With only 1024 points to describe a waveform, to mix a square wave with a square harmonic and then add spikes gets messy rather quick.
Eventually what you are going to get, is a messy output as well.
I commend you for experimenting, but you may first wish to study the wave forms to get an idea behind what each option does to the output.
It is not a good idea to try to enable each and every option you have at your disposal, again because in the end what you get out of is messy and the idea is to try and hit the MOR, not spread it out to a static shot gun type of effect.
Let me give you a break out of what happens with the above.
The square harmonic is producing the following:
F1, F2, F4, F8, F16, F32, F64, and F128
There is not much room to do wobbles, spikes, etc in this waveform and keep resolution given the 1024 data points to describe what is in the waveform.
By coupling it with a square wave, it looks nice on the graphic window, but all you really are doing here is generating the frequency on Out 1 as a single tone with odd harmonics, and then the 8 note chord is playing on Out 2.
Since the combination of the two are not done in software, but rather the boost, no major issue. However, you loose the double the amplitude ability here.
To use a feather, usually is best after you've applied without for a significant period of time. When you use a feather, the frequency will change constantly 8 times a second on default settings. You never focus on one for long. Useful as a follow up to catch strays after you have applied frequencies directly for at least 3 days.
To add spikes to the square wave would work, but it will also affect your square harmonic and break the waveform. So if you wish to experiment with spikes, suggest you start with basic waveforms and stick to inverse+sync on Out 2 when using this option. An alternative to inverse+sync would be Spike+Sync, which the user guide gives some good starting examples so you can learn how to implement well.
For more details, please check the link: