(not complete). Note that all the controls are fully documented inside the Synthcore 2 syntheziser itself.

Synthcore2 architecture
Synthcore2 architecture


Synthcore 2 is one of the most powerful analog emulation synthesizers ever made, based on features from the OSCAR and Waldorf Q (both of which, as you may know, were discontinued because they were too expensive to build in hardware). The monophonic version is now available for free download in Windows 32/64, Mac OS X, and open-source Cycling'74 Max 7 code.

Main Features and Architecture

  • 3 oscillators, with feedback, FM, four kinds of sync, phase control, ring modulation, and dual output mixing; 61 morphing waveforms, including: pulse, saw, and triangle oscillators with newest EPTR anti-aliasing technology; Karplus physical modeling; multiple filtered noise options; 48 cross-sampled waveset oscillators; and sub oscillator.
  • 2 comb filters, both with pitch tracking.
  • 2 5-d serial/parallel, 2/4-pole, 3x-oversampled SVF filters, with continuous control of: filter type; number of filter poles; drive + saturation: cutoff; resonance; serial/parallel output; and output pan.
  • 3 envelopes. Predelay and 7-stage breakpoint included. Multi, single, loop, and clock triggers.
  • 3 LFOs, all with morphing waveforms, gate sync, and freq. control.
  • Modulation matrix with 15 nodes, each scalable from any of 60 sources to 135 destinations. Sample and hold, gated, and MIDI sources available. Many compound sources and destinations for rapid patching. Fixed- and variable-source modulations may shape and scale each other within the matrix.
  • Multi-mode glide and glissando, with unique glissando pattern generator.
  • Stereo effects chain with 2 tempo delays, 8-band chorus, realistic reverb, and advanced limiting.
  • Toggle-mode monophonic keyboard. Notes may optionally be stored in programs.
  • Flexible multi-channel architecture functions like a modular synth without needing rewiring. Monitor outputs at all mix points. LFOs, envelopes, and other modulation sources may modulate effects parameters.
  • MIDI I/O for all controls across two MIDI channels. Wheel, extended-range bend, and pedal controllers. Pgm#s and notes sent/received. 'All notes off' and standard MIDI cc#s implemented on main MIDI channel.
  • Fully instrumented panel with >200 controls and dynamic state display of oscillators, filters, envelopes, LFOs, and effects (in full versions). Lite version without dynamic state display for those with lower-powered computers.
  • Hover tips and help tabs. >3,000 words of context-sensitive interactive documentation.
  • 64-bit floating point audio processing at sample rate throughout, including envelopes and LFOs. All mix functions, pans, and switches are declicked and debounced.
  • Large, open, portable compiled function library available separately (seeSynthcore Library). Patches documented copiously, code documented expediently.


Unused functions in a preset are bypassed in code, to reduce CPU load, and all can be turned on and off without introducing clicks on the output. Typical load of the full version at 48kHz, on a Win64 4-GHz i7 and 2.5-GHz Mac Mini, is ~5.5% and ~25%, respectively. Those seeking more quality will find performance at 96kHz to be very decent.

Synthcore Lite

Some MacOS users report performance issues with the full version, and as it is also intended as a demonstration of the Synthcore source-code library, So I am also providingSynthcore Lite for MacOS. This version has the same audio quality, with 64-bit audio processing throughout, and complete declicking of all audio gain paths (a professional feature which is ~15% of the total audio processing load). However even so, on my old Mac Mini, by removing the dynamic graphics entirely, the app's CPU usage drops to

Getting Started

Installation and setup is usually intuitive, but if you have any issues here are some notes.



