Audio modifiers plug into the path between the oscillators and output to modify the sound quality.


Input A, Input B

These switches select the two inputs for each submixer. By setting one to an audio source and leaving the other OFF, the submixer can be used to attenuate a signal’s amplitude. By setting one submixer’s input to be the output of another submixer, they are combined together to build a wider mixer.

Mix, AM

MIX controls the relative mix of input1 and input2 passed to the output. When set to 0, the output is input1 only; when set to 1, the output is input2 only, and intermediate values are linear mixes of the two inputs.

If the AM switch is on for submixers 5 and 6, the mix knob instead controls the amount of AM modulation of input A by input B.

Note, if AM is off, the submixer uses less CPU but modulations to the mix level are smoothed at 10Hz rate to eliminate zippering.


For low-level signals used to modulate FM, AM, Phase, and other audio parameters, BOOST lets you amplify the output.

The two identical filter units provide multiple filtering modes.


Input, Kind

The INPUT switch sets the audio input, and the KIND switch sets the type of filter. Setting input to OFF disables the filter entirely (and turns off the XY panel), saving CPU. The following filter types are available:

  • L2/4: Low-pass filters
  • LD1/2/3/4: Ladder filters
  • B2/4: Band-pass filters
  • H2/4: High-pass filters
  • LH2/4: low-pass and high-pass filters in parallel
  • Pro: Pro52 filter
  • +/-Comb: Comb filters. The filter P controls set the comb delay, and the filter Q controls set the amount of feedback.
  • LP Fb: A 2-pole low-pass filter with feedback, followed by a 2-pole low-pass filter.
  • Hishelf/Lshelf: equalizers. The P controls set the corner frequency and the Q controls set the boost/cut factor (0.5 noboost/cut; higher values are boost, lower values are cut).
  • Bypass: the source audio is directly passed to the output.

FmSrc, FM

The FmSrc switch sets the FM source. Internal logic reduces CPU if this switch is set to OFF. The FM knob controls the amount of FM modulation. FM modulation depth is set in semitones around current filter pitch.

Psrc, Pcntr, Ptrk, Qtrk

PSRC selects the pitch source used for frequency tracking, and the Pcntr knob sets the center frequency. For linear tracking, set PCNTR to middle C (C3). To skew pitch tracking so that lower frequencies cause greater pitch change, lower PCNTR. To skew pitch tracking so that higher frequencies cause greater pitch change, increase PCNTR. PTRCK and QTRK set the amount of pitch tracking for filter frequency and resonance, respectively.

Sat, Mix, Limit

The SAT switch enables post-filter saturation. When on, the MIX knob controls the amount of saturation on the output. When off, the MIX knob controls the mix of unfiltered/filtered signal sent to the output.

The LIMIT switch enables a polyphonic limiter on the filter output.

XY Control

The XY control displays the current frequency and resonance for each voice, after shaping and modulation. The XY control crosshair sets the base frequency and resonance for the filter.


When on, resonance has a more logarithmic characteristic, providing higher degree of control at higher resonances. When off, resonance is linear.

A, B, A>P, B>P, A>Q, B>Q. -

The A and B list boxes select two modulation sources for the filter. See the section on matrix modulations for a description of the modulation sources.

The A>P and A>Q knobs set the amount that modulation source A is applied to frequency and resonance, respectively. The B>P and B>Q knobs perform the same function for modulation source B.

The pitch and modulation amounts for source A and source B are normally positive. To change their polarity, press the “-“ button next to them.


This is a simple parametric equalizer.


This switch selects the audio input for the equalizer.

P, Trk

The P knob sets the center pitch for the equalizer in MIDI note units. TRK sets the amount of pitch tracking applied from global pitch.

FmSrc, Fm

FmSRc is a switch to select an audio source for FM modulation of the EQ frequency, and FM sets the FM modulation depth in semitones around the current EQ pitch.

EQ FM depth is one of the few parameters for To modulate FM, pass the FM source through a submixer, and modulate the submixer.


BAND sets the width of the equalizer’s boost/cut region.


The boost/cut factor (-20dB to +20dB).


The waveshaper module (“shaper”) is probably the most unique module in the instrument. The EDIT table lets you draw 3 different curves over an eight-point range. The shaper’s internal logic fills a 96-point table with a stepped, ramped, or curved waveshape. The shaper can be used in three different ways (simultaneously, if desired):

  • You can draw your own oscillators in the EDIT table. Todo so, select “Shaper” in the WAVE switches of oscillators 1-3 and draw the waves, selecting “step,” “ramp”, or “curve” for each. The oscillator CONTOUR then morphs to the next waveform as follows:

Osc1 morphs from wave1 when contour=0, to wave2 when contour=1.

