# EnneAgraM — Guide for your AI assistant

EnneAgraM version 1.0.7 · generated 2026-10-19 from the product itself · https://enneagramdsp.com

> **How to use this file.** Give this file to an AI assistant (attach it to the chat, or paste its contents), then ask
> your question in your own words, for example: *"I'm new to synths. Help me make a warm pad in EnneAgraM, step by step."*
> or *"How do I add vibrato to a lead?"* The assistant will use this guide to explain EnneAgraM with the names you see on
> the screen. Download the latest version of this guide from the website whenever you update EnneAgraM.

---

## Part 1 — Instructions for the AI assistant

You are helping a person learn and use **EnneAgraM**, a wavetable, granular and sampler synthesizer by EnneAgraM DSP.
Many users are new to synthesizers. Follow these rules:

1. **Teach step by step.** Give one small step at a time, then wait or ask whether it worked. In your first answer it is fine
   to ask one or two short questions (rule 3) and give the first step together. Say which **page**
   (VOICE, SAMPLER, FX or MATRIX, the tabs at the top) and which **panel** a control is on, and write control names
   **exactly as they appear on the screen**, in quotes, for example: the "F1 Cut" knob in the TRIPLE FILTER panel.
2. **Only describe what is in this guide.** Part 9 is generated from EnneAgraM's own built-in help texts, so trust it
   over general knowledge of other synthesizers. If something is not described here, say that you are not sure, and
   suggest hovering over the control (the tooltip explains it; tooltips can be switched on in the ☰ menu under
   "Tooltips"), watching the matching video lesson (Part 7) or writing to support@enneagramdsp.com.
   **Never invent controls, menu items, keyboard shortcuts or features.**
3. **Start by asking a little:** what they want to make, whether they use a DAW (Ableton Live, FL Studio, Logic, Cubase,
   Reaper, Bitwig ...) or the standalone app, and whether they have the free demo or the full version.
4. **Start from a factory preset when possible.** Suggest a preset close to the goal (open the ☰ menu → "Preset Browser"),
   then tweak it. Build from "Init Preset" (☰ menu) when the user wants to learn from scratch.
5. **Explain why, in one sentence,** so the user learns to hear it: "Raise Attack: the sound fades in instead of starting
   at once."
6. **Protect ears and speakers.** Before steps that can get loud (high resonance, distortion, feedback, many unison
   voices), suggest turning the volume down first. "PANIC" (top right) stops all sound at once.
7. **Answer in the user's language,** but keep the on-screen names in English, as they appear in EnneAgraM.
8. **Point to the video lessons** in Part 7 when a topic is bigger than a few steps; each lesson has a direct link.
9. **Demo or full version:** the free demo runs the full sound engine but cannot save (presets, wavetables, kits, shapes),
   opens only its factory presets, does not keep its settings in a DAW project, and plays in 20-minute sessions (after
   20 minutes of sound it fades out; reload the plugin or restart the app). The full version has none of these limits.
   If a step needs saving, tell demo users that it needs the full version.

---

## Part 2 — What EnneAgraM is

EnneAgraM runs on **Windows** (VST3 plugin and standalone app) and **macOS 11 or newer** (VST3, Audio Unit and
standalone app, on Apple Silicon and Intel). In a DAW, load "EnneAgraM" on an instrument track. The standalone app
needs no DAW: click the on-screen keyboard, use a MIDI keyboard, or on Windows play the computer keyboard (☰ menu →
"Computer Keyboard": the Z row starts at C3, the Q row at middle C, the arrow keys change the octave, [ and ] play softer
or louder).

**The sound path, simply:** three **oscillators** (OSC 1, OSC 2, OSC 3; each can be a wavetable, a sample or a granular
source) plus noise, a sub oscillator and a **sampler** → three **filters** (TRIPLE FILTER) → **effects** (FX page) →
the **master** limiter and stereo section → output. **Envelopes** (ENV 1–6), **LFOs** (LFO 1–8), random generators,
macros, XY pads, the mod wheel, velocity, aftertouch and MPE can **modulate** almost any knob.

### The top bar (always visible)
- The **EnneAgraM logo**, and the four page tabs **VOICE**, **SAMPLER**, **FX** and **MATRIX**.
- The **preset name** with **<** and **>** arrows to step through presets; undo and redo arrows.
- The **☰ menu**: "Init Preset", "Save Preset", "Load Preset", "Preset Browser" · "Reset to 12-TET (Standard)",
  "Reference A = 440 Hz", "Reference A = 432 Hz" · "Computer Keyboard", "Playable On-Screen Keyboard", "Hide Keyboard",
  "Invert Mod Wheel / Pitch Bend" · "Tooltips", "Show Audio In Panel" · "Theme" (Dark, Midnight, Solar, Emerald, Black, Crimson, Violet, "Larger labels",
  "Custom background color...", "Default background") · "Esoteric" (for example "Show
  Chakra Panel", "Import SCL / TUN…") · "Preferences…", "Send Bug Report…", "About EnneAgraM…", "Send Feedback…",
  "License…". (Some items appear only in the standalone app.)
- The voice and CPU meter, **PANIC** (stops all sound), **DRONE** and **BINAURAL**.
- At the bottom: the on-screen keyboard with the **PITCH** and **MOD** wheels. On the right of most pages: the
  **MOD ROUTING** strip, which lists the active modulation routes.

---

## Part 3 — The four pages

### VOICE page
- **OSC 1 / OSC 2 / OSC 3** tabs, each a card with a waveform display (arrows to change the wavetable, a pencil to open
  the wavetable editor, a power button to switch the oscillator on or off) and four tabs: **MAIN** ("Level", "Pitch",
  "Fine", "Keytrack", "Pan", "Phase", "Glide", "Rnd Phase", "Sub", "Sub Oct"), **SHAPE & MOD** (warp, spectral morph,
  shaper, FM, ring mod, sync, feedback), **UNISON** ("Unison" voices, "Detune", "Blend", "PanSp", "DetPw", "WT Spr",
  "Spectr", "Dist Sp", "StkPh") and **GRANULAR**. The card's right column has **SOLO**, **PH-INV**, **STEREO**, the
  amp envelope choice ("Amp ENV 1"), the filter routing (for example "Filter 1") and the **FX** routing menu.
- The **noise** row (noise type, "N Lvl", "N Color", "N Pan" ...) and the mini sampler, **PB Up / PB Down** (pitch bend
  range), the **ModSm** smoothing, and **Macro 1–4**.
- **TRIPLE FILTER**: tabs **F1 / F2 / F3**; "F1 Cut" (cutoff), "F1 Res" (resonance), "F1 Drv", "F1 X-FM", "F1 Mix";
  the filter's own envelope row "KT", "Amt", "Dly", "Atk", "Hold", "Dec", "Sus", "Rel" (+ curve knobs "A.Pw", "D.Pw",
  "R.Pw"); menus for routing ("Serial" ...), filter model ("SVF" ...), type ("LP" ...), slope ("12dB" ...) and
  "Solfeggio"; and the **XMORPH** crossfader between Filter 1 and Filter 2.
- **ENV 1 – ENV 6**: "Delay", "Attack", "Hold", "Decay", "Sustain", "Release", "KeyTrk", "LpAmt", "Mix", LOOP and mode
  menus; "Shapes", "Save", "Load". ENV 1 is the amplitude envelope of the oscillators by default.
- **LFO 1 – LFO 8**: a drawable shape display (left-click edits, right-click opens tools, the wheel zooms), "Rate",
  "Depth", "Dly", "Width", "Phase", "Smooth", "Fade", "Stereo", the shape menu (for example "Sine") and sync menus;
  "Shapes", "Save", "Load".
- **RANDOM** (R 1 – R 4 and XY 1 / XY 2 pads), **QUALITY** (oversampling, "Voices", MPE, interpolation, "Osc Drft",
  "Tolerance") and **TUNING** ("Mstr Tune", "Vel Sens", "Width", "Uni Drft", "Rnd Ph", "Binaural", "Glide", "Mstr Vol";
  menus for voice mode ("Poly" ...), voice priority, pitch quantize, glide mode ("Legato" ...), glide curve, scale root,
  voice stealing ("Steal"), unison stack ("Normal"), **Chord** and **Octave**; the **Capture** button and the **MY CHORD**
  switch).

### SAMPLER page
SAMPLER display with **TWEAK**, **OFF / KEYEXT**, envelope source ("Env SFZ") and **CLEAR**; panels **RANGE / LOOP**,
**MASTER** ("Root", "Pitch", "Level", "Fine", "Pan", "Makeup"), **MIDI & MPE**, **LEGATO & ARTIC**, **UTILITY**,
**VIBRATO**, **HUMANIZE**, **FILTER & FX**, **TONE**, **MICS & LAYERS**; the **INSTRUMENTS** list with the
articulation cards **LONG**, **STACCATO**, **PIZZICATO**, **TREMOLO**, **ACCENT**; the **SFZ BROWSER** (**SCAN**, **SAVE**,
**DISK**) and the **ZONE MATRIX** (**SLICE**, "Save SFZ", "Clear Kbd").

### FX page
The **FX CHAIN** strip at the top (click an effect to switch it on or off, drag to reorder), **ALL FX ON**, **SAVE FX**,
**LOAD FX** and **ADD FX**. Below it the effect cards: Gate, EQ, Filter, Distortion, Compressor, Chorus, Delay, Reverb,
Flanger, Phaser, Tremolo / Auto-Pan, Bitcrusher, Ring Mod, Granular, Transient Shaper, Auto Wah, and the
**ARPEGGIATOR** card (tabs **ARP 1 / ARP 2**). At the bottom: **MASTER — LIMITER + STEREO** ("Limiter Mix", "Ceiling",
"Release", "Lookahead", "Stereo Mix", "Width", "Mid Gain", "Balance", "Bass Mono", "Master Vol").
An effect only hears the sources routed into it: use **ADD FX**, the **FX** menu on an oscillator card, or the source
list on the effect card (OSC 1, OSC 2, OSC 3, Sampler, Mini Sampler, or "Master (whole mix)").

### MATRIX page
**MOD ROUTING** list (**ADD ROUTE**, **SAVE MATRIX**, **LOAD MATRIX**, **CLEAR ALL**; each row has SOURCE, DESTINATION
and AMOUNT), **MOD REMAP** curves (A – P), the **ROUTING** view and the **SIGNAL CHAIN** view.

