In this track, it's probably difficult to distinguish STO from Dixie since they are playing together, tuned about 1/5th apart, and run through Mimeophon for repeats and 'reverb.' The Dixie is sending out a saw wave and STO a variable wave shape (triangle/sin) with modulation to 'SHAPE' cv by way of a slow LFO. Dixie isn't showing off here. It's part of the weave.
These two VCO's run contrary to my main body of oscillators: Odessa (FPGA, additive, complex), Trident (3xVCO, complex timbral), and Telharmonic (additive harmonic, noise, phase modulation), and Plaits (4x(8x8) wavetable). They were my first two VCO's for good reason: They are simple but powerful oscillators. Small packages with gentle learning curves, capable of big things.
Since I'm currently doing deep, weaving ambient stuff, my 'complex' oscillators are useful in creating sounds with a lot of depth, width, fringe, and texture. When I want to back off of that and keep things simple or clean, I reach for STO and Dixie. Not to say that they can't do it all, but you get the idea. Oh, Dixie also goes into LFO range at the flick of a switch. Often super useful.
So, why does all of this matter? If you're going to purchase a Dixie II+, just know that you're getting into a very small, simple, capable VCO that can tie really nicely into a system with purpose. Personally, I wouldn't be without 2 VCO's like STO/Dixie/Plaits/etc, but: What basic waveforms does it generate? What CV does it eat? What can be modulated? What's the base character and personality of the VCO? How does it sound when filtered/fm'd? How does it track (lin/exp/thru-0)? How does it settle into my design plan?
Here's an example of someone scoping and test-driving Dixie II+ in their rack.
-mowse