Osc2 morphs from wave2 when contour=0, to wave3 when contour=1.

Osc3 morphs from wave3 when contour=0, to wave1 when contour=1.

For the oscillators, FM, hard sync, soft sync, and contour are available for the oscillator waveforms you draw.

  • You can use the waveshaper as an audio shaper. The AUDIOs witch in the shaper panel selects the audio input, and the audio output is available as SHAPER in all the audio switches. The audio controls in the shaper panel set drive, saturation, and AGC.

In this mode the waveshaper defines a curve for audio passing into it. When the input audio value is –1, it is mapped to the value at the left edge of the edit table. When the input audio value is +1, it is mapped to the value at the right edge of the table. Intermediate input audio values between –1 and +1 are mapped to corresponding middle points in the EDIT table. The shaper module’s SCENE value sets which of the three waveforms are used; intermediate values provide mixes of the three waveforms, and the SCENE can be modulated from matrix 1.

  • The shaper waveform is also available as an event modulation source. In this mode the shaper essentially provides an additional sequencer that can loop or be triggered by various sources. The sequencer output can be ramped or smoothed, and can morph between the three waves with the SCENE control, in the same way as for audio waveshaping.


The AUDIO switch selects the audio source for the waveshaper. If off, the shaper is still available as an event modulation source.

E Rate

For event modulation, sets the rate at which the shaper curve is scanned.

E Mode

For event modulation sets the trigger mode for the shaper:

  • LOOP: the shaper loops from left to right,then reverses, continuously.
  • MIDI: When any MIDI note on is received,the event shaper restarts at the beginning and plays from left to right once, monophonically (identical on all voices).
  • ENV1/2/3:The envelopes trigger the event shaper in the same way as for MIDI, but polyphonically (this means for examplethe event shaper can apply arbitrary curves to pitch or filter frequency, or can modulate say an LFO amplitude to fade in and out in different ways as a note plays).
  • LFO1/2/3: when one of the voices on the corresponding LFO passes from 0 to one, the shaper plays from left to rightonce, then stops.
  • Seq1/2/3/4: when the corresponding sequencer advances one step, the shaper plays the same shape on all voices from left to right once, then stops.


For audio shaping only, sets the drive level passed into the audio waveshaper. Higher levels result in more clipping.


Selects the wave for event and audio shaping. Non-integer morph values provide mixes between the three curves. Note that shaper morph modulation (from matrix 1) can change between the various curves dynamically.


With the EDIT subpanel, you can select whether to edit user wave 1, 2, or 3.


The SCOPE displays the current output curve of the shaper, after morph and point modulation.


The waveshaper generates intermediate points between those that you specify. The SMOOTH list lets you select whether the intermediate points are stepped, ramped, or curved (smoothed).

The distortion modules are single-in, single-out audio modules that can be placed between any other two audio modules.



The input switch selects the audio source for distortion.

ModeThe mode switch selects the type of distortion:

  • Smirror – 2-way mirror. LVL sets one mirror point, SYM the other.
  • Mirror – 1-way mirror. LVL sets the mirror point.
  • Sclip – asymmetric high/low clip. LVL sets one clip level, SYM the other.
  • Clip – symmetric high/low clip. LVL sets the clip level.
  • Ssat – asymmetric saturation. LVL sets the amount of saturation, SYM the asymmetry.
  • Sat – saturation. LVL sets the amount of saturation.
  • Sqnt – asymmetric quantization. LVL sets the quantization level, SYM sets the ERR amount.
  • Qnt – quantization. LVL sets the quantization level.
  • Saw – saw wrapper. LVL sets wrapping range, SYM the step asymmetry.
  • Tri – triangle wrapper, SYM the step asymmetry.
  • Sine – sine wrapper, SYM the step asymmetry.
  • Bypass – source audio passes directly to output, useful for monitoring
  • Off – output is disconnected.


Sets the level or mix of the distorted signal, as described above.


Sets the asymmetry for asymmetric distortion modes, as described above.


The Locut switch enables a high-pass filter to reduce sub-audio-frequency rumble.

The three channels of the output mixer take their inputs from envelopes 1-3, respectively. Turn off the envelope AUDIO to reduce CPU usage.