---

## Part 4 — Everyday tasks

- **Play a preset:** ☰ → "Preset Browser" (banks, a style column, search, favorites and preview), or the < > arrows next to
  the preset name.
- **Start from scratch:** ☰ → "Init Preset" (a plain sine on OSC 1).
- **Save your sound (full version):** ☰ → "Save Preset" (or "Save Preset" in the Preset Browser). The demo cannot save.
- **Modulate a knob:** right-click a knob (or Shift + left-click) → "Modulate with…" → choose a source, for example
  LFO 1. You can also drag a source onto a knob. Change the amount by dragging the route's cable in the MOD ROUTING strip
  on the right, or with AMOUNT on the MATRIX page. Right-click a knob to see "Active Mods" (what is moving it) and remove
  a route. The same right-click menu has **"MIDI Learn"**: choose it, then move a knob or fader on your MIDI controller
  ("Cancel MIDI Learn" stops waiting). Afterwards the menu shows "MIDI Learn  (CC n)" with the controller number, and
  "Clear MIDI Learn" removes the link. MIDI Learn links belong to EnneAgraM, not to one preset.
- **Add an effect:** FX page → **ADD FX**, pick the effect, then choose which sources feed it. Click its chip in the FX
  CHAIN to switch it on or off; drag chips to change the order.
- **Use the arpeggiator:** the arpeggiator only plays the sources routed into it, and its ARPEGGIATOR card appears on the
  FX page once something is routed to it. FX page → **ADD FX** → Arpeggiator, then
  tick the source (OSC 1, OSC 2, OSC 3, Sampler) in its source list; or use the **FX** menu on an oscillator card. On the
  ARPEGGIATOR card choose a mode (not "Off") and a "Rate", check that **ARP 1 ON** is on, then hold a chord. "Octaves",
  "Swing", "Gate", "Rest" and "Start Delay" are on the card; "Start Delay" lets the chord sound first and the arpeggio join
  later. In a DAW the arpeggiator follows the host tempo.
- **One-finger chords:** VOICE page → TUNING → **Chord** menu (Major, Minor, 7th chords ...). Or capture your own: hold a
  chord on a MIDI keyboard (or the Windows computer keyboard) and click **Capture**, or play it, let go and then click
  Capture; the lowest note becomes the root and **MY CHORD** switches on. One key then plays your chord, also through the
  arpeggiator. The chord is saved with the preset and the DAW project. Picking a chord from the Chord menu switches MY CHORD
  off. (Capture needs two or more keys down at once, so use a MIDI or computer keyboard rather than the mouse.)
- **Change the look:** ☰ → "Theme" (Dark, Midnight, Solar, Emerald, Black, Crimson, Violet; "Larger labels"; "Custom background color...").
- **Record or export audio:** EnneAgraM has no function that records your playing to an audio file. Record or render it
  in your DAW (or with recording software when you use the standalone app).
- **Buy the full version:** https://enneagramdsp.com (one license for Windows and macOS, up to two computers).
- **Problems or ideas:** ☰ → "Send Feedback…" or "Send Bug Report…", or write to support@enneagramdsp.com.

---

## Part 5 — Sound recipes (starting points)

Each recipe starts from ☰ → "Init Preset". Values are starting points: let the user's ears decide. "Init Preset" is a pure
sine wave, which has no overtones: a filter has almost nothing to remove from it. For most recipes first give OSC 1 a richer
wave: click the OSC 1 waveform display to open the wavetable library and choose for example **Basic → Saw** (or SuperSaw,
Square), or step through the tables with the arrows on the display.

**Warm pad.** OSC 1: a Saw or SuperSaw wave. OSC 1 card → UNISON tab: raise "Unison" to 4–7 voices and "Detune" a little. ENV 1: "Attack" around
0.5–1 s, "Release" around 1–2 s, "Sustain" high. TRIPLE FILTER: lower "F1 Cut" until the sound is soft. FX page → ADD
FX → Reverb (and Chorus for width). Optional: slow movement with LFO 1 → "F1 Cut" (right-click "F1 Cut" → "Modulate
with…" → LFO 1, a low "Rate").

**Punchy bass.** OSC 1: Saw or Square. TUNING → the voice mode menu (it shows "Poly") → "Mono" or "Legato". OSC 1 MAIN: "Sub" up for weight.
ENV 1: fast "Attack", medium "Decay", "Sustain" medium. TRIPLE FILTER: "F1 Cut" low-ish, the filter envelope "Amt" up with
a short "Dec", so each note opens and closes the filter (the "pluck" of the bass).

**Pluck.** OSC 1: Saw. ENV 1: "Attack" near 0, "Decay" short, "Sustain" 0, "Release" short. Filter envelope: "Amt" up, "Dec" short.
Add a Delay on the FX page for space.

**Lead with vibrato.** Voice mode "Mono" or "Legato" with "Glide" (OSC MAIN or TUNING) for slides. Right-click OSC 1 "Fine" (or
"Pitch") → "Modulate with…" → LFO 1; set LFO 1 "Rate" around 5–6 Hz and a small amount. LFO 1 "Dly" and "Fade" let the
vibrato start a moment after the note.

**Wobble.** OSC 1: Saw or SuperSaw. Right-click "F1 Cut" → "Modulate with…" → LFO 1; give the route a large amount; set LFO 1 to a tempo-synced
rate (sync menu) for rhythmic wobbles. Raise "F1 Res" carefully.

**Tremolo or auto-pan.** FX page → ADD FX → Tremolo / Auto-Pan, route your source (or "Master (whole mix)"). Its "Stereo"
control turns the tremolo into an auto-pan.

**Arpeggio.** See "Use the arpeggiator" in Part 4. A short ENV 1 "Release" keeps the notes separate; "Start Delay" lets a
held chord sound first and the arpeggio join later.

**Granular texture.** OSC 1 card → GRANULAR tab, or FX page → Granular for a grain cloud on any sound. Slow LFOs on the
grain position give an evolving texture.

**Real instruments.** SAMPLER page → INSTRUMENTS list or SFZ BROWSER → SCAN, then load an instrument; the articulation
cards (LONG, STACCATO ...) switch playing styles.

---

## Part 6 — Synthesis words in plain language

- **Oscillator:** the part that makes the raw sound. **Wavetable:** a set of waveforms; moving through it changes the tone.
- **Granular:** chops a sound into tiny grains and plays them back as a cloud. **Sampler:** plays recorded sounds;
  **SFZ** is a common sampler instrument format.
- **Filter:** removes part of the sound; **cutoff** sets where, **resonance** adds a peak at the cutoff.
  Low-pass (LP) keeps the lows (darker), high-pass keeps the highs (thinner).
- **Envelope (ADSR):** how a sound starts, holds and ends: Attack (fade in), Decay (fall to the sustain level), Sustain
  (level while the key is held), Release (fade out after the key).
- **LFO:** a slow wave that moves another control (vibrato, wobble, tremolo). **Modulation:** one thing moving another.
- **Unison:** several detuned copies of a voice for a thicker, wider sound. **Glide:** sliding from one note to the next.
- **Mono / Poly / Legato:** one note at a time / chords / notes connect without restarting.
- **Arpeggiator:** plays the notes of a held chord one after another. **MPE:** per-note expression from MPE controllers.
- **Microtuning:** tunings other than standard 12-note equal temperament (Scala .scl / .tun files).
- **MIDI Learn:** link a knob to a knob or fader on your MIDI controller.

---

## Part 7 — Video lessons

Short videos on the website, one topic each. Link format: https://enneagramdsp.com/learn.html#lesson-id

**Getting Started**
- [First Look](https://enneagramdsp.com/learn.html#first-look) (1:50) — A quick tour of the four tabs: Voice, Sampler, FX and Matrix.
- [Browsing Presets](https://enneagramdsp.com/learn.html#browsing-presets) (1:43) — Banks, the style column, search, favorites and preview.
- [Macros and Performance](https://enneagramdsp.com/learn.html#macros-performance) (1:49) — Four macros, mod wheel, aftertouch and velocity.
- [Make It Yours](https://enneagramdsp.com/learn.html#make-it-yours) (2:05) — Themes, dimmed inactive controls, interface size and tips.

**Oscillators**
- [Wavetables 101](https://enneagramdsp.com/learn.html#wavetables-101) (1:35) — Choosing tables, wavetable position, 2D and 3D views.
- [Wavetables in 3D](https://enneagramdsp.com/learn.html#wavetables-3d) (1:25) — Orbit, zoom and watch all three oscillators morph in 3D.
- [On / Off, Level, Pan and Width](https://enneagramdsp.com/learn.html#osc-on-level-pan-width) (1:35) — Switch oscillators, set their level, pan and stereo width.
- [Pitch, Fine, Keytrack and Glide](https://enneagramdsp.com/learn.html#pitch-keytrack-glide) (1:04) — Tuning, glide, phase and random phase.
- [Sub Oscillator](https://enneagramdsp.com/learn.html#sub-oscillator) (0:33) — Add weight one or two octaves down.
- [Unison Basics](https://enneagramdsp.com/learn.html#unison-basics) (1:17) — Voices, detune, blend and stereo spread.
- [Unison and Chord Stacks](https://enneagramdsp.com/learn.html#unison-stacks) (1:14) — Stack modes and chord stacks.
- [Unison Deep Dive](https://enneagramdsp.com/learn.html#unison-deep-dive) (1:23) — Detune distribution, detune patterns, a drawn pattern, random, drift and jitter.
- [Unison Timbre and Stereo](https://enneagramdsp.com/learn.html#unison-timbre) (1:15) — Wavetable and warp spread, retrig or free phase, stack phase and pan law.
- [Warp](https://enneagramdsp.com/learn.html#warp) (0:58) — Three warp slots and fourteen warp types.
- [Spectral Morph](https://enneagramdsp.com/learn.html#spectral-morph) (1:16) — Twelve spectral morph types, from harmonic stretch to Shepard tones.
- [Talking Tables](https://enneagramdsp.com/learn.html#vocode-morph) (0:47) — Use a table's formant shape for vocal, talking tones.
- [Oscillator Shaper](https://enneagramdsp.com/learn.html#osc-shaper) (0:57) — Clip, fold, crush and self-FM on each oscillator.
- [FM Between Oscillators](https://enneagramdsp.com/learn.html#fm) (0:42) — Six-way frequency modulation between the three oscillators.
- [Ring Mod and Hard Sync](https://enneagramdsp.com/learn.html#ring-sync) (0:49) — Ring modulation pairs and hard sync to oscillator 1.
- [Oscillator Feedback](https://enneagramdsp.com/learn.html#osc-feedback) (0:31) — Phase feedback for grit and edge.
- [Sample Mode](https://enneagramdsp.com/learn.html#sample-mode) (1:14) — Drop a WAV: root note, start, end and loop modes.
- [Multi-Sample Stacks](https://enneagramdsp.com/learn.html#multi-sample-stacks) (0:39) — Load several WAVs and sweep through them.
- [Drop a WAV: Four Ways](https://enneagramdsp.com/learn.html#drop-a-wav) (1:15) — Wavetable, vocode, pitch splice or normal sample.
- [Granular Oscillator](https://enneagramdsp.com/learn.html#granular-osc) (1:45) — Grain density, size, spray, shape, scan and jitter.
- [Granular Follow Modes](https://enneagramdsp.com/learn.html#granular-follow) (0:37) — Let the grains follow the note's own playhead, or stay at the position you set.
- [Noise and the Mini Sampler](https://enneagramdsp.com/learn.html#noise-mini-sampler) (1:14) — Eleven noise types (five colors, six textures) and the mini sampler.
- [True Stereo](https://enneagramdsp.com/learn.html#true-stereo) (0:47) — Independent left and right channels for a wider image.
- [Oscillator Routing](https://enneagramdsp.com/learn.html#osc-routing) (0:52) — Solo, phase invert, amp envelope, filter and FX routing.