SynchCore2 (Win64)

Cost: $0.00


SynchCore2 (Win64)

Cost: $0.00


SynthCore2 (MacOS X)

Cost: $0.00


SynthCore2 Light (MacOS X)

Cost: $0.00


Choose your download:
  • Cycling 74 Max/MSP Source Package: unzip to any location. Open the.maxpat file. You must keep the.wav files in the same folder, they are data files for the synth. The Max version requires Max 7.3.1+. It contains its own audio and MIDI settings tab which overrides the Max preferences. .
  • Win32 and Win64 Packages: unzip to any location. The zipfile contains a self-extracting archive. Run that and then launch the executable.
  • MacOS Packages: unzip to any location. The zipfile contains a freeware self-extracting archive, which is required to get the compressed filesize within download limits imposed by my ISP on distant accounts.
    • Note: Your Mac may refuse to open it the first time because the self-extracting archive utility is free and did not pay Apple anything. So:
      • OnYosemite, double click again and it will let you choose to open it, or hold down the CMD key while double clicking
      • OnSierra and El Capitan, theGatekeeper app by default does not allow installation of apps from any other source other than App Store or verified vendors. To change the default:
        1. Open the terminal.
        2. Execute the command-line code to show the "Allow from Anywhere" check box in the security tab in settings:
          sudo spctl --masteridsable
        3. After pressing return, you will be required to authenticate the action with a password.
        4. Go back to the downloaded file, ctrl+click to open, and you the install will start.
    • The actual app will now decompress. Now you can run it, and as it is not built with freeware, it is built with the commercial application Cycling74 Max, so this app will now run without further complaint.


When the main window opens,wait for load to complete. Load is complete when the scope waves start moving. On a newer machine with SSD drive, load takes ~1 second. On older machines load can take a few seconds longer.

On first launch, switch to the settings tab, set your preferences and pressSAVE. The signal buffer sizes can significantly change CPU usage, differently on different machines, usually with no apparent impact on responsiveness (as the audio path is entirely compiled into one object, the audio-driver buffers only affect a one-buffer latency on the output).

Synthcore 2 Settings Tab
Synthcore 2 Settings Tab

The first demo snap has envelope 1 inLOOP mode, in which the note pitch is sampled and held at the beginning of the envelope loop. To make the loop more obvious, reduceSUSTAIN to zero and reduce the envelope durations. You will find it reproduces the terrifying sound of the Beast's spell in the first episode of the Syfy series 'The Magicians.' To retrigger the envelope on new notes, change the envelope toMULTI mode.

You can also import and export presets from the settings tab. 20 demo presets are currently included, more are planned.

Panel Size and Zoom

By default, the panel is sized to fit on 1600-pixel-wide displays. As of version 2.3c, you can resize the panel by turning on thezoom button (this is currently in the native Max/MSP version only).

Context-Sensitive Help

Comprehensive documentation is now inside the software. Hover over any control for more tips, and see the additional help tabs for more information.

If you own Cycling74 Max, and wish to edit the source file or see the patch internals, turn zoom on to enable the scrollbars in edit view.

Panel Reference


Still in progress


The controls are identical for the three oscillators, except where noted.

Display For most oscillator types, displays current oscillator waveform. For Karplus oscillators, displays a wave representation of the amount of damping. For noise oscillators, displays the frequency response curve of the noise filter.

Wave select A list box allowing selection of one of 50 waveforms.

--Oscillator is disabled, reducing CPU usage.

Analog Emulation

pulse with PWM3x-oversampled, anti-aliased pulse with duty cycle of 2.5% to 97.5%.
saw<>tri3x-oversampled, anti-aliased ramp, varies from downward-falling saw, through triangle, to rising saw.
tri<>sineSine wave with decreasing parabolic shape until it becomes a triangle wave.

Harmonic Sweeps

sine+octaveA sine fades from the base frequency, to equal mix of the base plus a sine wave one octave higher.
sine+thin 5thOctaves and fifths are added successively until the midpoint, then the lower harmonics are removed.
sine+thick 5thOctaves are faded in the first half, then fifths are faded in to the end.
hi harmStarts with higher harmonics, which are thinned out starting from the lower frequencies.
hi clusterHarmonics 8-12 are faded in successively, then 16-19.
steps 4thVarious harmonic pairs with constant distance. Higher harmonics are added as lowers are removed.
steps 3*4thSteps 4th tripled: As the previous, but with three simultaneous harmonics instead of pairs.
harm 8-16An increasing number of harmonics between the 8th and 16th harmonics.
hi oddsHigh odd harmonics added successively.
bellsA sine adds bell sounds with an increasing number of higher harmonics.

