Godel is the first in Yofiel's metamusic series of synthesizer designs. Future instruments will contain subsets and supersets of the Godel controls. This section now describes all of Godel 3's main panel controls in detail, and in the future will be expanded to note which are available in which instrument instance.

This is a top-level view of the Max patch to create the SVF filter gain compensation. It samples 300 SVF filters simultaneiously, reducing the time to complete table completion from 14 days to an hour.

SVF gain-compensation-table calculation
SVF gain-compensation-table calculation

Panel Reference

System Controls

The system controls are in the lower left of the upper panel.

System Panel

The voice display shows the output level (blue bar), pitch (red bar), and age (green bar) of each voice.

Max Voices

Sets the maximum number of playing voices for a preset. Other voices are muted. Voices whose envelopes have reached the end of the release cycle are also muted. The instrument settings panel may override the maximum number of voices.


Press the settings button to open the Settings pop-up window.

System Settings Panel

Godel 3 System Settings Panel (Standalone Version)
Godel 3 System Settings Panel (Standalone Version)

The chosen values in this popup window are stored in a separate file from the instrument itself and the preset controls.

MIDI Input
Set by environment/td>Input at index 0

When not running in Ableton Live, this selects the MIDI input. The list of available inputs is populated in this list automatically at startup. Changing the MIDI inputs in the system may change the selected input.

MIDI messages on all channels are accepted from this input.

# CPU Cores

When not running in Ableton Live, this adjusts the displayed CPU usage for parallelized operation on multiple cores.

Voice Limiting

Here you may limit the number of playing voices to save CPU. This will clamp the number of voices to this hard limit, regardless the number of voices stored in the preset.

MIDI Modulation Sources

There's built-in support for MIDI note on/off, volume, all notes off, sound off, program change, mod wheel, pitch bend, and MTC start/96-clock/stop signals.

Six other assignable controller sources are available in the modulation matrix, electable here.


Pressing this momentary button saves the settings in a preset file

Preset Panel

The instrument provides easy access to 128 presets, which are also selectable by MIDI program change messages.

Preset Panel

Hovering over a bubble shows the preset number. Clicking a bubble recalls the preset. Shift-clicking a bubble stores the preset. Empty preset locations are grey. Stored presets are yellow. The selected preset is green.

At startup, the instrument restores the previous state from the previous session, and no preset button is highlighted green. However, the preset# control shows the last selected preset in the previous session.


Displays the selected preset number. Changing this value changes the preset.


Pressing this button deletes the currently selected preset from the preset store.

Bank Store

Clicking this button opens a file dialog box to store the current preset bank in a file. At launch, the instrument always loads the default bank file. To change the default bank, overwrite the default file.

Bank Load

Clicking this button opens a file dialog box to load another bank file. Banks have a ‘.json’ prefix. Changes to the presets will affect the new bank file, and it will be stored automatically at session end.

Preset Notes

Provides a text area to keep some text notes associated with a preset.

Auto Sequencer

Introduced in the 2b3 release (November 2014), the preset sequencer works with the sequencer clock. When enabled, it simply advances the preset to the next preset number after the chosen number of bars. Obviously there must be a preset stored in the next preset slot for this to work. If the clock is on, and the auto sequencer is enabled in any preset, then it will swing into the next preset automatically after the number of chosen bars, so it can very easily create long song sequences.


Turns on the auto sequencer. You may need to be ready to turn off the clock or auto sequencer very quickly if you set a small number of bars for the current preset, and you want to edit the preset.


Sets the number of bars before the preset attempts to recall the next preset in numbered sequence.


This small numeric display counts down to the bar at which the preset will switch to a new preset. When the new preset is loaded, and if it also was saved with the auto sequencer is enabled and clock turned on, then the countdown updates to the #Bars setting for the new preset and the countdown starts again.

Keyboard and Performance Controls

Depending on the key remapping and pitch transposition settings, the notes which play upon any new note-on event may be different than the pressed keyboard key.
The keyboard therefore has multiple colors. In the background, it displays currently playing notes. In direct mode, it also highlights any notes which are currently on; in stored mode, it highlights any notes which are stored with the preset; and in transpose mode, it displays the current transposition key.
The panel to the left of the keyboard controls its mode and chord settings.

Keyboard Controls


Clears all playing notes and stored notes, resets pitch transposition to zero, and mutes all voices.

