osc monosynths have octave switches so that you can stack them covering different octaves and get a wider frequency range than with a single osc
so why the tears?