Resonant Filter Sweeps

hi res sweepFour independent resonant peaks moving in wave movements towards higher frequencies.
med res sweepTwo bundles of three sweeps each, each bundle going from broad to narrow frequency distribution.
lo res sweepAs the previous, with two bundles of two sweeps.
high split filtTwo bundles of three sweeps + notch: As above, adding a notch filter.
low soft filtWood emulation via a sequence of slightly irregular sweeps from low to higher frequencies.
bisplit filtMorph from single frequencies to a broad distribution with higher frequencies, random components.
parallel sweeps4 res peaksAs the previous, with a lower frequency range.
2x3 sweepsLinear sweep with single filter and random variations.
2x2sweepsBase and ascending filter ramp.
2x3+notchAs the previous with ascending sweep of single filter with lower resonance and no base frequency.
Wood emuwo resonant filters with rising and falling frequencies.
hi tree morphAs the previous, with a medium frequency range.
lo tree morphAs the previous, with a low frequency range.
rain filt sweepMultiple high diverging filters with higher frequencies and resonance.
base+asc filtAs the previous, with less resonance and lower frequencies.
soft filt rampSeveral converging + diverging filters.

Vowel Formants

soft vowelMultiple parallel filter sweeps.
hard vowelSuccession of vowels (heed, hid, head, had, hod, hawed, hood, and who'd), broad formant peaks.
synth vowelAs the previous, with narrower formant peaks.
double vowelAs above, with more synthetic version.
noisy vowelAs above, with doubled frequencies.
how are youNoisy vowel formants.
lo 'how are you'Formants of 'how are you".

Randomized Components

32 rand harmLower Formants of 'how are you'.
8 rand harm32 random harmonics.
8 rand+asc notch8 random harmonics.
rand strong harm8 random harmonics + ascending notch.
lo rand harm+ascFew but strong random harmonics.
hi rand harm+ascLow random harmonics with ascending cutoff.
rand+sweepHigh random harmonics with ascending cutoff.
rand smoothRandom and sweep components.
loopRandom waveforms with smooth transitions.
loop percussiveLoop of random waves.

Karplus Oscillators

Karplus pluchedSample Loop with bass, drum, snare, and synth.
Karplus bowedMorph adjusts damping.
Karplus envMorph adjusts damping.
Karplus diffEnvelope 2 controls impulse. Morph adjusts damping.
karpluse modOscillator pitch sets 2-pole notch cutoff. Morph sets resonance.


noise/randomEnvelope 2 controls impulse. Morph adjusts diffusion amount.
white noise (LPF)Envelope 2 controls impulse. Morph adjusts diffusion delay.
pink noise (LPF)Morph adjusts random step/noise mix.
white noise (BPF)Oscillator pitch sets 2-pole LPF cutoff. Morph sets resonance.
pink noise (BPF)Same, with pink noise,
white noise (HPF)Oscillator pitch sets 2-pole BPF cutoff. Morph sets resonance.
pink noise (HPF)Same, with pink noise.
white noise (ntch)Oscillator pitch sets 2-pole HPF cutoff. Morph sets resonance.
pink noise (ntch)Same, with pink noise.

Quick Oscillator wave select Spins the list box. The panel displays the currently output waveform. Waveforms change at zero-crossings, so waveforms can be modulated at audio rate without introducing clicks

Sync Sync is available on all waveforms except noise.

  • OFF: no sync.
  • GATE: note-on events reset the wave tp the phase set by PHASE.
  • SOFT: when the other oscillator crosses zero, it resets this oscillator if this oscillator's output level is above that set by PHASE. RAMP~ like SOFT, but uses this oscillator's duty cycle instead of level.
  • SOFTER andRAMPER are similar, but both oscillators must be over PHASE for reset to occur.