48 ~ +480

Sets a pitch transposition applied to any new notes before key remapping and after chord generation.

If the keyboard mode is ‘transpose,’ it changes this value.

C, C#/Db, D, D#/Eb, E, F, F#/Gb, G, G#/Ab, A, A#/Bb, BC

Sets a remap key for all notes, applied after any keyboard pitch transposition and chord generation.

If key type is chromatic, the root key is ignored.

See the table below for remapping details.

Key Type
Chromatic, Major, Melodic, Harmonic, Dorian, Phrygian, Lydian, MyxolydianChromatic
Direct, Stored, Transpose

Sets the mode for the keyboard and incoming MIDI notes.

  • Direct: the notes are not stored or sent to the arpeggiator. Chords may optionally be added. If the arpeggiator is on, new notes are played along the arpeggiator.
  • Stored: the notes are stored with the preset. When the arpeggiator is on, these notes will be arpeggiated in the order played. Playing notes while the arpeggiator is off adds them the stored sequence, and the sequence will be played when the arpeggiator is turned on.
  • Transpose: shifts the pitch transposition for any new notes, a difference set around middle C. the keyboard highlight only displays the transpose key.
Off, onoff

Enables chords for direct and stored mode.

Off, onoff
Off, onoff

When hold is off, note-off events are handled normally. When hold is on, note-off events from both MIDI and the on-screen keyboard are filtered out.

When in direct mode with hold on, incoming notes of the same pitch will play on multiple voices.

When in stored mode with hold on, incoming notes will be stored multiple times, and the same note can appear in an arpeggio sequence as many times as desired.

0 ~ 1000

Receives and displays MIDI mod wheel controller values, or the slider can be set to a desired value on screen.

The mod wheel is available in the modulation matrix as a modulation control source.

-100 ~ +1000

Receives and displays MIDI pitch bend values, or the slider can be set to a desired value on screen. The bend value is available in the modulation matrix as a modulation control source.

The on-screen control is sprung, like a typical hardware pitch bend controller, and slowly returns to zero after being dragged to a new value.

Scale Maps

The pitch remapping depends on the root key. The following table shows the intervals for each map (chromatic performs no remapping).

Minor melodic00233557881111
Minor harmonic00233557881010
Blues Pentatonic003355777101010
Major Pentatonic022444777999
Reverse Substitution01117456389102
Minor Substitution0011274957592
Major Substitution1024010504109

Arpeggiator Panel

The arpeggiator sequences stored notes in the order they are received and sends them to a voice allocator for assignment to a polyphonic voice after optionally adding chords. The instrument is arbitrarily set to arpeggiate up to 32 notes of any pitch and velocity. The arpeggiation may include multiple notes of the same pitch.


Sets the base tempo when the instrument is in standalone operation.

When running as an Ableton Live! instrument, the tempo is derived from Ableton Live! and this setting is ignored. The instrument needs at least 24 ticks to synchronize its tempo setting with Ableton whenever the tempo changes.

1, 2, 3, 4, 6, 8, 12, 16, 324

Sets the rate of arpeggiated notes.

When running as an Ableton Live! instrument, these settings are applied to incoming ticks and so still apply.

Off, onoff
Off, onoff

Sets the note duration as a percentage of the duration of a note as set by the arpeggiator rate. At 100, the notes are exactly the same duration as the note rate. At 50, the notes are half as long. At 200, the notes are twice as long and overlap.

Auto, 1-16auto

Sets the number of notes in the arpeggiation sequence. If set to auto, the arpeggiation length is the same as the number of stored notes. At other values, the number of notes in the arpeggiation sequence is fixed.

Fixed sequences are useful both to keep the arpeggiation to a fixed musical interval and to add spaces. If fixed to four, and only three notes are on, a space will occur after the third note.

If there are more notes stored than set in this control, the most recent ones are played. For example, if the length is two and there are three notes stored, the second and third notes will be arpeggiated. This is useful to change notes in the sequence:

  • Suppose the length is two, and two notes are stored. When a third note is stored, the third note replaced the first note in the arpeggiation, but the first note is still present in the note store.
  • If the third note is then turned off, the arpeggiator returns to playing the first and second notes.
Off, onoff

When the arpeggiator turns on, the clock is reset to zero, and any stored notes are arpeggiated.

In Ableton Live!, the arpeggiator resets to zero and turns on automatically when Live! is in ‘play’ or ‘record’ mode, and turns off automatically when the Live! play is stopped.