**Filters**
- [Filter Basics](https://enneagramdsp.com/learn.html#filter-basics) (2:00) — Three filter slots, serial, parallel or split routing, and source binding.
- [Ladder, Diode and SVF](https://enneagramdsp.com/learn.html#ladder-diode-svf) (1:51) — The classic filter models.
- [Comb and Formant Filters](https://enneagramdsp.com/learn.html#comb-formant) (1:54) — Metallic combs and vocal formants.
- [Morph and Phaser Filters](https://enneagramdsp.com/learn.html#morph-phaser-filters) (1:19) — Smooth filter travel and phase filtering.
- [The Signature Filters](https://enneagramdsp.com/learn.html#resonant-series) (1:53) — An overview of our number-based filter models.
- [Keytrack and the Filter Envelope](https://enneagramdsp.com/learn.html#filter-drive-keytrack) (1:29) — Key tracking and each filter's own envelope.

**Envelopes**
- [The Amp Envelope](https://enneagramdsp.com/learn.html#amp-envelope) (1:47) — Delay, attack, hold, decay, sustain, release and curves.
- [Modulation Envelopes](https://enneagramdsp.com/learn.html#mod-envelopes) (1:11) — Envelopes 2 to 6 as modulation sources.
- [Multi-Point Envelopes](https://enneagramdsp.com/learn.html#multipoint-envelopes) (1:26) — Draw points, curves and segment types.
- [Envelope Loops](https://enneagramdsp.com/learn.html#envelope-loops) (1:05) — Loop part of an envelope while the key is held.
- [Tempo-Synced Envelopes](https://enneagramdsp.com/learn.html#synced-envelopes) (1:13) — Scale envelope times to the host tempo; retrigger or legato.
- [Envelope Keytrack and Mix](https://enneagramdsp.com/learn.html#envelope-keytrack) (0:40) — Fine control over every envelope.

**LFOs**
- [LFO Basics](https://enneagramdsp.com/learn.html#lfo-basics) (1:18) — Rate, sync, shapes and depth.
- [Drawing Your Own LFO](https://enneagramdsp.com/learn.html#draw-lfo) (0:53) — Nodes and smooth, linear or hold segments.
- [Custom LFO Tools](https://enneagramdsp.com/learn.html#lfo-custom-tools) (1:37) — Grid snap, paint mode, repeat and quantize, randomize, copy and paste between LFOs.
- [The Step Sequencer LFO](https://enneagramdsp.com/learn.html#step-lfo) (1:03) — Steps, gate, glide and ratchet.
- [One-Shot LFOs](https://enneagramdsp.com/learn.html#one-shot-lfo) (0:43) — Use an LFO as an envelope.
- [Retrigger, Phase, Fade-In and Smooth](https://enneagramdsp.com/learn.html#lfo-retrig-fade) (1:17) — Control how an LFO starts and moves.
- [Stereo LFOs and Width Wobble](https://enneagramdsp.com/learn.html#stereo-lfo) (0:37) — Move sound across the stereo field.
- [Tempo and Transport Lock](https://enneagramdsp.com/learn.html#lfo-transport) (0:35) — Lock LFOs to the song position.
- [The Shape Library](https://enneagramdsp.com/learn.html#shape-library) (1:03) — Ready-made shapes; save and load your own.
- [Your Own Shapes from SVG](https://enneagramdsp.com/learn.html#svg-shapes) (1:27) — Load your own SVG drawings as LFO and envelope shapes.

**Play and Tune**
- [Random Generators](https://enneagramdsp.com/learn.html#rand) (1:18) — Four random sources for movement.
- [Arpeggiator Basics](https://enneagramdsp.com/learn.html#arp-basics) (1:16) — Two arpeggiators and their modes.
- [Arpeggiator Deep Dive](https://enneagramdsp.com/learn.html#arp-deep-dive) (1:08) — Patterns, velocity and chords.
- [Voice Modes](https://enneagramdsp.com/learn.html#voice-modes) (1:12) — Poly, mono, legato and voice count.
- [Microtuning](https://enneagramdsp.com/learn.html#microtuning) (1:11) — SCL and TUN tuning files and the A = 440 / 432 Hz reference pitch.
- [Analog Character](https://enneagramdsp.com/learn.html#analog-character) (0:43) — Drift and component tolerance.
- [MPE](https://enneagramdsp.com/learn.html#mpe) (0:51) — Per-note expression.

**Sampler**
- [Sampler Tour](https://enneagramdsp.com/learn.html#sampler-tour) (1:24) — Every panel of the sampler at a glance.
- [Loading SFZ Instruments](https://enneagramdsp.com/learn.html#loading-sfz) (0:55) — From the SFZ browser or by drag and drop.
- [Articulations and the Instruments List](https://enneagramdsp.com/learn.html#instruments-library) (0:49) — Five articulation cards and the A-Z instruments list.
- [Building a Kit from WAVs](https://enneagramdsp.com/learn.html#kit-from-wavs) (0:43) — Drop WAVs and lay them out on the zone matrix.
- [The Zone Matrix](https://enneagramdsp.com/learn.html#zone-matrix) (0:44) — Key and velocity ranges.
- [The Zone Inspector](https://enneagramdsp.com/learn.html#zone-inspector) (0:55) — Root, key and velocity range, volume, pan, tuning and round robin for one zone.
- [The Slicer](https://enneagramdsp.com/learn.html#slicer) (0:55) — Slice a loop across the keyboard.
- [Range, Loop and Play Modes](https://enneagramdsp.com/learn.html#sampler-range-loop) (1:23) — Start, end, loop points, crossfade and disk streaming.
- [Unison, Granular and the Tweak Portal](https://enneagramdsp.com/learn.html#sampler-osc-engine) (1:01) — Borrow an oscillator's unison or granular engine for the sampler.
- [Filter, IR, Voice Filters and FX](https://enneagramdsp.com/learn.html#sampler-filters-fx) (1:08) — The sampler's own filter and IR, plus routing into the synth filters and effects.
- [Sampler Envelopes](https://enneagramdsp.com/learn.html#sampler-envelopes) (0:50) — Use the instrument's own envelope or any of the six.
- [Mod Wheel, Velocity and Vibrato](https://enneagramdsp.com/learn.html#sampler-expression) (1:16) — Mod wheel to volume and brightness, velocity, and vibrato on the wheel or automatic.
- [Humanize and Tone](https://enneagramdsp.com/learn.html#sampler-humanize) (0:57) — Pitch, gain, start and timing variation; dynamics, brightness and air.
- [Legato, Round Robin and Articulations](https://enneagramdsp.com/learn.html#sampler-legato) (1:12) — Legato modes, repetitions, divisi and articulation switching.
- [Sampler Switches](https://enneagramdsp.com/learn.html#sampler-buttons) (0:34) — Pedal, drum mode, normalize, FX bypass, key range extend and more.
- [Modulating the Sampler](https://enneagramdsp.com/learn.html#sampler-modulation) (0:46) — Drive sampler controls from LFOs, envelopes, macros and the matrix.

**Effects**
- [Effects Overview](https://enneagramdsp.com/learn.html#fx-overview) (0:42) — Source binding, order, saving and loading chains.
- [Gate](https://enneagramdsp.com/learn.html#fx-gate) (1:06) — Threshold, range, hold and release.
- [EQ](https://enneagramdsp.com/learn.html#fx-eq) (1:28) — Eight bands, mid / side and A / B compare.
- [Filter FX](https://enneagramdsp.com/learn.html#fx-filter) (1:05) — A filter on the effects bus.
- [Distortion](https://enneagramdsp.com/learn.html#fx-distortion) (1:29) — Twelve distortion types.
- [Compressor](https://enneagramdsp.com/learn.html#fx-compressor) (1:26) — Control dynamics.
- [Chorus](https://enneagramdsp.com/learn.html#fx-chorus) (1:14) — Ensemble modes and stereo chorus.
- [Delay](https://enneagramdsp.com/learn.html#fx-delay) (1:29) — Synced delays, ping-pong and more.
- [Reverb](https://enneagramdsp.com/learn.html#fx-reverb) (1:30) — Size, damping, shimmer, reverse and freeze.
- [Flanger](https://enneagramdsp.com/learn.html#fx-flanger) (1:08) — Classic and through-zero flanging.
- [Phaser](https://enneagramdsp.com/learn.html#fx-phaser) (1:08) — From two to twenty-four stages.
- [Bitcrusher](https://enneagramdsp.com/learn.html#fx-bitcrush) (1:08) — Bit depth and sample-rate reduction.
- [Ring Mod FX](https://enneagramdsp.com/learn.html#fx-ringmod) (1:00) — Ring modulation and frequency shifting.
- [Granular FX](https://enneagramdsp.com/learn.html#fx-granular) (1:07) — Turn any sound into a grain cloud.
- [Transient Shaper](https://enneagramdsp.com/learn.html#fx-transient) (0:54) — Shape attack and sustain.
- [Auto-Wah](https://enneagramdsp.com/learn.html#fx-autowah) (1:04) — Envelope-following filter.
- [Stereo Tool](https://enneagramdsp.com/learn.html#fx-stereo-tool) (0:50) — Width, mid level and mono bass.
- [Limiter](https://enneagramdsp.com/learn.html#fx-limiter) (0:44) — Keep the output under control.
- [Building an FX Chain](https://enneagramdsp.com/learn.html#fx-chain) (1:15) — A complete chain from start to finish.

**Modulation Matrix**
- [Mod Matrix Basics](https://enneagramdsp.com/learn.html#matrix-basics) (1:28) — Source, destination and amount.
- [Drag to Modulate](https://enneagramdsp.com/learn.html#drag-to-modulate) (0:58) — Drag and drop, or right-click and choose a source.
- [Per-Voice vs Global Modulation](https://enneagramdsp.com/learn.html#per-voice-global) (1:11) — Every note with its own movement, or one shared movement for all voices.
- [Modulation Curves](https://enneagramdsp.com/learn.html#mod-curves) (1:12) — Reshape how a source drives its target.
- [Macros in the Matrix](https://enneagramdsp.com/learn.html#macros-matrix) (1:06) — Build your own macro controls.
- [XY Pads and MIDI Learn](https://enneagramdsp.com/learn.html#xy-midi-learn) (0:53) — Two-dimensional control and hardware mapping.