Phase Depends on Sync settings.

  • With GATE sync, setting the phase is most useful when the two oscillators are the same pitch, or different by octaves.
  • With SOFT, at 0 the behavior is like that of standard hard sync. At higher settings, more of this oscillators tonal quality is preserved, until at 1 the sync never occurs.
  • With RAMP sync, varying soft syncs are possible even with pulse waves.

Morph Sets the oscillator shape or duty cycle. For pulse waveforms, the oscillator is a square wave at 50%, and a rising/falling pulse at low/high settings. For wavesets, this selects one of 128 wave shapes in the waveset. For filtered noise oscillators, this adjusts the filter resonance . For Karplus strings, it adjusts the damping. For random/noise, it adjusts the randomness (use higher pitches for good randomness).

Semi Oscillator pitch transposition from input pitch, in MIDI units.

Tune Detune from input pitch, in cents.

Ring1/Ring2/Ring3 Oscillator ring modulation. The unity output of both oscillators is multiplied together and mixed with the oscillator mix. At 0, there is no ring modulation. At 50, there's an equal amount of ring modulation and oscillator mix. At 100, only ring modulation is output.

FM depth At zero, there's no FM. At higher values, the FM depth is set in MIDI semitones. For example, if the current note is middle C, and FM is set to 72 (with no FM track), the modulator ratio is 2:1. This design assists in creating harmonic FM tones.

FM pitch tracking When 0 there's no tracking. When 1, FM depth tracks keyboard pitch exactly. At 2 it tracks twice as much. Typically tracking is set to 0 or 1, in the latter case, with an offset added by FM depth. For example with tracking at 1 and FM depth at 12, the modulator is one octave above the carrier. Tracking can be set below 1 to reduce harmonics in higher-pitched notes, or vice versa.

Oscillator FM-rate self feedback At 0, there's no feedback. At higher values the feedback distorts the output into noise.

1>A, 1>B, 2>A, 2>B, 3>A, 3>B Sets the oscillator level sent to filter channels. If the sum of the levels for the A or B channel are more than 100%, the oscillators' levels are relatively scaled to keep their sum in the unity gain range. Otherwise, if the oscillator levels add up to <100%, the oscillators are simply added together. If you want equal mix at max. level or 2 or more oscillators, simply set their mix levels all the way to the right.

Modulation Matrix

The controls are identical for all 15 modulators.

modulation destination Pitch destinations are in semtones. Tunes are in cents. Choosing MATRIX LEVELS allows modulation of another matrix modulation's output level.