Chords Panel

Chords may be generated both from direct playing, or from the arpeggiator, or from both, depending on the keyboard control settings. If the keyboard and arpeggiator generate multiple notes simultaneously, chords are added for all the notes.

Chord Select
None, 4th, 5th, Major, Minor, Diminished, Augmented Sus 2, Sus4, Major 6th, Minor 6th, Major 7th, Minor 7th, Min. Major 7th, Dominant 7th, Major 9th, Minor 9thNone

Selects the chord to generate.

See the table below for the generated pitch values.

If the chord does not contain a second or third note, the velocity and duration scaling controls for the additional notes are hidden on the display panel.

None, first second, thirdNone
0. ~2 .1.0

Scales the velocity of each chord note, as a factor of the original note’s velocity. At 1.0, the notes are exactly the same velocity. At o.5, the chord note velocity is halved. At 2.0, the chord note velocity is doubled. A different velocity scaling may be set for each note in the chord.

Velocity scaling is applied to the velocity from the envelope 1 after velocity track scaling. If the resulting velocity is greater than 127, it is clipped into the standard MIDI range.

If the chord is from direct or stored notes not playing through the arpeggiator, this setting is ignored.

0. ~ 161.0

For arpeggiated notes, this scales the duration of each chord note, as a factor of the arpeggiatior’s note duration. At 1.0, the notes are exactly the same duration as the arpeggiator notes. At .5, the chord note is half as long. At 16, the chord note is 16 times longer. A different duration may be set for each note in the chord.

If the resulting note duration is less than 1 ms, it is clipped.

If the chord is from direct or stored notes not playing through the arpeggiator, this setting is ignored.

None, 1-3, 2-4, 1-2-4, 1-3-4, 1-5, 1-5-7, 1-3-5-6, 1-4-5-8, 1-4-7None

In arp mode, sets a pattern to filter chord generation, for example if 1-3, only every other arp note has a chord added. The pattern note number is derived from the note modulo.

0.0 ~ 32.00.0

Divides down frequency of chord notes from arpeggiator. For example if set to 3., a chord is added to every third arp note. Fractional values are rounded to create repeating counts in the pattern generator.

With pitch remapping off and no pitch transposition, the generated chords have the following pitch offsets from the original note. With pitch remapping, the offsets may be different. If resulting chords and playing notes have the same pitch, each one is assigned to a different voice and the notes all play.

ChordNo inversion1st inversion2nd Inversion3rd Inversion
4th+ 5-7- -- -
5th+ 7-5- -- -
Major+4 +7-8 -5-5 +4- -
Min or+3 +7-9 -5-5 +3- -
Diminished+3 +6-9 -6-6 +5- -
Augmented+4 +8-8 -4-4 +4- -
Sus 2+2 +7-10 -5-5 +2- -
Sus 4+5 +7-7 -5-5 +5- -
Major 6th+4 +7 +8-8 -5 -4-5 -4 +4-4 +4 +7
Minor 6th+3 +7 +8-9 -5 -4-5 -4 +3-4 +3 +7
Major 7th+4 +7 +11-8 -5 -1-5 -1 +4-1 +4 +7
Minor 7th+3 +7 +10-9 -5 -2-5 -2 +3-2 +3 +7
Min. Major 7th+3 +7 +11-9 -5 -1-5 -1 +3-1 +3 +7
Dominant 7th+4 +7 +10-8 -5 -2-5 -2 +4-2 +4 +7
Major 9th+4 +7 +11-8 -5 -1-5 -1 +4-1 +4 +7
Minor 9th+3 +7 +10-9 -5 -2-5 -2 +3-2 +3 +7

Audio Control Panels

The oscillator, filter, LFO, envelope, and modulation matrix panels are in the center of the instrument.

The controls for the two oscillators are identical, except for mix and ring modulation.

Waveform Select

Selects between different waveform sets, each of which may continuously vary depending on the shape control.