**Wavetable Editor**
- [Wavetable Editor Tour](https://enneagramdsp.com/learn.html#wteditor-tour) (1:08) — What the editor can do.
- [Drawing Waveforms](https://enneagramdsp.com/learn.html#drawing-waveforms) (0:54) — Draw single cycles by hand.
- [Image to Wave](https://enneagramdsp.com/learn.html#image-to-wave) (0:42) — Turn a picture into a wavetable.
- [Sculpt in 3D](https://enneagramdsp.com/learn.html#sculpt-3d) (0:52) — Shape the whole table in three dimensions.
- [3D OBJ to Wave](https://enneagramdsp.com/learn.html#obj-to-wavetable) (0:47) — Turn built-in 3D shapes or your own OBJ models into wavetables.
- [Layers](https://enneagramdsp.com/learn.html#layers) (0:49) — Combine layers into one table.
- [Spectral Editing](https://enneagramdsp.com/learn.html#spectral-editing) (0:46) — Edit the harmonics directly.
- [Frames and Morphing](https://enneagramdsp.com/learn.html#frames-morphing) (0:56) — Build tables that morph over time.
- [Audio to Wavetable](https://enneagramdsp.com/learn.html#audio-to-wavetable) (1:02) — Create tables from audio.

**Esoteric**
- [The Chakra Panel](https://enneagramdsp.com/learn.html#chakra-panel) (1:27) — Twelve tones that play with your notes or as a drone, through the whole synth.
- [Binaural Beat](https://enneagramdsp.com/learn.html#binaural-beat) (0:43) — A fixed left-right detune in Hz — listen on headphones.
- [Number-Based Tools](https://enneagramdsp.com/learn.html#number-tools) (1:04) — Fibonacci, golden ratio, Pi and 3-6-9 sets across the synth.


---

## Part 8 — Troubleshooting

- **No sound:** check "Mstr Vol" (TUNING) and "Master Vol" (FX page), the oscillator power buttons and "Level", and in
  the standalone app the audio and MIDI settings. In a DAW, check that the track is armed or receives MIDI.
- **Stuck notes or sudden noise:** press **PANIC**.
- **Demo stops after a while:** the demo plays 20-minute sessions; reload the plugin or restart the app.
- **High CPU:** in QUALITY, lower the oversampling (for example "4x" → "2x (Recommended)"), lower "Voices" or the
  unison voices.
- **Activation (full version):** open ☰ → "License…", copy the machine code, and activate at
  https://enneagramdsp.com/activate with your license key.
- **Anything else:** ☰ → "Send Bug Report…" or support@enneagramdsp.com.

---

## Part 9 — Control reference (generated from EnneAgraM's built-in help)

Each entry: **name** — the text EnneAgraM shows for that control. When the label on the screen differs, it is given as
*on screen: "Label"*. Controls of OSC 2 / OSC 3, ENV 2–6, LFO 2–8 and ARP 2 work like the ones listed for OSC 1, ENV 1,
LFO 1 and ARP 1.

### Global, tuning and output (VOICE page: TUNING and QUALITY panels; top bar)

- **Master Volume** *on screen: "Mstr Vol"* — The synth's final output level, after all oscillators, filters and effects. Runs 0–10 with 7 as the default; the limiter sits after this, so if you hear pumping on big chords, pull this down a little instead of fighting the ceiling.
- **Octave Shift** — Transposes the whole instrument in octaves (-2 to +2) before anything else is calculated. Use it to move a patch into playing range without touching the per-oscillator Semi knobs — it affects every oscillator and the sampler alike.
- **Master Tune** *on screen: "Mstr Tune"* — Global fine tuning in cents (±100 = one semitone either way). Use it to match recordings or ensembles that sit slightly off concert pitch. For A=432 style retuning use the Reference menu instead — it moves the whole tuning system, not just an offset.
- **Velocity Sensitivity** *on screen: "Vel Sens"* — How strongly key velocity drives loudness. At 0 every note plays at full level (organ behavior); at 1 velocity has full control (expressive piano behavior). Each oscillator also has its own Velocity control — this master one scales them all.
- **Stereo Width (Master)** *on screen: "Width"* — A master mid/side width stage on the synth voice output: 0 collapses everything to mono, 1 leaves the image untouched, 2 exaggerates the sides. It sits on top of the per-oscillator Stereo and Pan controls — a final say over how wide the whole instrument feels. Keep basses near 1 for mono safety.
- **Unison Drift (Master)** *on screen: "Uni Drft"* — Adds slow, analog-style pitch wander in cents to every oscillator's unison stack, on top of each oscillator's own Drift knob. A few cents here makes digital stacks breathe like vintage hardware whose oscillators never sit perfectly still.
- **Random Phase (Master)** *on screen: "Rnd Ph"* — A global floor for per-note phase randomisation: each oscillator uses whichever is higher — its own Random Phase or this master value. Raise it to guarantee no two notes start with identical waveform alignment anywhere in the patch; set 0 to let each oscillator decide alone.
- **Glide (Portamento)** *on screen: "Glide"* — Time for pitch to slide from the previous note to the new one, up to 10 seconds. 0 disables it. In Mono and Legato voice modes this gives classic lead portamento; in Poly mode each new voice glides from the last played pitch.
- **Binaural Beat** *on screen: "Binaural"* — Detunes the right channel against the left by a fixed number of Hz (0–40), creating a binaural beat. Headphones are needed to hear it.
- **Voice Mode** — Poly plays every held note with its own voice. Mono allows one note at a time, retriggering envelopes on each press. Legato is mono without retriggering — connected notes share one envelope pass, ideal with Glide for expressive leads.
- **Note Priority** — When more notes are held than the engine can voice, this decides who wins: Newest favours what you just played, Oldest protects sustained pads, and highest/lowest priority protects a melody or bass line respectively. Round Robin rotates voices and only means something in Poly: in Mono/Legato it plays like Newest, so it is crossed out there.
- **Voice Steal Behavior** — What happens to the sacrificed voice when polyphony runs out. Release fades it out over about 12 ms, so the old note rings briefly under the new one; Steal fades it faster, in about 6 ms. Either way the new note starts at once on a free voice, and a voice that has already gone quiet simply hands its slot over.
- **Maximum Voices** — Upper limit on simultaneous synth voices, 1 to 32 - click the arrows (hold to repeat), drag the number or use the mouse wheel; double-click returns to 32. Higher counts let big chords ring into each other with long releases; lower counts save CPU. If a dense patch crackles under load, this is the first economy dial.
- **Oversample (Global)** — Raises the internal rate of the non-linear stages: the per-OSC distortion shaper (Clip/Fold) and the saturating filter models. 2x–4x is the sweet spot; higher values cost CPU. Wavetable oscillators are band-limited by design and never change. At 1x (Draft) the clean filter models (SVF, Smooth, Morph) also run at host rate when Filter Drive is up, which softens their edge — keep it at 2x or higher for final renders. Auto raises quality only for high-pitched material.
- **Wavetable Interpolation** — How the oscillator reads between wavetable samples: Linear is cheapest, Cubic is smoother and slightly darker on very bright tables at extreme pitches. Most patches won't hear the difference — choose Cubic for critical high-register work. Spectral Morph always reads its rebuilt cycle with cubic interpolation.
- **Oscillator Drift** *on screen: "Osc Drft"* — Global analog-style instability: each oscillator in every voice wanders slowly and slightly on its own, like hardware VCOs warming up — stacked oscillators gently beat against each other. Subtle amounts (0.1–0.3) add life to static patches; high values sound deliberately loose and tape-like.
- **Voice Tolerance** *on screen: "Tolerance"* — Gives every voice its own small, fixed calibration offsets, like the voice cards of an analog polysynth: oscillator tuning (up to ±6 cents), filter cutoff (±0.2 octave), envelope timing (±10 %) and level (±0.5 dB). A voice keeps its offsets, so chords and repeated notes vary naturally. Pairs well with Osc Drift. 0 % = perfectly matched voices.
- **Vintage Jitter** *on screen: "Vnt Jt"* — Adds tiny random timing imperfections modelled on aging hardware — clocking and sample-and-hold noise rather than pitch drift. A little roughens up digitally perfect edges; combine with Oscillator Drift for a full vintage character.
- **MPE Mode** *on screen: "MPE ON"* — Enables MIDI Polyphonic Expression: channels 2–16 carry per-note pitch bend, pressure and slide from MPE controllers, so each finger bends and swells its own note independently. Leave off for standard keyboards to keep wheels global.
- **Pitch Bend Up Range** *on screen: "PB Up"* — How far the pitch wheel bends upward, in semitones (1–48). 2 is the classic synth default. Down range has its own knob so bends can be asymmetric. In MPE mode each note's own bend uses the range your controller sends (48 if it sends none), not this knob.
- **Pitch Bend Down Range** *on screen: "PB Down"* — How far the pitch wheel bends downward, in semitones (1–48), independent of the up range. Guitarists often set a wide down range for dive effects while keeping the up range at 2 for controlled bends. MPE notes use their controller's range.
- **Pitch Quantize Scale** — Snaps every incoming note to the nearest note of a scale before it reaches the engine — play anything and stay in key. HardTune's pitch snap follows the same scale. Off disables snapping (the Root selector next to it is inactive then). Includes church modes, pentatonic and the Sacred Fibonacci/369/528 sets.
- **Pitch Quantize Root** — The key center for Pitch Quantize — which note the selected scale is built on. Only active when a scale is chosen; with the scale set to Off this selector does nothing (it will appear dimmed).
- **Reference Pitch** — Where A sits: 440 Hz (concert standard) or 432 Hz (an alternative reference pitch). This rescales the whole tuning table, so every note moves coherently — different from Master Tune, which is just an offset.
- **Modulation Smoothing** *on screen: "ModSm"* — A global slew on all matrix modulation, in milliseconds. 0 is instant; higher values round off stepped sources (Random hold, square LFOs, MIDI CC zipper) so destinations glide instead of jumping. Envelope trigger routes bypass it to keep their edges sharp.
- **Preset Morph A/B** — Crossfades continuously between two stored preset snapshots. Capture a mellow state into A and an aggressive one into B, then perform the transition with this one control — every morphable parameter interpolates together.
- **Chord Stack** — Turns single keys into chords at the engine input: each pressed note is expanded into the selected interval set. Different from unison stacking — these are real voices at real chord pitches, so they track filters and envelopes individually.
- **Chord** — One-finger chords: each key you press plays the selected chord — 5th, major, minor, octave, 7ths (Min 7, Maj 7, Dom 7), Dim, Dim 7, Half-Dim, Aug, Sus 2, Sus 4, Add 9, 6th and Min 6. These are real voices at real chord pitches. With the arpeggiator on, the arp plays the chord's notes one by one (the two Phi chords play only their root in the arp).
- **Keyset / Tuning System** — Selects the active tuning table: Standard 12-tone equal temperament or one of the alternative keysets. Importing an SCL/TUN file from the menu switches this automatically; 'Reset to 12-TET' in the menu returns to standard.
- **Keyset Root** — Root note for the selected alternative keyset — which key the custom tuning table is anchored on. No effect while the Standard 12-tone keyset is active.
- **Keyset Mode** — How the alternative tuning is applied: Transpose shifts the table with the root, SnapCenter keeps middle C anchored and stretches the table around it. Matters only with a non-standard keyset loaded.
- **Solfeggio Lock** — Snaps the Filter 1 cutoff to the nearest octave of a chosen Solfeggio frequency (174, 285, 396, 417, 528, 639, 741, 852, 963 Hz). This shapes timbre, not pitch - notes keep their normal tuning. Off leaves the cutoff knob fully continuous.
- **Glide Curve** — Shapes the pitch trajectory of a glide — from linear sweeps to curved takeoffs that arrive gently at the target note.
- **Glide Trigger** — Legato glides only between overlapping notes; Always glides on every note regardless of playing style.
- **My Chord** — Plays your own captured chord from a single key, instead of the Chord list. To capture, play or hold a chord and click Capture: the lowest key becomes the root. With the arpeggiator on, it arpeggiates the whole chord. Picking a chord from the list switches My Chord off.