----Output gain
amp left
amp right
Left and right channels before effects
left AB mix
right AB mix
Mix of Filter A/B channels to left/right channels
AB serial/parallelBalance of filters mixes into output channels
Mixes of oscillators to filter A channel (comb1 followed by filter 1).
osc3 >B
Mixes of oscillators to filter A channel (comb1 followed by filter 1).
pitchGlobal instrument pitch in midi units
osc1 pitch
osc2 pitch
osc3 pitch
osc1+2 pitch
osc1+3 pitch
osc2+3 pitch
Pitch of various single oscillators and oscillator combinations in miid pitch units
osc1 detune
osc2 detune
osc3 detune
osc1+2 detune
osc1+3 detune
osc2+3 detune
Detune of various single oscillators and oscillator combinations in cents
osc1 morph
osc2 morph
osc3 morph
osc1+2 morph
osc1+3 morph
osc2+3 morph
osc1+2+3 morph
Waveshape of selected oscillator waveforms
osc2 ring mod
osc3 ring mod
Amount of ring modulation
osc1 phase
osc2 phase
osc3 phase
osc1 feedback
osc2 fm1 lvl
osc2 fm3 lvl
osc3 fm1 lvl
osc3 fm2 lvl
osc1 wave sel
osc2 wave sel
osc3 wave sel
combA mix
combB mix
combA del
combB del
combA fb
combB fb
filtA cutoff
filtB cutoff
filtA+B cutoff
filtA poles
filtB poles
filtA+B poles
filtA type
filtB type
filtA+B type
filtA drive
filtB drive
filtA+B drive
filtA Q
filtB Q
filtA+B Q
lfo1 freq
lfo2 freq
lfo3 freq
lfo1 shape
lfo2 shape
lfo3 shape
env1 att
env2 att
env3 att
exponential attack time
env1 dec1
env2 dec
exponential time of decay to breakpoint
env1 brk
env2 brk
breakpoint as fraction of gate level
env1 dec2
env2 dec2
exponential time of decay from breakpoint to sustain
env3 decexpoenential decay from attack to sustain
env1 sus
env2 sus
env3 sus
Sustain as fraction of gate level
env1 rel
env2 rel
env3 rel
Exponential release time
env2 pre
env3 pre
predelayh in milliseconds
env1 A+D1
env2 A+D1
env3 A+D
Concurrent modulation of attack and decay1
env1 A+D1+D2+R
env2 A+D1+D2+R
env3 A+D+R
Concurrent modulation of all envelope time parameters
env1 brk+sus
env2 brk+sus
glide time
gliss pattern
Glide and glissando
del1 mix
del2 mix
del1 left
del1 right
del2 left
del2 right
del1 cross
del2 cross
del1 feedback
del2 feedback
chorus mix
chorus freq
chorus spread
chorus mod depth
reverb mix
matrix1 lvl
matrix2 lvl
matrix3 lvl
matrix4 lvl
matrix5 lvl
matrix6 lvl
matrix7 lvl
matrix8 lvl
matrix9 lvl
matrix10 lvl
matrix11 lvl
matrix12 lvl
matrix13 lvl
matrix14 lvl
matrix15 lvl

Modulation Source Sources may be selected with the spin dial, or with the dropdown list. All source ranges are scaled to range 0~1 (except bend and LFOs, which are in range -1 ~ 1). CC levels are from MIDI input in variable mode, allowing control from a keyboard controller.

note pitch
osc1 pitch
osc2 pitch
filt A cutoff
filt B cutoff
note velocity
env1 velocity
env2 velocity
env1 gate
env2 gate
lfo1 * env1
lfo2 * env1
lfo3 * env1
lfo1 * env2
lfo2 * env2
lfo3 * env2
lfo3 * env1
lfo3 * env2
lfo3 * env3
lfo1 S&H-note
lfo2 S&H-note
lfo3 S&H-note
lfo1 S&H-env2
lfo2 S&H-env2
lfo3 S&H-env2
lfo1 gated-env1
lfo1 gated-env2
lfo2 gated-env1
lfo2 gated-env2
chorus lfo1
chorus lfo2
chorus lfo3
chorus lfo4
chorus lfo5
chorus lfo6
chorus lfo7
chorus lfo8
mod whl
mod whl*lfo1
mod whl*lfo2
mod whl*lfo3
pitch bend
foot ctrlr
sustain pedal
soft pedal
hold pedal
portamento pedal
sostenuto pedal
CONSTANT provides a linear 0~1 value for scaling destinations. PARABOLA and INVERTED PARABOLA are like CONSTANT, but shape the output value in a curve.

Modulation Slidermodulation amount as a percentage of the source signal. Negative values invert the modulation. If either the source, detination, or level is off, CPU usuage is reduced. LFOs and bend are bipolar; other sources are unipolar. The design proivides maximum modulation range for all contrlols. When the accumulated value for a destination exceeds its possible range, the value is clipped.

Off Sets the modulation amount slider to zero.

Comb Filters

Comb 1 receives from the oscillator and ring modulation mix. Comb2 receives from SVF filter 1. The controls are identical for both.

Level Comb filter mix. At 0, there's no comb filter. At 100, the output is fully combed. Intermediate values mix the comb filter output with the source.