Waveset TypeIndex and Description
  1. Off:oscillator is disabled
  2. Ramp AA:Custom anti-aliased ramp, varying between downward-falling sawtooth, through triangle, to upward-rising sawtooth
  3. Pulse AA:Custom anti-aliased pulse with duty cycle of 2.5% to 97.5%
  4. Sine/tri:Sinewave with decreasing parabolic shape until it becomes a triangle wave
Harmonic Sweeps:
  1. Octave doubler:A sine fades from the base frequency, to a mix of the base frequency plus a sine one active higher, to the higher octave sine alone
  2. Doubler + fifth thinner:LOctaves and fifths are added successively until the midpoint, then the lower harmonics are removed
  3. Doubler + Fifth thicker:Octaves are faded in the first half, then fifths are faded in to the end/li>
  4. High harmonics:Starts with higher harmonics, which are thinned out starting from the lower frequencies
  5. High cluster harmonics:Harmonics 8-12 are faded in successively, then 16-19
  6. Steps 4th harmonics:Different pairs of harmonics with a constant distance, new harmonics with increasing frequencies are added and lower harmonics are removed
  7. Steps 4th tripled:As the previous, but three simultaneous harmonics
  8. Harmonics 8-16:Harmonics 8, 16, and an increasing number of harmonics betweeen these frequencies
  9. High odd harmonics:High odd harmonics added successively
  10. Bells:Asine adds bell sounds with an increasing number of higher harmonics
Filter Sweeps:
  1. High resonant sweep:Two resonant filters with rising and falling frequencies
  2. Medium resonant sweep:As the previous, with a medium frequency range
  3. Low resonant sweep:As the previous, with a low frequency range
  4. Multiple high diverging filters Diverging filters with higher frequencies and resonance
  5. Multiple low soft filters: As the previous, with less resonance and lower frequencies
  6. Several converging + diverging filters
  7. Multiple parallel filter sweeps
  8. Four resonant peaks:Four independent resonance peaks moving in wave movements towards higher frequencies
  9. Two bundles of three sweeps:Two bundles of three sweeps each, each bundle going from broad to narrow frequency distribution
  10. Two bundles of two sweeps:As the previous, with two sweeps instead of three
  11. Two bundles of three sweeps + notch:As above, adding a notch filter
  12. Wood emulation:A sequence of slightly irregular sweeps from low to higher frequencies
  13. High tree morph:Morph from single frequencies to a broad distribution with higher frequencies, random components
  14. Low tree morph:As the previous, with a lower frequency range
  15. Rain filter sweep:Linear sweep with single filter and random variations
  16. Base and ascending filter ramp:
  17. Soft filter ramp:As the previous with ascending sweep of single filter with lower resonance and no base frequency
Vowel Formant Sweeps:
  1. Soft vowel formants:Sucession of vowels (heed, hid, head, had, hod, hawed, hood, and who'd), broad formant peaks
  2. Hard vowel formats:As the previous, with narrower formant peaks
  3. Synthetic vowel formants:As above,with more synthetic version
  4. Doubled vowel formants:As above, with doubled frequencies
  5. Noisy vowel formants
  6. Formants of 'how are you"
  7. Lower Formants of 'how are you'
Randomized Loops:
  1. 32 random harmonics
  2. 8 random harmonics
  3. 8 random harmonics + ascending notch
  4. Random Few but strong random harmonics
  5. Low random harmonics with ascending cutoff
  6. High random harmonics with ascending cutoff
  7. Random and sweep components
  8. Random waveforms with smooth transitions
  9. Sample Loop with bass, drum, snare, and synth

When enabled, the oscillator phase resets to zero upon the other oscillator output making a rising crossing over zero.

Both oscillators may sync to each to each other, although generally sync would only be enabled for one. Both oscillators also reset to a phase of zero upon gate-on events.

-100 ~ 1000Sets an offset for the oscillator from the input pitch (after pitch mapping, keyboard pitch transposition). This pitch is also the offset for the pitch track control.
-1.0 ~ 1.00.0

Sets a detune for the oscillator, added after pitch tracking.


Opens a tracking window, described at the beginning of this user guide.

0% ~ 100%50%

Adjusts the waveform shape, depending on the selected waveform output.

This is an unusual feature, so the oscilloscope display assists with knowing the current output waveform after waveform selection and shape adjustment, before any modulation by the modulation matrix.

Mix, Ring
0% ~ 100%50%

The first oscillator contains a linear mix control. At 0%, only oscillator 1 is output. At 100% only oscillator 2 is output.

0% ~ 100%0%

The second oscillator contains a ring modulator control. At 0% there is no ring modulation. At higher values the amount of ring modulation in the output signal rises linearly, until at 100% the output is ring modulation only.

