16 voices

oscillators have more than 500 times over-sampling

at lowest quality setting, signals (audio and modulation) run at least twice as fast as the host application's sample rate

fine shift
reset dc

mw is supported
rc control to lock it

output dark
input light

to change outputs, right-click on the output and drag it to a different output

to change colour, click on the input end

____________________________vco
frequency ranges from 0 hz to 20 khz

with transpose set to -12 (default value) C3 produces C2 note (circa 65hz)

frequency has a range of 0.00 to 24.00

semi 24 semitones above the current pitch

partial 24 overtones; octaves are at 1.00, 3.00, 7.00, 15.00
subhrm first 24 subharmonics
hertz hertz
sync sync to song tempo (1.0 is a whole note, 4.0 a quarter note etc.)

modifier has a range of -50.00 to +50.00

cents plus/minus 1 semitone

5hz plus/minus 5hz
beats detune is synced to song
mtply frequency is multiplied/divided from 0 to 50

frequency modulation amount (below frequency)

cents plus/minus 1 semitone

5 semi plus/minus 5 semitone
50 semi plus/minus 50 semitone

when no connection is made, the control work as a regular knob

reset off random phase

on fixed phase

pw range from 0% to 100%

vibrato control both vcos vibrato; hardwired to lfo1

ring control cross-fades between vco2 and ring modulation (between vco1 and vco2)

sync control sync amount; vco2 is synced to vco1; set sync to maximum for hard sync; vco2 pitch is normally set higher than vco1
and modulated by an envelope or lfo

cross control cross modulation amount; vco1 cross mod vco2

____________________________lfo
lfo 1 vibrato
lfo2 pw, cutoff

frequency ranges from 0 hz to 20 khz

lfo1 normally generates a pure sine wave; connect another oscillator to phase modulation input for classic fm

reset off free not reset, runs continuously (monophonic)

gate per-voice reset whenever a note is played (polyphonic)

if anything is connected to s&h input, lfo1 switches into sample & hold mode and samples the input at its own clock speed; for
vintage random effects, connect noise; the phase knob becomes a lag processor

____________________________vcf
vcf1 default input is mix output
vcf2 default input is vco2

gain control input level (when negative) and overdrive (when positive)

vcf1 cutoff frequency is measured in semitones from 0.00 to 150.00; modulation range is plus/minus 150 semitones

vcf2 cutoff has 3 modes and bipolar control

cutoff like vcf1, but bipolar

offset cutoff follows vcf1 (including any modulation) but shifted negative/positive
spread like offset, but also shift vcf1 cutoff in the opposite direction

____________________________envelopes
adsr1 vca
adsr2 vco frequencies, cutoff, lfo2 lvl

fall/rise causes the normally flat sustain to fall or rise at a defined rate; use negative values for fall and positive values for rise; the
lower the value, the slower the env

velocity

rate modulate envelope rates (attack, decay and release)

level modulate the overall adsr level

snap makes decay and release more snappy

ramp generator (trapezoid envelope)

up attack time
hold hold time at maximum
down decay time
rest rest time before repeat; if set to maximum, the ramp become an envelope; if set to minimum, the ramp become a
lfo

____________________________signal sources
white
pink
+5V +5V
gate +1V while a note is being played, otherwise 0
velocity
m-wheel
p-wheel
breath
xpress
pressure
keyf-1 note number; pivots around E3 (midi note 64) so that lower notes can deliver negative values
keyf-2 same as keyf-1 but includes the glide2 offset
random
alternate toggles between +1V and -1V
stack stack index; use it to create offsets between stacked voices
mapper mapping generator

____________________________general
set mode to duo for duophonic

voices few 4 voices

medium 8 voices
many 16 voices

stack the number of voices played in unison (up to 8)

drift slightly detune voices against each other
glide
glide2 glide offset, applied to lfo2, vco2 and vcf2
range shift glide initial position closer to target note

____________________________fx
a chorus is a very fast delay periodically shortened and lengthened by a dedicated lfo

chorus 1 4-voice with triangle lfo

chorus 2 4-voice with sine lfo; more dramatic than chorus 1
chorus 3 8-voice; for lush ensemble effects
phaser

higher feedback values result in a very dramatic resonant or metallic (due to atonal phase shifting) effect
set depth to minimum for strong tonal coloration but no movement
to preserve the sound body, low bass content bypasses the effect

delay

spread controls stereo width

at 100 taps are hard panned to the left and right
at 0 taps are in the centre (mono)
at -100 taps are hard panned to the left and right but swapped

bass
treble

____________________________mapping generator
the mapping generator is a list of 128 editable values that can be used for various modulation purposes (eg. you can assign a
separate value to each midi note (0 to 127) so that each one sounds different)

map smooth and map quantise use a mapping source to scan through the map (eg. mw); in map smooth mode the values are
interpolated (for softer transitions) in map quantise mode the values are not interpolated

in increment mode, successive notes step through the map

in key mode map position depends on played notes

to draw a straight line hold ctrl
to select values hold shift

rc edit window for more editing tools

____________________________tweaks
slop adds slow random de-tuning

filter reset none transients may have a little analogue randomness

full reduces randomness by flushing the filter at the beginning of each note
full+click same as full, but with an extra strong transient at the start of each note
use this mode for self-oscillation

singing envs causes the envelope of a new voice to start at the current level of the stolen voice's envelope instead of at zero,
emulating the typical behaviour of classic analogue envelopes

ramp clock sets the maximum of the ramp generator stages

____________________________
to get a wide sound pan the two amplifiers apart and detune one (or both) oscillators

a small amount of white noise mixed into a pad patch can give the filters and chorus more frequencies to work with, making the
sound fuller

connect vcf1 to aux for filter feedback