Even though the Mini V3 has a separate LFO module, it’s still possible to go oldschool and use the third oscillator as the source of LFO modulation. In the Minimoog using Oscillator 3 was the only way of creating LFO modulation. This should give you slight alterations of the sound which can give interesting results. Try this mode with two oscillators set to the same octave and manipulating the tune of the second oscillator. In this mode oscillators 2 and 3 control only the harmonics of oscillator 1. When switched on, the tuning of all oscillators will be determined by Oscillator 1. The first oscillator in Mini V3 doesn’t have a Coarse Pitch knob, has a Sync button instead.

Unfortunately there’s no way to make a polyphonic supersaw which consists of more than 3 voices, but that’s how it was back in the day. If you use two or more oscillators detuned slightly differently, you get a wide supersaw sound. You can detune oscillators 2 and 3 by RIGHT clicking on the “Coarse pitch” knob (middle knob in the Oscillator section) and dragging it up and down. To design a polyphonic supersaw you use a few oscillators and detune them manually. This technique works for huge bass or lead sounds, but won’t give you access to polyphony. You can then decide how much you want the voices to be detuned by using the “Voice Detune” knob. Depending on how big the “Poly” value is at the bottom of the screen, the synth will generate a supersaw that consists of that many voices. One is available only in the Monophonic mode and is accessed by the Unison switch at the top. The Mini V3 allows for two ways of creating a supersaw:

Arturia mini synth