The oscilloscope for oscillator 2 shows the resulting output including ring modulation.

Fb Lvl
0% ~ 100%0%

Sets the base amount of FM feedback for the oscillator.

At higher levels, the feedback creates white noise, so there is no noise setting for the waveform select.

Fb Track
0 ~ 1270

Opens a tracking window, described at the beginning of this user guide. The tracked output is added to the base feedback level.

FM Lvl
0% ~ 100%0%Sets the base amount of FM modulation by the other oscillator. Both oscillators may modulate each other.
FM Track
0 ~ 1270

Opens a tracking window, described at the beginning of this user guide. The tracked output is added to the base FM level.

Sound Design Ideas

Here are some ideas on how to create different sounds with various waveforms:

  • Square: panpipes, recorders, especially with two very slightly detuned oscillators or voices.
  • Pulse: guitars, electric bass (30%), oboes, clavinets (10%)
  • Triangle: flutes, clarinets, xylophones, soft pads
  • Square+triangle: useful synth sound, rich in harmonics.
  • Sine: stringed bass, wind organ. Add mirror distortion, pre filter, for rich string sounds.
  • Harmonic Wavesets (not available in current version): bright electric organs, full strings
  • Disharmonic wavesets (not available in current version): oriental and metallic sounds
  • Impulse (not available in current version): trigger for acoustic modeling (with comb filter)
  • Noise: percussion, waves, thunder, etc. Use high amounts of oscillator FM feedback to create thick noise.

With contour or pulse modulation:

  • Use a decaying envelope as a negative modulation source with high initial contour to give a plucked string effect.
  • Use a midpoint contour and high contour modulation for wide sweeping effects.
  • Sweep the contour slowly for rich filter effects.
  • Use the sine contours for adding Yamaha-style harmonics.

With semitone offsets:

  • A sub-octave oscillator deeepens the sound.
  • Use a pitch offset of +7 on a second oscillator to add fifth harmonics, for example for organ zounds.
  • Leads and solos can sound interesting with a quart (+5 semitones).
  • Disharmonic pitch offsets of +6 or +8, for example, are useful for AM and FM bell-like tones.

With detuning:

  • Low values of 1 cent result in slow and soft flanging effects
  • Mid range values of around +8 make fat sounds
  • High values of >15 result in detune for accordions, and orchestral effects.
  • Use envelopes to modulate the pitch of one or more oscillators for changing detuning over time.

With FM:

  • FM modulations at +/-12 increase sonic depth without introducing new harmonics.
  • A triangle or sine wave usually sounds best for the modulated oscillator. Other oscillators contain so many different harmonics that the result is usually noise.
  • Use pitch tracking of <1 for modulator, to reduce FM at higher frequencies.
  • Set pitch tracking to 0 and use semitone setting to set a fixed frequency, perhaps modulated by envelope or LFO.
  • A pitch tracking of 0 to 0.5 for a high-pitched modulator can create nice electric piano sounds.
  • Use pure sine for the FM source, for clear harmonic textures
  • Use lower-pitched noise for the FM modulator. At lower FM settings the sound is light and airy, at higher settings it creates interesting colored noise sounds. Use the matrix to modulate FM depth dynamically

With sync:

  • Hard sync for lead and solo sounds, with sync source at +19 semitones.
  • Arpeggiate or use a slow LFO to modulate the pitch of the sync source.

With ring modulation:

  • Slowly modulate the pitch of one oscillator with an LFO or decaying envelope for spacey ring modulation sounds.
  • Use ring modulation with one oscillator having reduced pitch track (say around 0.5) for electric pianos.
  • Use very low pitches (midi 20 or lower) of square or pulse waves as an input to ring modulation for rhythmic effects.
  • Use slow AM modulation for vibrato effects.

Filter Panel

The filter receives input from the oscillators and outputs to the effects. The panel shows an approximation of the current filter shape in a graphical display.

0% ~100 %50%

At 0%, the output is low-pass filtered. At 50%, it is band-pass filtered. At 100% it is high-pass filtered. Intermediate values linearly mix the filter types.

0% ~100 %50%

At 0%, there is no resonance. At 100% resonance is actually 1.1. This control is logarithmically adjusted to provide finer control at higher resonance settings.

20 ~ 120<60

Sets the base cutoff pitch, set in MIDI note values before modulation and tracking.

