Cross modulation

In the context of synthesisers, cross modulation is generally taken to mean that two oscillators are both affecting each other at the same time, whether it's via AM, FM, or oscillator sync.

For example, with frequency cross modulation, the first oscillator's output is fed into the second oscillator's pitch input; and at the same time, the second oscillator's output is fed back into the first oscillator's pitch input, creating a feedback loop. This can get quickly erratic.

Note that Roland has also historically used the term to refer to regular audio-frequency modulation that only goes in one direction, with one oscillator affecting another, but not the other way around. The Jupiter-6, Jupiter-8, and MKS-80 have regular primitive FM; the JX-8P, JX-10, and MKS-70 have regular AM; and all of them, along with the JX-3P and MKS-30, have oscillator sync. The JX-3P and MKS-30, using DCOs, also offer a unique type of oscillator sync that Roland tantilisingly calls "metal". None of these have true cross modulation, in spite of their labels to the contrary.^[1]

Quotes

I'm still amazed at [the System-100M's] power. For example, the flexibility of the system allows me to get the most brilliant oscillator sync sound. This is done by syncing both VCOs to fight against each other, and then let them also frequency modulate each other. The sound that produces is superb, but it's only monophonic, so I then sample and loop it. Suddenly I have an analogue polyphonic sound which nobody's ever heard before! It really is astonishing!

— Ian Boddy, 1986^[2]

References

"Roland 'Cross Mod' and 'Metal Sync' — What Do They Actually Do?" Tom Wiltshire, Electric Druid, Aug 2019
"Ian Boddy: Phoenix" Paul Gilby, Sound On Sound, Dec 1986, pp. 37—41

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