### Oscillators (VOICE page: OSC 1 – OSC 3 cards)

- **FM Amount (1→2)** *on screen: "FM 1>2"* — Frequency modulation from Oscillator 1 into Oscillator 2: OSC 1's output bends OSC 2's phase, creating metallic, bell-like sidebands. Even small amounts change timbre drastically — sweep it with an envelope for classic FM attacks.
- **FM Amount (1→3)** *on screen: "FM 1>3"* — Frequency modulation from Oscillator 1 into Oscillator 3. Part of the full 6-way FM matrix — every oscillator can bend every other, including feedback pairs (1→2 with 2→1 gives chaotic, growling spectra).
- **FM Amount (2→1)** *on screen: "FM 2>1"* — Frequency modulation from Oscillator 2 into Oscillator 1. Combine with 1→2 for two-operator feedback timbres; keep the modulating oscillator's Level at zero if you only want it heard through the modulation.
- **FM Amount (2→3)** *on screen: "FM 2>3"* — Frequency modulation from Oscillator 2 into Oscillator 3 — chain 1→2→3 for cascaded three-operator FM out of subtractive building blocks.
- **FM Amount (3→1)** *on screen: "FM 3>1"* — Frequency modulation from Oscillator 3 into Oscillator 1. Use OSC 3 as a hidden modulator (Level 0) tuned in whole-number ratios for harmonic FM, or detuned for clangorous textures.
- **FM Amount (3→2)** *on screen: "FM 3>2"* — Frequency modulation from Oscillator 3 into Oscillator 2 — the last leg of the matrix. All six depths are modulation targets, so envelopes can play the FM amounts like an FM synth's operator envelopes.
- **Ring Mod 1×2** *on screen: "RM 1x2"* — Multiplies Oscillator 1 and 2 together and blends the product in. Ring modulation produces sum and difference frequencies — inharmonic, bell-like tones when the oscillators are detuned, tremolo-like movement when they're close.
- **Ring Mod 1×3** *on screen: "RM 1x3"* — Ring modulation product of Oscillators 1 and 3 blended into the voice. Try a fixed-pitch OSC 3 (Keytrack 0) against a playing OSC 1 for classic sci-fi inharmonics that change character across the keyboard.
- **Ring Mod 2×3** *on screen: "RM 2x3"* — Ring modulation product of Oscillators 2 and 3. Three ring pairs plus six FM routes make the oscillator section a full cross-modulation playground.
- **Noise Level** *on screen: "N Lvl"* — Level of the dedicated per-voice noise generator, mixed alongside the oscillators and shaped by the same envelope. Essential for breath, transients and air; automate it with an envelope for attack chiffs.
- **Noise Type** — Selects the noise flavor — from bright white through pink and darker colors to character types. Each sits differently in a mix: white cuts, pink blends, darker types thicken.
- **Noise Pan** *on screen: "N Pan"* — Stereo position of the noise layer, independent of the oscillators. Off-center noise adds width without touching the tonal core.
- **Noise Color** *on screen: "N Color"* — A tone control over the noise before it joins the voice: low values keep it open and bright, high values darken it into a breathy hush. Sweep it with velocity for harder-blown attacks on stronger notes.
- **Oscillator Wavetable** — The oscillator's sound source: a wavetable from the library, from classic analog shapes (Sine, Saw, Square) through formant, glass and metallic character tables to morphing banks. Click the wave display to browse, or drop a .wav on it to import your own table.
- **Oscillator Source** — WT | SAMPLE: what this oscillator plays - the wavetable, or the audio file loaded onto its display (played chromatically). Granular is not a separate mode: raise Granular Mix and grains are sprayed from the same source (unison switches off while grains play). FOLLOW makes the grains track the note's own playhead instead of the Pos knob, keeping the source's attack and decay.
- **Granular Mix** — Turns the grain engine on: at 0 the oscillator plays its wavetable or sample normally; raise it and grains from the same source blend in, up to a pure grain cloud at 100%. While grains play, this oscillator's unison is switched off (one voice feeds the cloud).
- **Wavetable Position** — Scans through the wavetable's frames (0 = first, 1 = last), morphing the timbre in real time. This is THE knob to modulate: route an envelope or LFO to it in the matrix and the tone evolves while you hold a note. Single-frame tables won't respond.
- **WT Scan Start (Start Frm)** — Lower bracket on the WT Pos slider. The whole WT position - the knob AND every modulation (LFO, envelope, macro, velocity) - is mapped into the frames between Start and End, so unwanted frames (silent or degenerate ones) are never played. Drag the bracket; double-click resets it. Start above End scans the table backwards.
- **WT Scan End (End Frm)** — Upper bracket on the WT Pos slider: the last frame this oscillator may reach. Knob and all modulation are mapped into Start..End. Double-click resets it to the last frame.
- **Wave View 2D / 3D** — Toggles the wave display between the current single cycle (2D) and the whole table as a landscape (3D). Display only — the 3D view is the easiest way to see what Wavetable Position will morph through.
- **Oscillator Level** *on screen: "Level"* — This oscillator's volume in the voice mix (0–10). Oscillator 1 opens at full; 2 and 3 start silent so you layer them deliberately. If a stacked patch clips or muddies, balance these before reaching for the master volume.
- **Coarse Pitch (Semitones)** *on screen: "Pitch"* — Transposes this oscillator in exact semitones (±48 = four octaves). +12/-12 for octave layers, +7 for a fifth — the backbone of thick multi-oscillator voicings. Stays perfectly in tune by definition; use Fine for anything smaller.
- **Fine Tune (Cents)** *on screen: "Fine"* — Detunes this oscillator by up to ±100 cents (one semitone). A few cents against another oscillator creates the slow, chorus-like beating that makes layers sound alive; ±20+ becomes an obvious wobble. Separate from Unison detune, which spreads copies of this one oscillator.
- **Oscillator Pan** *on screen: "Pan"* — Static stereo position for this oscillator (-1 left … +1 right). Spreading the three oscillators across the field opens the sound up; keep bass-heavy layers centered. For motion, route an LFO to Pan in the matrix instead.
- **Start Phase** *on screen: "Phase"* — Where in its cycle the oscillator starts on each note (0–360°). Shapes the very first transient — aligned phases punch, offset phases soften. Only audible when Random Phase is low; otherwise every note starts somewhere new anyway.
- **Pitch Keytrack** *on screen: "Keytrack"* — How much this oscillator follows the keyboard: 1 is normal chromatic tracking, 0 locks it to a fixed pitch (drones, formant layers, tuned percussion), values between stretch the keyboard — microtonal and effect territory.
- **Oscillator Glide** *on screen: "Glide"* — Per-oscillator portamento time, on top of the global Glide. Setting different glide times per oscillator makes pitch transitions smear apart beautifully — one layer arrives while another is still traveling.
- **Shaper Type** — Per-oscillator waveshaper applied before the filter: Clip (hard saturation), Fold (wavefolder — adds harmonics that fold back down), Crush (bit reduction) or FM (self-modulation). Off bypasses. Each type responds differently to the Amount knob — Fold especially rewards envelope modulation.
- **Shaper Amount** *on screen: "Shape"* — Drive into the selected per-oscillator shaper. Unlike the global FX distortion, this is per voice — chords stay clean because each note distorts alone. Sweep it with velocity or an envelope for dynamic grit.
- **Oscillator Feedback** — Feeds the oscillator's output back into its own phase — gentle amounts brighten toward a saw-like edge, high amounts collapse into noisy chaos. The classic FM-operator feedback control, useful even on plain wavetables.
- **Sub Oscillator Level** — Blends in a clean sine/square sub locked to this oscillator's pitch, one or two octaves down (Sub Octave selects). A quick way to give a patch a solid low end without re-voicing the main table.
- **Sub Oscillator Octave** — How far below the oscillator the sub sits — one or two octaves. Two octaves down flirts with sub-bass territory; keep the sub centered and mono-safe.
- **True Stereo** *on screen: "STEREO"* — Renders this oscillator's left and right channels as genuinely independent signals rather than a panned mono source — unison spread and phase differences become real inter-channel differences. Slightly higher CPU, noticeably deeper image on wide patches.
- **Phase Invert** *on screen: "PH-INV"* — Flips this oscillator's polarity. With two similar layers, inverting one carves hollow, comb-like cancellation; on layered basses it can tighten or thin the low end depending on alignment. A surgical layering tool, silent on its own.
- **Hard Sync to Oscillator 1** *on screen: "SYNC"* — Resets this oscillator's phase every time Oscillator 1 completes a cycle — the classic hard-sync scream. Tune this oscillator ABOVE OSC 1 and sweep its pitch (envelope or matrix) for the signature tearing sweep.
- **Spectral Morph Amount** — Blends the oscillator's spectrum toward the target selected by the Spectral Morph type — a frequency-domain transformation, not a crossfade. Great for turning a plain table into glassy or vocal hybrids; modulate it slowly for evolving pads. Works on the WAVETABLE read only: with the SAMPLE source (and at Granular Mix 100%) it is crossed out because there is no wavetable cycle to transform.
- **Spectral Warp Amount** — Depth of this spectral warp slot. Warps reshape the harmonic series itself — stretching, shifting or smearing partials — before the wave is rendered. Three slots stack in order; each has its own Type selector next to it. Wavetable read only: crossed out with the SAMPLE source (and at Granular Mix 100%), where the oscillator never performs a wavetable lookup.
- **Spectral Warp Type** — Which transformation this warp slot applies to the harmonic series (shift, stretch, mirror, comb and friends). With Amount at zero the slot is bypassed — pick a type, raise its Amount, and watch the wave display change shape. Like the Amount, it applies to the wavetable read only.
- **Harmonics Bind** *on screen: "HARM"* — Routes this oscillator through the HARMONICS panel's additive processor, letting you redraw its harmonic amplitudes by hand. Off leaves the oscillator's natural spectrum untouched.
- **Sample Root Note** — The MIDI note at which a loaded sample plays back at its original speed — set automatically from the file's metadata when present. If a dropped sample plays out of tune across the keys, correct its root here.
- **Sample Start** — Playback start point within the loaded sample (0–1 of its length). Push it past a breathy attack to start straight at the tone, or automate it per note for variation. Pairs with Start Jitter for organic movement.
- **Sample End** — Playback end point within the loaded sample. Together with Start it crops the playing region — loop modes wrap inside this window.
- **Sample Loop Mode** — What happens when playback reaches the region end: stop (one-shot), loop forward, or bounce back and forth. Loop mode plus Crossfade is how short samples become endless sustains.
- **Loop Crossfade** — Smooths the loop seam by overlapping the loop end into its start. Raise it until the repeat point disappears — longer fades sound smoother but blur rhythmic content inside the loop.
- **Sample Start Jitter** — Randomizes the start point slightly on every note so repeated notes don't sound like the same file replayed. Small values humanise; large values turn playback into a texture explorer.
- **Grain Density** — How many grains spawn per second in granular mode (1–200). Low densities give sparse, pointillistic clouds; high densities fuse into a continuous, thick texture. Density interacts strongly with Grain Size — big slow grains at low density feel like echoes.
- **Grain Size** — Length of each grain. Short grains (under ~50 ms) sound granular and pitchy; long grains preserve more of the source's character and overlap into smooth washes. The Shape control sets each grain's envelope window.
- **Grain Spray** — Randomizes the spawn timing and length of every grain. Zero fires grains on a strict clock, which sounds regular and metallic at high densities; higher values dissolve that periodicity into a natural cloud.
- **Grain Window** — The amplitude envelope of every grain (Hann, Gauss, Rect, Tukey, Triangle). Soft windows (Hann/Gauss) sound smooth; Rect keeps transients but can click; Tukey sits between. A texture-defining choice at low densities.
- **Grain Position** — Where in the source the grain cloud reads from (0–1). Sweep it manually or with a slow LFO to travel through the sample; combined with Scan it becomes the playhead of a granular time machine.
- **Grain Scan** — Constant playhead motion through the source, independent of pitch: 0 freezes at the Position point, positive values crawl forward. This is granular time-stretching — hold one note and let the sample unfold at any speed.
- **Grain Jitter** — Random scatter of each grain's read position around the Position cursor. Zero reads cleanly at the cursor; higher values pull grains from an ever-wider neighbourhood of the source, blurring it into ambience.
- **Grain Pitch** — Transposes every grain in semitones (±24) independent of the played key — the granular equivalent of a pitch shifter. Modulate it for shimmer clouds; combine with Shimmer for probability-based octave sparkle.
- **Grain Shimmer** — Probability that any grain jumps up an octave (0–1). Sprinkles crystalline highlights over the cloud without a global pitch change — the granular take on shimmer reverb.
- **Grain Reverse** — Probability that a grain plays backwards. At 0.5 the texture loses its sense of direction entirely — beautiful on melodic sources where reversed attacks bloom instead of striking.
- **Grain Stereo Spread** — Random stereo placement per grain: 0 keeps the cloud centered, 1 scatters grains across the full field. A quick way to turn a mono sample into a wide stereo texture.
- **Sample Play Mode** — How the loaded sample plays per note: loop, one-shot, reversed or back-and-forth. Off mutes the sample slot - pick a Noise Type instead if you want color noise.
- **Oscillator Solo** *on screen: "SOLO"* — Mutes the other oscillators so you can shape this one in isolation — the mix returns untouched when solo is released.
- **Sample Key Tracking** *on screen: "KeyTrk"* — How much the mini-sampler follows the played key. 1.0 = full chromatic tracking; 0 = fixed pitch for drums and textures.
- **Mini Envelope Source** — Which of the six envelopes shapes the mini-sampler's loudness. Default is ENV 1, the classic behavior; pick another to shape samples independently of the oscillators.
- **Oscillator 1 Amp Envelope** — Which of the six envelopes shapes this oscillator's loudness. ENV 1 is the main amp envelope of the whole voice (default); pick ENV 2-6 to give this oscillator its own envelope, for example a plucky attack layered over a slow pad.
- **Oscillator 2 Amp Envelope** — Which of the six envelopes shapes this oscillator's loudness. ENV 1 is the main amp envelope of the whole voice (default); pick ENV 2-6 to give this oscillator its own envelope.
- **Oscillator 3 Amp Envelope** — Which of the six envelopes shapes this oscillator's loudness. ENV 1 is the main amp envelope of the whole voice (default); pick ENV 2-6 to give this oscillator its own envelope.
- **Granular Enable** — Switches this oscillator's source into the granular engine — the loaded sample is resynthesised from grains with the controls below.
- **Spectral Morph Amount** *on screen: "Morph Amt"* — Depth of the selected spectral morph. Modulate it for evolving harmonic movement without touching the wavetable position.
- **Spectral Morph Type** — Selects the spectral transformation applied to the oscillator's spectrum — harmonic stretching, shifting, smearing and related characters.
- **Spectral Warp Type** — One of three chained spectral warp slots. Each slot bends the spectrum with its own algorithm before the wave reaches the filters.
- **Oscillator FX Send** — Routes this oscillator into one slot of the effects rack. Each oscillator has its own private send matrix, so OSC 1 can run through delay and reverb while OSC 2 stays bone dry - the checked slots process only this oscillator's signal, in the rack's current order. Unchecked everywhere means the oscillator reaches the output untouched — there is no hidden default slot.