0.0 ~ 2.01.0

The panel knob scales the tracking. The thumbnail opens a tracking control window, described at the beginning of the user guide.

0% ~100 %50%At 0% the output is the oscillators without filtering (with oversaturation set by the SATcontrol). At 40%, it is a two-pole filter. At 100% the output is a four-pole filter. Intermediate values provide a mix of the oscillator and filter types.
0% ~100 %50%

Linearly sets the amount of saturation for the filters and oscillators.

Env1, Env2
-63 ~ 640

Sets the envelope modulation level for the filter cutoff pitch, set in MIID note values. The envelope is applied after scaling by the envelope’s pitch and gate sensitivity controls. Higher positive modulation increases the filter cutoff point. Negative values decrease the cutoff point.

Lfo1, Lfo2
-63 ~ 640

Sets the LFO modulation level for the filter cutoff pitch, set in MIDI note values. The LFO inputs are bipolar, between -1. ~ +1, unless scaled by polyphonic spread in the LFO panel. Negative modulation levels invert the LFO modulation

LFO Panels

The two LFOs have identical controls.

Waveform Select
sine/ramp/triangle pulse/square/S&Hsine

Selects between different waveform sets, each of which may continuously vary depending on the shape control.


When enabled, this resets the LFO phase to zero when the voice receives a gate-on event. That is, this is a gate sync, not a oscillator sync as for the oscillators.

0% ~ 100%50%

Adjusts the waveform shape, depending on the selected waveform output.

  • Sine - The output at 100% is a direct inversion of the sine wave at 0%. At intermediate values, a sine at double the frequency is mixed.
  • Ramp – At 0% the output is a falling sawtooth. It slowly transforms to a triangle waveform at 50%, then at values above that transforms to a rising sawtooth.
  • Pulse - The output at 100 is a direct inversion of the pulse wave with a 5% duty cycle at 0. At 50%, the output is a square waved. Intermediate values vary the duty cycle.

This is an unusual feature, so the oscilloscope display assists with knowing the current output waveform after waveform selection and shape adjustment, before any modulation by the modulation matrix.

Spread Type
Amp, freqamp

Selects how polyphonic spread affects the LFO.

0% ~ 100%50%

Sets the amount of polyphonic spread. The amount of spread varies per voice up to the maximum number of voices.

With frequency spread, the variation in LFO frequency is slowly increased across the voices until, at maximum setting, the voice with the highest frequency is double that set for the LFO.

With amplitude spread, the reduction in LFO amplitude is slowly increased across the voices until, at maximum setting, the voice with the lowest amplitude is half that of the unity signal (-1. ~ +1.) Otherwise generated.

0.01 ~ 30Hz5.0 Hz

Sets the base frequency before any polyphonic spread. This control provides higher resolution control at lower frequencies.

Envelope Panels

The first envelope sets the output amplitude and is available as a control source too. The second envelope is a control source only. The two envelopes have identical controls except for mode, which is only available for envelope 2.

0 ~ 128--

Sets the attack, decay, sustain, and release for the envelope. Click and drag across the sliders to change all of them simultaneously. The ADR slider values are scaled logarithmically to provide finer control at lower times.

-100 ~1000

Scales the velocity attack, decay, and release times depending on the note pitch. At greater positive settings, higher pitches above middle C linearly increase the ADR times, and notes below middle C linearly decrease the ADR times. Negative settings invert the results.

-100 ~1000

Scales the attack time depending on note velocity. At positive settings, higher velocities increase the attack time. At negative settings, higher velocities decrease the attack time.


Opens a tracking panel to scale the output velocity depending on the input velocity.

This is useful to fine tune the velocity response, and to adjust the velocity for different keyboards.

Single, multi, loopmulti

For envelope 2, sets the envelope behavior.

  • Single - The envelope is only triggered after all notes are released and a new note is played.
  • Multi - the envelope triggers normally
  • Loop – The envelope triggers normally, but the sustain phase is skipped and the envelope repeats the ADR cycle continuously. This lets the envelope be used like an LFO, but with multiple segments.