Delay Comb filter base delay, in 10ths of milliseconds.

Track Comb pitch track. At 0, there's no pitch track. At 1, the delay exactly matches the wavelength of an oscillator set to note pitch. At values lower than 1, delay tracks less than pitch, at values higher than 1, delay tracks higher than pitch. Tracking delays are added to the base filter delay.

Feedback Comb filter feedback. At 0, there's no feedback.

SVF Filters

Still in progress


Envelope 1 is also the amplitude envelope. The three envelopes are subtly different, but the controls are similar.

MODE Envelope mode.

  • MULTIPLE retriggers on all note-on events.
  • SINGLE only retriggers the envelope if no other notes are playing (note pitch is still changed regardless).
  • LOOP is like SINGLE, but when the envelope reaches the end of the decay phase, the attack phase restarts from the sustain level.
CLOCK The envelope retriggers from the clock

PREDELAY (env2/3 only) envelope predelay, in milliseconds. If this is set, the automatic predelay described in the tip for 'attack' is skipped. Setting this to zero can produce clicks on playing notes, which may be desirable in some cases.

ATT Attack duration, during which the envelope rises to the gale llevel. If the envelope is already outputting sound, a pre-attack phase of 5ms is added, during which the output drops to zero before the attack phase begins, ensuring full attack on all notes. Duration is scaled logarithmically in the same way for all envelope phase durations, as follows: Min is 3ms. At 25% (32), the duration: 28ms, Half way (64), the duration is 244ms. Three quarters (96) is 21 sec, The max is 18 sec.

DEC1 (env1/2 only) Decay 1 duration. During this phase the envelope drops to the breakpoint level, unless the breakpoint level is 1, in which case this phase is skipped, the breakpoint is ignored, and the envelope behaves as a traditional ADSR envelope, with dec2 setting the decay duration. Duration is scaled logarithmically in the same way for all envelope phase durations, as follows: 0=3ms, 16=10ms, 32=32ms, 48=102ms, 64=327ms, 80=1sec, 96=3.3sec max=31sec.

BRKPOINT (env1/2 only) breakpoint level, as a fraction of the gale level. If you do not want a breakpoint, set this to 1. See the dec1 tip.

DEC2 (env1/2 only) decay 2 duration, during which the output level transtiions from the breakpoint level to the sustain level. While conventionally called 'decay 2', the output level may actually rise if the breakpoint is lower than the sustain level. Duration is scaled logarithmically in the same way for all envelope phase durations, as follows: 0=3ms, 16=10ms, 32=32ms, 48=102ms, 64=327ms, 80=1sec, 96=3.3sec max=31sec.

DEC (env3 only) decay duration. During this phase the envelope drops to the sustain level. Duration is scaled logarithmically in the same way for all envelope phase durations, as follows: 0=3ms, 16=10ms, 32=32ms, 48=102ms, 64=327ms, 80=1sec, 96=3.3sec max=31sec.

SUS Sustain level, as a fraction of the gale level.

REL Release duration. Duration is scaled logarithmically in the same way for all envelope phase durations, as follows: 0=3ms, 16=10ms, 32=32ms, 48=102ms, 64=327ms, 80=1sec, 96=3.3sec max=31sec.

V>LVL Envelope level sensitivity to note velocity. At 0, the envelope level is 1. At 1, the envelope level is directly set by velocty. As 2, the envelope level is double velocity. Intermediate settings provide intermediate values.