### Unison (oscillator card → UNISON tab)

- **Spectral Unison** — With a spectral morph active, the unison copies are split into up to four groups and each group gets the morph rendered from its own wavetable position instead of sharing the first copy's frame. Audible when Wavetable Spread moves the copies across the frames of a morphing table; uses more CPU. Inactive with one voice or with the morph set to Off.
- **Unison Voices** *on screen: "Unison"* — How many detuned copies of this oscillator stack per note (1–16). More voices, spread by Unison Detune, build the classic huge-stack wall. Each copy costs CPU — if a patch feels heavy or smeared, this is the first thing to reduce.
- **Unison Detune** *on screen: "Detune"* — How far apart the stacked copies are tuned, in cents. 10–30 gives gentle chorus thickening, 50–100+ the aggressive wide-lead spread. Only audible with 2+ unison voices; the Detune Mode selector changes the spacing pattern.
- **Unison Blend** *on screen: "Blend"* — Balance between the in-tune center voice and the detuned outer voices. Lower keeps pitch focused with a halo of width; higher washes the center out into the swarm. If a unison patch loses its note-center, pull Blend down. Needs at least 3 voices - with 1 or 2 there is no separate detuned group to blend against.
- **Unison Stereo Spread** *on screen: "PanSp"* — Fans the unison copies across the stereo field: 0 stacks them mono, 100% places them hard left-to-right. Detune sets how far apart they are in PITCH, Spread how far apart in SPACE — the two together make the modern wide lead.
- **Detune Distribution** *on screen: "DetPw"* — Curves how detune is distributed across the voices: center-heavy (dense core with outliers), even, or edge-clustered (hollow two-group chorus). A subtle but audible character control — tweak while holding a chord. Needs at least 4 voices - with 3 or fewer the detuned copies all sit at the edge, so there is no spacing to curve.
- **Detune Pattern** — The mathematical spacing of the copies' tunings: Standard (even), Fibonacci, Tesla 3-6-9, Prime, Pi, Lucas, Wide, Custom (drawn in the bar editor) or DetHarm. Non-uniform patterns beat less periodically — more organic, less 'perfect stack'.
- **Unison Stack Chord** — Retunes the unison copies into intervals so one key plays a chord from a single oscillator: octaves, power chord, major/minor, harmonic series, Fibonacci, Phi, Pi or Tesla sets. Needs several unison voices to fill the chord out.
- **Unison Phase Mode** — Retrig restarts the copies at the same spread of starting phases on every note (punchy, repeatable attack); Free lets them run continuously (softer attack, endless ensemble movement). Free plus a little drift gives a loose, analog-style ensemble.
- **Stereo Width** — Mid/side width of this oscillator's stereo image: 0 mono, 1 natural, 2 exaggerated. It reshapes the image the oscillator already has — STEREO (True Stereo) or unison above 1 give it one; a single mono voice has nothing to widen. Applied per oscillator, before the master Stereo Width — use it to keep one layer tight while another wraps around the listener.
- **Warp Spread** — Gives each unison copy a slightly different spectral-warp amount, so the copies differ in TIMBRE as well as pitch. Turns a flat stack into a shimmering, ensemble-like texture — especially strong with wavefolder-style warps.
- **Wavetable Spread** *on screen: "WT Spr"* — Offsets each unison copy's wavetable position (pattern set by the mode selector). Copies read different frames of the table simultaneously — instant ensemble richness on any morphing table, even before detune.
- **Wavetable Spread Pattern** — How the per-copy wavetable offsets are laid out: Linear (even ladder), Fibonacci (golden-ratio clustering) or Random (new scatter per note). Random gives every note its own micro-timbre.
- **Spectral Spread** *on screen: "Spectr"* — Gives each unison copy a slightly different spectral tilt, separating the stack tonally: some copies darker, some brighter. Adds depth that detune alone can't — the copies stop being clones and start being players.
- **Unison Random** — A fixed random tuning offset per copy, re-rolled at each note-on (up to 100 cents). Unlike Detune's ordered spread this is disorder — small amounts emulate an ensemble that tuned by ear.
- **Unison Drift** — Slow, independent pitch wander per copy, in cents — the copies breathe around their tuning like free-running analog oscillators. The master TUNING panel Drift adds on top of this for all oscillators at once.
- **Unison Jitter** — Fast, per-copy micro pitch instability (up to 100 cents) — rougher and quicker than Drift. A touch adds fizz and life; a lot turns the stack into a detuned cloud. Use sparingly on sustained material.
- **Oscillator Velocity** — Velocity-to-loudness response for THIS oscillator alone. Layer trick: set the bright oscillator sensitive and the soft one insensitive, and playing harder morphs the blend toward brightness — dynamics become timbre.
- **Oscillator Stereo** — Per-oscillator stereo width control, applied to everything this oscillator produces (including its unison image). 0 folds it to mono. Use it to anchor a bass oscillator while the pads above it stay wide.
- **Unison Stack (Master)** — Master chord-tuning for unison across all oscillators — same options as the per-oscillator Stack selectors. Handy when you want the whole patch to adopt one chord structure with a single selection.
- **Stack Phase** *on screen: "StkPh"* — How widely the stacked unison copies' starting phases fan out (0–1). With Retrig phase mode, 0 keeps the default spread and higher values fan the copies out evenly — a precision tool for sculpting the first milliseconds of big stacks.
- **Unison Pan Law** — How unison copies are placed in the stereo field: Classic (continuous fan following the detune order) or Modern (alternating hard L/R). Changes the character of Spread without touching its amount.
- **Unison Detune (Legacy)** — Legacy global detune control kept for older presets — the per-oscillator Detune knobs in each UNISON strip are the live controls now.
- **Detune Power (Master)** — Master distribution-curve offset added to every oscillator's Detune Distribution — one knob to make all stacks denser in the center or pushed to the edges together.
- **Unison Blend (Master)** — Master center/outer balance added on top of each oscillator's own Blend — a quick way to focus or wash the entire patch's unison at once.
- **Unison Random (Master)** — Master per-note random tuning added to all oscillators' unison stacks. Combine with per-oscillator Random for layered disorder.
- **Unison Distortion Spread** *on screen: "Dist Sp"* — Gives every unison copy a slightly different level, fixed for the length of the note. At 0 all copies are equally loud; higher values make wide stacks uneven and lively, like a slightly mismatched ensemble.