Modulation Matrix Panel

Modulation Matrix Sources and Destinations
Modulation SourcesModulation Destinations
Envelope 1 level
Envelope 2 level
Envelope 1 Velocity
Envelope 2 Velocity
 LFO 1
 LFO 2
Oscillator 1 Pitch
Oscillator 2 pitch
Mono pitch
Mono velocity
Mod Wheel
 LFO 1 * Modwheel
LFO 2 * Modwheel
Pitch Bend
Assignable MIDI controller 1
Assignable MIDI controller 2
Assignable MIDI controller 3
Assignable MIDI controller 4
Assignable MIDI controller 5
Assignable MIDI controller 6
Oscillator 1 pitch
Oscillator 1 detune
Oscillator 2 pitch
Oscillator 2 detune
Oscillator 1 shape
Oscillator 2 shape
Oscillator mix
Ring modulation
Oscillator 1 FM feedback
Oscillator 2 FM feedback
Oscillator 1 FM level
Oscillator 2 FM level
Filter band
Filter cutoff
Filter resonance
Filter saturation
Filter drive
Filter Envelope 1 modulation
Filter Envelope 2 modulation
Filter LFO 1 modulation
Filter LFO 2 modulation
LFO 1 frequency
LFO 1 shape
LFO 1 spread
LFO 2 frequency
LFO 2 shape
LFO 2 spread
Envelope 1 attack time
Envelope 1 decay time
Envelope 1 sustain level
Envelope 1 release time
Envelope 2 attack time
Envelope 2 decay time
Envelope 2 sustain level
Envelope 2 release time

Stereo Effects

The polyphonic synthesizer’s audio output is merged into a mono signal, which is converted to a stereo signal by the first effect, the flanger, in the effect chain. The stereo signal then pipes through each of the effects serially to the output stage.

Flange Panel

The flanger also provides a smooth phasing effect.

0.0 ~ 50.0 ms25.0 ms

The base delay before modulation. Set to 1 ~ 5 ms for a standard flanging or phaser effect.

mod frq
0.15 ~ 30 Hz8.11 Hz

The frequency of the delay modulation.

0 ~ 200100%

The depth of delay modulation, added to the base modulation.

0% ~ 100%50%

The amount of saturation applied after the delay loop.

0% ~ 100%50%

The percentage of feedback. Set to zero for a phasing effect.

0% ~ 100%50%

The amount that the effect is mixed with the dry signal.

Chorus Panel

The chorus contains 8 intermixed LFOs. With lower delay settings it can also provide a fat phasing effect.

0.0 ~ 50.0 ms25.0 ms

The base delay before modulation.

mod frq
0.0 ~ 15 Hz4 Hz

The frequency of the delay modulation. This panel control is logarithmically shaped to provide finer control at lower frequencies. Set to 1.0~5.0 ms for a phaser effect.

0 ~ 10050%

The depth of delay modulation, added to the base modulation.

0% ~ 100%50%

The amount of frequency variation across the 8 LFOs.

0% ~ 100%50%

The percentage of feedback.

0% ~ 100%50%

The amount that the effect is mixed with the dry signal.

Delay Panel

The delay is a stereo ping pong delay, with cross feedback. At low delay settings it can also reinforce the reverb.

1 ~240 bpm120 bpm

The base tempo for the delay calculation.

L del
1 ~ 3216ths

The multiplier applied to the tempo for each side of the delay.

R del
1 ~ 3216ths
0 ~ 100%50%

The mix of dry and wet signal sent into the feedback loop.

0% ~ 100%50%

The percentage of cross feedback between the left and right delay lines.

0% ~ 100%50%

The amount that the effect is mixed with the dry signal.

Reverb Panel

1st dels
60ms ~ 300 ms160 ms

The base delay for early reflections.

0% ~ 100%50%

The amount of suppression of early reflections in the early reverb feedback section.

late del
50ms ~ 2sec0.973 sec

The delay for late reflections. This panel control Is shaped to provide more control at lower values.

late mix
0% ~ 100%50%

The mix of early reflections to late reflections in the output.

0% ~ 100%50%

The percentage of feedback.

0% ~ 100%50%

The amount that the effect is mixed with the dry signal.

Output Panel


This enables audio for the instrument in standalone mode.

In Ableton Live! this control has no effect on the Live! environment, but during design it is still useful as an external output.

0 ~ 100--

This actually adjusts the level of the output of each polyphonic voice to the stereo effects chain. It provides some polyphonic level compensation by reducing gain when more voices are playing.

-60 ~ 60 dB0 dB

Sets the gain limit for the instrument output by scaling the signal to a proportionally lower level when it exceeds this volume. There is a separate limiter for the left and fight channels.