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Still in progress

Glide and Glissando

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Limiter and Output

Still in progress

MIDI Reference

Still in progress

channel A

Hide LIne Numbers
  1. cc#    param
  2. 1  mod wheel 
  3. 2 delay 1 mix 
  4. 3 delay2 mix 
  5. 4 foot controller 
  6. 5 bend range 
  7. 6 monitor 
  8. 7 volume 
  9. 8 filter 1 pan 
  10. 9 filter 2 pan 
  11. 10 filter mix **
  12. 11 ring mod 
  13. 12 delay 1 cross 
  14. 13 delay 2 cross 
  15. 14 delay 1 feedback 
  16. 15 delay 2 feedback 
  17. 16 env1 mode 
  18. 17 env2 mode 
  19. 18 env3 mode 
  20. 19 env2 predelay 
  21. 20 env3 predelay 
  22. 21 env2 attack 
  23. 22 env3 attack 
  24. 23 env1 breakpoint 
  25. 24 env2 breakpoint 
  26. 25 env1 delay 1 
  27. 26 env2 delay 1 
  28. 27 env3 delay 
  29. 28 env1 delay 2 
  30. 29 env2 delay 2 
  31. 30 env1 sustain 
  32. 31 env2 sustain 
  33. 32 env3 sustain
  34. 33 env2 release 
  35. 34 env3 release 
  36. 35 filter 1 resonance 
  37. 36 filter 2 resonance 
  38. 37 filter 1 saturation 
  39. 38 filter 2 saturation 
  40. 39 lfo1 frequency 
  41. 40 lfo2 frequency 
  42. 41 lfo3 frequency 
  43. 42 lfo1 wave select 
  44. 43 lfo2 wave select 
  45. 44 lfo3 wave select 
  46. 45 lfo1 sync 
  47. 46 lfo2 sync 
  48. 47 lfo3 sync 
  49. 48 lfo1 morph 
  50. 49 lfo2 morph 
  51. 50 lfo3 morph 
  52. 51 osc1 tune 
  53. 52 osc2 tune 
  54. 53 osc3 tune 
  55. 54 osc1 transpose 
  56. 55 osc2 transpose 
  57. 56 osc3 transpose 
  58. 57 osc3 ring mod 
  59. 58 osc3 >A 
  60. 59 osc1 >B 
  61. 60 osc2 >B 
  62. 61 osc3 >B 
  63. 62 osc3 phase 
  64. 63 matrix 1 source 
  65. 64 sustain **
  66. 65 portamento ** 
  67. 66 sostenuto ** 
  68. 67 soft - ** 
  69. 68 limiter enable 
  70. 69 hold - **  
  71. 70 matrix 2 source 
  72. 71 matrix 3 source 
  73. 72 env1 release ** 
  74. 73 env1 attack ** 
  75. 74 matrix 4 source 
  76. 75 matrix 5 source 
  77. 76 matrix 6 source 
  78. 77 matrix 7 source 
  79. 78 matrix 8 source 
  80. 79 matrix 9 source 
  81. 80 matrix 10 source 
  82. 81 matrix 11 source 
  83. 82 matrix 12 source 
  84. 83 osc1 mix 
  85. 84 glide time **
  86. 85 osc2 mix 
  87. 86 osc1 phase 
  88. 87 osc2 pahse 
  89. 88 osc1 sync 
  90. 89 osc2 sync 
  91. 90 osc1 select 
  92. 91 osc2 select 
  93. 92 osc1 morph 
  94. 93 osc2 morph 
  95. 94 delay 1 left length 
  96. 95 delay 2 left length 
  97. 96 delay 1 pan
  98. 97 delay 2 pan 
  99. 98 delay 1 right length 
  100. 99 delay 2 right length  
  101. 100 NRPN low **  
  102. 101 NRPN high ** 
  103. 102 comb 1 mix 
  104. 103 comb 2 mix 
  105. 104 comb 1 feedback 
  106. 105 comb 2 feedback 
  107. 106 glissando scale 
  108. 107 glissando key 
  109. 108 glide/glissando type 
  110. 109 glissando pattern 
  111. 110 chorus freq 
  112. 111 chorus freq spread 
  113. 112 chorus mod depth
  114. 113 chorus mod spread
  115. 114 chorus mix 
  116. 115 reverb mix 
  117. 116 reverb cut 
  118. 117 reverb damp 
  119. 118 reverb decay 
  120. 119 tempo 
  121. 120 limiter level 
  122. 121 limiter window 
  123. 122 limiter release 
  124. 123 all sound off **

