The Dierstein’s sine is also a slightly impure analog waveform, but it is much purer than the RS-95’s sine. Unlike the original digital ondes Martenot he obtained in 1999, Jonny’s ondes Musicales Dierstein from 2011 uses analog transistors to generate its sounds (for more info on Jonny’s various Martenot offshoots, see this article). And Jonny isn’t afraid to use the RS-95′s harmonically rich sounds too: the synthy sliding notes during the last section of the 2+2=5 recording are a great examples. When Jonny performed There Will Be Blood with the Wordless Music Orchestra in 2014, he set the volume knob on his RS-110 filter to max, adding some overdrive to fatten sound of the RS-95′s sine output. In addition, some other Analogue Systems modules like the RS-100 filter will gently overdrive when connected to a full-volume oscillator, which can add extra harmonics too. So the RS-95′s sine wave sounds more like a triangle wave with some added even-order harmonics (the result of creating the sine wave from the saw/triangle wave). But the analog RS-95 oscillators that Jonny uses with his French Connection can’t actually produce a pure sine wave, no-matter the setting of its “shape” knob. You can hear this clearly in recordings of the band’s Saitama show.
Perhaps that’s why he used a richer saw wave for low notes, and a purer sine-like wave for the high notes. At those shows, the instrument is connected directly to the PA, there’s no filtering from a guitar-type speaker.
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For live performances of How To Disappear Completely from 2001 to 2012, Jonny used his French Connection and its Apprentice modular case (the French Connection is just a controller, and produces no sound on its own). When it comes to Jonny specifically, his choice of waveform depends on both the instrument and the piece of music.
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