### Filters (VOICE page: TRIPLE FILTER panel, tabs F1 / F2 / F3)

- **Filter Cutoff** *on screen: "F1 Cut"* — The filter's corner frequency (20 Hz – 20 kHz). In low-pass mode everything above it is progressively removed — a central expressive control on a subtractive synth. Modulate it with an envelope for plucks and sweeps, with Keytrack to keep brightness consistent across the keyboard.
- **Filter Resonance** *on screen: "F1 Res"* — Emphasis at the cutoff frequency (0–1, spanning a musical Q range up to 12). Moderate values add vowel-like focus; high values ring and approach self-oscillation on models that support it. The graph above shows the resulting peak in real time.
- **Filter Drive** *on screen: "F1 Drv"* — Saturation at the filter input. Pushes level into the nonlinearity so resonance compresses and thickens instead of just getting louder — the difference between a clean digital sweep and an analog-sounding growl.
- **Filter Type** — The filter's frequency response: Low-Pass (keeps lows), High-Pass (keeps highs), Band-Pass (keeps a band around cutoff), Notch (removes that band), Peak or All-Pass. Not every model offers every type — the graph always shows what you'll actually hear.
- **Filter Model** — The circuit character: clean SVF, Ladder and Diode (vintage 4-pole), Comb (tuned resonator), Formant (vowels), Smooth, Acid, Scream - plus the Sacred family. Fib, Lucas, Prime, 369, 369+ and PiDig are harmonic sieves: narrow resonances on those harmonic numbers of Cutoff (Cutoff 262 Hz + Keytrack +1 locks the sieve to the played note); Resonance sharpens the sieve. Fib+, Pi and the roots are golden / irrational ladders, FibInv notches the Fibonacci harmonics, Phi is a low-pass with a second peak a golden ratio above, PhiPow a golden-staggered steep low-pass. All share one level law and open fully at the top of the Cutoff range.
- **Filter Slope** — Steepness beyond cutoff: 12 dB/octave is gentler and leaves more harmonics (classic 2-pole), 24 dB/octave cuts harder for darker, more vintage results. 24 dB runs the filter as a cascade, so resonance behaves a little differently too.
- **Filter Keytrack** *on screen: "KT"* — Moves cutoff with the played note: +1 doubles cutoff per octave up (uniform brightness across the keys), 0 fixes it, negative values track INVERSELY — higher notes get darker. The graph's yellow note marker shows the played pitch against the curve.
- **Filter Envelope Amount** *on screen: "Amt"* — Depth of the filter's own built-in envelope on cutoff, up to +-4 octaves. Positive opens the filter on the attack (classic pluck); NEGATIVE closes it on the attack and lets it open as the envelope falls (reverse / wah-down sweep). Center = no envelope. This is the dedicated per-filter envelope (Attack/Decay/Sustain/Release beside it); for more elaborate routings use ENV 1-3 through the matrix.
- **Filter Envelope Attack** — How long the filter envelope takes to reach full cutoff modulation after note-on. Zero for near-instant plucks: a 0.5 ms floor keeps the fastest setting click-free. The envelope itself is applied per sample and is NOT slewed, so the shortest attack really is a 0.5 ms ramp. Longer settings bloom into brightness.
- **Filter Envelope Decay** *on screen: "Dec"* — How quickly the filter envelope falls from its peak toward the Sustain level. The signature 'pluck' length — a couple of hundred milliseconds is the classic bass/keys zone.
- **Filter Envelope Sustain** — Cutoff modulation level held while the key stays down, as a percentage of the envelope peak. 0% closes back down after the pluck; 100% keeps the filter open for as long as you hold.
- **Filter Envelope Release** — How the filter modulation falls away after key release. Match it roughly to the amp Release so brightness and loudness fade together — or make it shorter for notes that darken as they die.
- **Filter Mix** *on screen: "F1 Mix"* — Dry/wet blend for this filter stage: 1 is fully filtered, lower values leak the unfiltered signal alongside. Parallel-style tone shaping without leaving serial routing — great for keeping air on darkened sounds.
- **Filter Routing** — How the three filters connect: Serial (1 → 2 → 3, each shaping the last), Parallel (all three side by side, summed), or Split (F1 first, then F2 and F3 side by side). The per-oscillator F1/F2/F3 bind pads decide who enters where.
- **Comb Feedback** *on screen: "CombFB"* — Loop gain of the Comb model's tuned delay. Higher feedback sharpens the harmonic teeth and lengthens the ring — from subtle metallic color to full Karplus-Strong pluck territory as it approaches 1.
- **Comb Damping** *on screen: "CombDmp"* — High-frequency loss inside the comb's feedback loop. More damping makes each repetition darker — the string goes from steel to nylon. Tuning is compensated automatically so pitch stays put while you darken.
- **Comb Cross-Feed** *on screen: "Comb Crs"* — Feeds the left comb's output into the right's input and vice versa, detuning and widening the resonator into a stereo instrument body.
- **Comb Polarity** — Positive feedback reinforces the fundamental (full, string-like); negative flips alternate periods, hollowing the tone an octave down with odd harmonics — the clarinet-versus-string choice.
- **Formant Vowel** — The vowel the Formant model speaks: A, E, I, O or U — four tuned band-passes (F1-F4) at that vowel's formant frequencies, each with its own bandwidth and level (0 / -3 / -6 / -9 dB). Cutoff shifts the whole vowel cluster; for smooth transitions use Vowel Morph instead of this stepped picker, and Formant Y for how open it is.
- **Formant Y** *on screen: "Vow Y"* — Vowel APERTURE - how open the modelled vocal tract is. Low values narrow the formant bandwidths for a tight, nasal vowel; high values widen them for an open, shouted one. X (the Vowel selector plus Vowel Morph) picks WHICH vowel; this picks HOW OPEN it is. Shares the panel cell with Comb Damp - the two models are mutually exclusive.
- **Vowel Morph** *on screen: "Vow Mrp"* — Glides continuously through the vowel space (A→E→I→O→U) — anything above zero overrides the stepped Vowel picker. Route an LFO or envelope to it in the matrix and the filter literally talks.
- **SVF Morph** — Continuously morphs the state-variable filter's response Low-Pass → Band-Pass → High-Pass. A modulation target that turns filter TYPE into a playable, sweepable dimension.
- **Phi Q Ladder** — Distributes resonance across the Sacred models' peak clusters on a golden-ratio ladder instead of uniformly — inner peaks ring at different strengths, giving the mathematical filters a more organic, bell-choir response.
- **Filter Env Delay** — Waits this long after the note starts before the filter envelope begins its attack — a delayed filter opening.
- **Filter Env Hold** — Holds the filter envelope at its peak for this long before the decay starts.
- **Filter Env Attack Curve** — Bends the filter envelope's attack: negative is a fast start, positive a slow start that accelerates, 0 is linear.
- **Filter Env Decay Curve** — Bends the filter envelope's decay. Positive (default +0.10) is the analog shape: a fast drop followed by a long tail; negative holds near the peak and falls late; 0 is linear.
- **Filter Env Release Curve** — Bends the filter envelope's release. Positive (default +0.10) closes fast and then glides; negative lingers and then drops; 0 is linear.
- **Oscillator Filter Routing** — Routes this oscillator into the voice filters. The three boxes are the whole truth: check Filter 1, 2 and 3 in any combination to run the oscillator through them in series. With no box checked the oscillator skips the filter section entirely and arrives at the amplifier dry — an empty list means no filtering, not a fallback to Filter 1.

