This topic describes the subpanels for pitch and oscillator settings.

Pitch controls


Selects overall polyphonic/monophonic mode:

  • Poly: Most often, MODE is set to “Poly”so the instrument plays fully polyphonically.
  • Mono, Legato: All the notes from envelopes and MIDI are combined into one monophonic play line. In legato modes, a new trigger while the gate for the last note is still high causes a pitch change without retriggering envelopes. In multi modes, a new note also retriggers the envelopes regardless whether their previous state.
  • High, Low, Rcnt – These set the pitch when there is more than one MIDI. If HIGH, the highest pitch is played. If LOW, the lowest pitch is played. If RCNT, the most recent pitch is played. RCNT also remembers the order of played notes, so, if the most recent note ends while others are still playing, the pitch shifts to the next-most recent note (RCNT will not shift to another pitch if the released note is not the most recent).


Applies microtuning after pitch shift, but before fine tuning and glide, for global pitch and osc1/2. The default mode is equal tempered. Descriptions of the other microtune scales are available in the B panel. Microtuning is applied after pitch transposition. Microtuing sets the microtonal scale before fine-tuning, voice spread, and glide.

Shift, Scale Map, Key, Map

The SHIFT knob applies a semitone transposition. SCALE MAP and KEY remap pitches to a key scale. Remapping is after SHIFT, but before fine tuning and glide.

  • For a glissando effect, you can enable remapping and send a large modulation from the LFO saw waveform (or other source) to the SEMITONE destination.
  • For large smooth transpositions, with remapping enabled,send the pitch modulations to the oscillators instead.

In the oscillators, the MAP button determines whether scale mapping is again applied after local pitch shift. For example, if pitch shift is +6, then a C3 would normally transpose to F#. However if MAP is on and the scale is C Major, then the C3 note would remap to G.


SPRD applies a small pitch offset to each voice, useful for adding breadth in monophonic modes. Spread is applied after microtuning and scale remapping.

glide>out, glide

The GLIDE>OUT list selects the envelopes (ENV1, ENV2, ENV3) to which glide is applied. For example if set to 1, then notes from env1 have glide, and notes from the other oscillators do not. Set GLIDE>OUT to off to disable glide.

The GLIDE list sets the glide interval as a tempo value. All notes have the same glide interval no matter the distance between the notes. Glide interval can be modulated by the matrix to create detuning effects during glide, or to enable glide selectively from a foot pedal or sequencer.

Glide is fully polyphonic, occurring between the last note and the current note. Moreover the synthesizer calculates glide for each envelope, and for notes from the unisono module, separately. See the snaps for an example.


Of all the oscillators, the WAVE switch selects the audio source:

  • Saw: sawtooth
  • Tri: triangle (varying to triangle for width-modulated form)
  • Par: parabolic
  • Sin: sine
  • Imp: Impulse
  • Ramp: ramp (not antialiased, suitable for driving audio shaper).
  • Waveset: waveset
  • Bis: Bisaw
  • Bip: bipulse
  • BiRamp: ramp with slope modulated by contour
  • Noise,Rndm: different kinds of noise with first-order filtering by pitch
  • Noise Q: noise with second-order filtering by pitch and resonance set by contour.

The DESCRIPTION text field provides more information on the waveforms. An “F” suffix indicates that FM and sync are available (only soft sync is available for wavesets). A “W” suffix indicates that width modulation is available.

For FM and SYNC oscillators, internal logic automatically switches the oscillator module for the lowest possible CPU usage. The lowest CPU utilization is for “F” mode oscillators without FM or SYNC enabled.

AMsrc, AM

The AMSRC switch enables AM modulation by an audio source, also selecting the source. If AMSRC is on, the AM knob controls the amount of AM modulation. Internal switching reduces CPU usage if AM is turned off; also, if AMSRC is off, the AM knob attenuates the amount of amplitude modulation by any modulation sources that have been set up in the modulation matrix.

If you modulate AM with an oscillator, the result is ring modulation. If you modulate AM with LFOs, the result is tremolo. You can also use envelopes to modulate oscillator amplitude by different amounts, so that different oscillator levels are passed into other units. Note that matrix modulation of AM is fully polyphonic, so for example different levels of tremolo can be generated for each voice.

FMsrc, FM

The FMSRC switch enables FM modulation by an audio source, also selecting the source. If FMSRC is on, the FM knob controls the amount of FM modulation. Internal switching reduces CPU usage if FM is turned off. FM depth is set in semitones around the oscillator’s current output pitch.


The PH/WSRC switch enables audio-rate modulation of phase (for Sync oscillators) or width (for audio oscillators). If enabled, unity-gain audio modulation adds +/-1 to the values of the phase or width knobs, and values exceeding the +/-1 range of these parameters are mirrored. Typically the audio source would be a one-input submixer so that the audio source can be attenuated to the desired value.

Sync, Ph/WS

If the FM switch is on, the SYNC switch additionally enables sync for FM sources.

  • HARD and GATE sync set the oscillators to the phase setby the PH/WS upon sync.
  • SOFT sync reverses the waveform upon sync.

Hard sync is not available for the Waveset oscillator. For wavesets, the Ph/WS knob instead selects the waveset. Wavesets can be changed during a note (most implementations can only change wavesets at the beginning of a note). This means, when using a waveset oscillator, you can twist the WS knob to change oscillator types dynamically, without switch interruptions.

Contour (Wide)

WIDE sets the width ratio for width-modulated oscillators. It also sets the ramp slope for the biramp oscillator, resonance for the Noise Q oscillator, and startpoint for the waveset oscillators. For this reason WIDE is also called CONTOUR.


TRACK sets the amount of pitch tracking. For linear pitch tracking, set to midpoint value 1. At 0, there is no pitch tracking. At 2, pitch tracking is double the source pitch.

Typically TRACK is set to 1. If you just want to modulate oscillator pitch by an LFO and/or envelope, then set to TRACK to 0, set SHIFT to the pitch offset; then either use FM or Matrix1 to apply the LFO/envelope modulations to the pitch.


FINE applies a detuning offset in cents to the oscillators. Fine tuning is applied after microtuning.

The unison module lets you generate two or three notes from each note passed to one of the envelopes 1-3. As a result, sequencers, MIDI and so on can generate chords from single notes.

In the module controls, you can apply a transposition and detune offset to these extra notes. Internal logic ensures that polyphonic glide is applied correctly to notes generated by the unison module.

Obviously, unison only works in when the instrument is in polyphonic mode. Unison is disabled when in a mono or legato mode.

The six submixers each have two inputs and one MIX knob. Two of the submixers also have AM switches, and another two have boost controls.