Channel B

Hide LIne Numbers
  1. cc#    param
  2. 1 chorus base delay
  3. 2 reverb predelay
  4. 3 filter 1 cutoff
  5. 4 filter 2 cutoff
  6. 5 filter 1 track
  7. 6 filter 2 track
  8. 7 osc1 feedback
  9. 8 osc2 FM1 track
  10. 9 osc2 FM3 track
  11. 10 osc3 FM1 track
  12. 11 osc3 FM2 track
  13. 12 osc2 FM1
  14. 13 osc2 FM3
  15. 14 osc3 FM1
  16. 15 osc3 FM2
  17. 16 comb 1 depth
  18. 17 comb 2 depth
  19. 18 comb 1 track
  20. 19 comb 2 track
  21. 20 osc3 sync
  22. 21 osc3 select
  23. 22 osc3 morph
  24. 23 delay 2 lo cut
  25. 24 delay 2 hi cut
  26. 25 matrix 13 source 
  27. 26 matrix 14 source 
  28. 27 matrix 15 source 
  29. 28 matrix 1 dest 
  30. 29 matrix 2 dest 
  31. 30 matrix 3 dest 
  32. 31 matrix 4 dest 
  33. 32 matrix 5 dest 
  34. 33 matrix 6 dest 
  35. 34 matrix 7 dest 
  36. 35 matrix 8 dest 
  37. 36 matrix 9 dest 
  38. 37 matrix 10 dest 
  39. 38 matrix 11 dest 
  40. 39 matrix 12 dest 
  41. 40 matrix 13 dest 
  42. 41 matrix 14 dest 
  43. 42 matrix 15 dest 
  44. 43 matrix 1 level 
  45. 44 matrix 2 level 
  46. 45 matrix 3 level 
  47. 46 matrix 4 level 
  48. 47 matrix 5 level 
  49. 48 matrix 6 level 
  50. 49 matrix 7 level 
  51. 50 matrix 8 level 
  52. 51 matrix 9 level 
  53. 52 matrix 10 level 
  54. 53 matrix 11 level 
  55. 54 matrix 12 level 
  56. 55 matrix 13 level 
  57. 56 matrix 14 level 
  58. 57 matrix 15 level
  59. 58 matrix 1 destb 
  60. 59 matrix 2 destb 
  61. 60 matrix 3 destb 
  62. 61 matrix 4 destb 
  63. 62 matrix 5 destb 
  64. 63 matrix 6 destb 
  65. 64 matrix 7 destb 
  66. 65 matrix 8 destb 
  67. 66 matrix 9 destb 
  68. 67 matrix 10 destb 
  69. 68 matrix 11 destb 
  70. 69 matrix 12 destb 
  71. 70 matrix 13 destb 
  72. 71 matrix 14 destb 
  73. 72 matrix 15 destb 
  74. 73 matrix 1 sign 
  75. 74 matrix 2 sign 
  76. 75 matrix 3 sign 
  77. 76 matrix 4 sign 
  78. 77 matrix 5 sign 
  79. 78 matrix 6 sign 
  80. 79 matrix 7 sign 
  81. 80 matrix 8 sign 
  82. 81 matrix 9 sign 
  83. 82 matrix 10 sign 
  84. 83 matrix 11 sign 
  85. 84 matrix 12 sign 
  86. 85 matrix 13 sign 
  87. 86 matrix 14 sign 
  88. 87 matrix 15 sign 
  89. 88 filter 1 type 
  90. 89 filter 2 type 
  91. 90 filter 1 poles 
  92. 91 filter 2 poles 
  93. 92 env1 vel sens. 
  94. 93 env2 vel sens. 
  95. 94 limiter attack 
  96. 95 limiter release

Thank you for your interest in Yofiel. I hope you enjoy making music with Synthcore.

-ernest Leonardo Meyer>