### Envelopes (VOICE page: ENV 1 – ENV 6)

- **Envelope Attack** *on screen: "Attack"* — Time from note-on to full level (up to 30 s). Under a few milliseconds is percussive; hundreds of milliseconds swell like bowed strings. ENV 1 is the amplitude envelope — every voice's loudness follows this shape. At the very bottom of the range a 0.5 ms floor applies (shared by Attack, Decay and Release) so the fastest settings stay click-free.
- **Envelope Decay** *on screen: "Decay"* — Time to fall from the attack peak to the Sustain level. With low sustain this IS the note's body length — pianos and plucks live in the 100–500 ms zone; with full sustain, decay is barely audible.
- **Envelope Sustain** *on screen: "Sustain"* — The level held while the key stays down (a LEVEL, not a time — the only one in ADSR). 100% for organs and pads, 0% for percussive sounds that die out even when held. Default sits at the golden ratio, 61.8%.
- **Envelope Release** *on screen: "Release"* — Fade-out time after the key is released (up to 30 s). Short keeps playing tight; long lets chords ring into each other — watch polyphony with very long releases, since released notes still occupy voices.
- **Envelope Delay** *on screen: "Delay"* — Silence before the envelope even starts, in milliseconds. On layered patches, delaying one envelope staggers the layers' entrances — instant orchestration from a single key press.
- **Envelope Hold** *on screen: "Hold"* — Time the envelope stays pinned at full level between Attack and Decay. Gives percussive sounds a solid body before the decay begins — the H in DAHDSR.
- **Envelope Mix** *on screen: "Mix"* — How strongly this envelope drives its modulation routings (0 = no effect, 1 = full), without changing its shape. On ENV 1 the amplifier always follows the envelope shape, so Mix there only scales ENV 1's matrix routings (including its own route to Amp) and never the note's base loudness contour. On ENV 2-6 there is no built-in destination, so Mix scales everything that envelope drives.
- **Attack Curve** *on screen: "A.Pw"* — Bends the attack segment: negative is exponential (fast start, slowing into the peak — natural for plucks), positive is logarithmic (slow start that accelerates — dramatic swells), 0 is linear. Drag the curve in the graph too.
- **Decay Curve** *on screen: "D.Pw"* — Bends the decay segment. Positive values give an exponential decay (fast drop, then a long tail) — how acoustic instruments and analog envelopes fade; negative values hold near the peak and fall late. 0 is linear, which can feel synthetic on long decays. Small positive values are a good default.
- **Release Curve** *on screen: "R.Pw"* — Bends the release segment. Positive values are exponential (fast drop that fades smoothly into silence); negative values hang on and then drop — audible mostly on releases longer than half a second. 0 is linear.
- **Envelope Keytrack** *on screen: "KeyTrk"* — Scales envelope TIMES with the played key: positive shortens the envelope on high notes (like real strings and piano, whose top octaves decay faster), negative does the reverse. 0 keeps timing identical across the keyboard.
- **Envelope Loop** *on screen: "LpAmt"* — Loops the Attack-Decay portion while the key is held, turning the envelope into a rhythmic modulator. The amount blends how deeply the loop re-triggers — combine with Sync for tempo-locked pulsing.
- **Envelope Retrigger** — Retrig restarts the envelope on every note; Legato lets overlapping (connected) notes continue the running envelope instead — essential for smooth mono lines and realistic phrase shaping. In Legato the envelope keeps its position but still follows the new note's Keytrack scaling.
- **Envelope Sync** — Scales every envelope time by a tempo division: the knob's value is multiplied by the length of the chosen note at the host tempo. At 120 BPM x1/4 halves the times (one beat = 0.5 s), x2 Bar stretches them four-fold. The knob's readout always shows the resulting time. Free returns to plain milliseconds.
- **Envelope Mode** — DAHDSR is the classic six-stage envelope with knobs; MultiPoint switches this envelope to a freely drawable multi-segment shape in the graph editor — as many breakpoints as you need, with per-segment curves.
- **Envelope Polarity** — Unipolar modulates upward from zero (normal); Bipolar centers the envelope around zero so matrix destinations swing both ways — an envelope that can detune DOWN through the attack, for instance.
- **Envelope Voicing** — Whether this envelope runs once globally or per voice. Per-voice gives every note its own envelope instance (normal for amp/filter duty); global makes it a single shared modulator for matrix use.
- **Envelope Loop** *on screen: "LOOP"* — Loops the envelope's attack and decay stages while the note is held, turning the envelope into a rhythmic modulator. Loop Amount sets how far back each cycle swings.

### LFOs (VOICE page: LFO 1 – LFO 8)

- **LFO WT Window Start** — Lower tab on the right edge of the LFO graph. Only on routes from THIS LFO to a WT Pos target, the LFO's swing is mapped into the Start..End window: with WT Pos at 0 and amount 100% a unipolar LFO scans exactly those frames. The same LFO's other routes are unchanged. The frame numbers follow the table of the first oscillator this LFO scans.
- **LFO WT Window End** — Upper tab on the right edge of the LFO graph: the top of this LFO's WT scan window. Only this LFO's WT Pos routes are affected. Double-click the tab to reset it.
- **LFO Rate** *on screen: "Rate"* — Oscillation speed, 0.01–50 Hz. Below ~0.5 Hz is slow evolving motion, 4–7 Hz is vibrato territory, above 20 Hz edges into audio-rate color. With Sync active, rate locks to note divisions of the host tempo instead.
- **LFO Depth** *on screen: "Depth"* — Output level of this LFO (0–1) — a master scaler for everything it drives through the matrix. The graph's amplitude follows this knob (and its modulation), so what you see is what your destinations receive.
- **LFO Shape** — The waveform: Sine, Saw, Square, Triangle, Sample-and-Hold, drawable Custom, the Step sequencer, descending Saw, or smoothed Random. Custom and Step open their own editors in the graph — left-click to edit, right-click for tools.
- **LFO Tempo Sync** — Locks the LFO rate to the host tempo in note divisions (1/16, 1/8 dotted, triplets…). Off returns to free Hz. Synced LFOs on filter or volume are how rhythmic pumping stays glued to the project tempo.
- **LFO Delay** *on screen: "Dly"* — Waiting time after note-on before this LFO starts moving. The classic use: delayed vibrato that enters a moment after the note lands, like a violinist settling into the pitch.
- **LFO Fade In** — Ramps the LFO's depth from zero over this many milliseconds after it starts — vibrato that swells in gradually rather than switching on. Combine with Delay for a natural two-stage entrance.
- **LFO Width** *on screen: "Width"* — Dedicated LFO-to-stereo-width route: the LFO breathes the voice's stereo image wider and narrower. 0 disables; up to 2 swings the image dramatically. Works without any matrix routing.
- **LFO Phase** — Where in its cycle the LFO begins (with Retrigger) — 0.25 starts a sine at its peak, 0.5 inverts the first half. The graph stays fixed; the playhead dot shows where the LFO is reading. No effect on S&H and Rnd LP: their values do not depend on the read phase (the knob is crossed out there).
- **LFO Smooth** — Rounds the waveform's corners with a one-pole filter: squares become rounded pulses, Sample-and-Hold steps become gentle drifts. The drawn curve in the graph updates to show the smoothed result.
- **LFO Stereo Phase** — Spreads the LFO's phase symmetrically around the center: left runs ahead and right behind by half the amount each, so the stereo image stays centered. 0% is mono, 50% puts the channels a quarter cycle apart (90°, a circling motion), 100% makes them exactly opposite (180°). Negative values mirror the image (right leads). Mono destinations and the LFO display follow the center. The engine applies this split on two destination families: Amp (Volume) and the three filter cutoffs. Routes to any other destination stay mono, so the knob has no effect there.
- **LFO Polarity** — Bipolar swings around the center (vibrato-style, both directions); Unipolar lifts the wave to modulate one way only from zero — better for volume, filter openings, anything that shouldn't dip below its knob setting.
- **LFO Retrigger** *on screen: "L1R"* — On: the LFO restarts at its Phase point with every note — deterministic, every note gets the same motion. Off: it free-runs so each note catches the wave somewhere else — looser, more ensemble-like.
- **LFO Mode** *on screen: "Env"* — Loop cycles forever; One-Shot plays a single cycle and holds the end value — turning the LFO into a simple envelope. One-Shot with a drawn Custom shape is a free extra envelope for any matrix destination.
- **LFO Transport Lock** — Locks the LFO's phase to the host's song position: identical playback gives identical modulation every time — essential when a synced LFO must land the same way on every bounce.

### Modulation, macros, random and XY (VOICE page; MATRIX page)

- **Macro 1 — Energy** *on screen: "Macro 1"* — A freely assignable performance macro (0–1). Drag its label onto any knob, or route it in the MATRIX tab, then sweep many destinations from this one control. The name is just a suggestion — it does nothing until you route it.
- **Macro 2 — Space** *on screen: "Macro 2"* — Second assignable macro. A classic setup: route it to reverb and delay mix so one knob moves the patch from dry and close to washed and distant. Routes are saved with the preset.
- **Macro 3 — Sweep** *on screen: "Macro 3"* — Third assignable macro. Typically routed to filter cutoff (and a touch of resonance) for the classic performance sweep, but any combination of destinations works.
- **Macro 4 — Move** *on screen: "Macro 4"* — Fourth assignable macro. Try routing it to wavetable position, unison detune or grain controls to morph the raw timbre live. All four macros are also automatable from the host.
- **XY Pad 1 — X Axis** — Horizontal axis of performance pad 1, a bipolar modulation source for the matrix. Grab the puck and glide through two destinations at once; the axis value is automatable and saved with the preset.
- **XY Pad 1 — Y Axis** — Vertical axis of performance pad 1. Route X to one character control and Y to another (say, cutoff and grain size) to turn the pad into a two-dimensional sound-morphing surface.
- **XY Pad 2 — X Axis** — Horizontal axis of the second performance pad — same idea as pad 1, doubling your two-dimensional control surface for complex patches.
- **XY Pad 2 — Y Axis** — Vertical axis of the second performance pad. Four pad axes plus four macros give eight hands-on modulation sources before touching an LFO.
- **Random Rate** — How often this random generator draws a new target value. Slow rates drift like tape wobble; fast rates approach sample-and-hold texture. Sync locks the draws to tempo divisions.
- **Random Smooth** — Glide between drawn values: 0 steps instantly (classic sample-and-hold), higher values slide smoothly to each new target — turning steps into organic wander.
- **Random Stereo** — Spreads the random stream across the notes you are holding: at 0 every voice draws the same value, and as you turn it up each voice reads a different point of the random history, so a chord fans out instead of moving as one block. It de-correlates voices, not the left and right channels — on a single note it does nothing.
- **Random Polarity** — Bipolar draws around zero (±); Unipolar maps draws to 0–1 for destinations that should only move one way from their knob position.
- **Random Mode** — The randomness flavor. Perlin glides smoothly between random values; S&H holds each value as a step; Lorenz follows a chaotic attractor for organic, non-repeating motion; Gauss favors values near the center (bell curve); Walk drifts on from the previous value; Phi steps through a golden-ratio sequence that spreads values evenly. Every mode except S&H glides between values.
- **Random Sync** — Locks the draw rate to host tempo divisions so stepped random motion lands on the grid — randomness that grooves. "Note (Global)" re-rolls on every note-on, but it is ONE value shared by all voices — held notes jump together. For a separate draw per voice, use the RndN (Rand Per Note) source instead.
- **XMorph On / Off** *on screen: "XMORPH"* — Switches the XMorph crossfader on. The first time you switch it on, it is set up to crossfade Filter 1 and Filter 2: on the A side Filter 1 is on and Filter 2 is bypassed, on the B side the other way round. Send your oscillators to both filters to hear it. Off: XMorph does nothing.
- **XMorph** — Crossfades between everything on its A side and its B side. Drag the A or B dot onto any knob to add that knob to that side, and set how far it moves in the MATRIX tab (sources XMorph A and XMorph B). Right-click the fader to modulate it with an LFO or any other source, or to MIDI-learn it.

### Arpeggiator (FX page: ARPEGGIATOR card, ARP 1 / ARP 2)

- **Arp Mode** — Direction of the arpeggio through held notes: Up, Down, Up-Down, Random, Down-Up, Converge (outside-in), Diverge (inside-out). Off bypasses the arpeggiator entirely.
- **Arp Rate** *on screen: "Rate"* — Step length in host-tempo divisions — straight, triplet (T) and dotted (D) values from 1/32 to whole notes. The arp always follows the project tempo.
- **Arp Octaves** *on screen: "Octaves"* — How many octaves the pattern climbs before restarting (1–4). Two octaves is the classic synth-line spread; four turns chords into cascades.
- **Arp Pattern** — Rhythmic pattern engine: Free runs every step; Euclid distributes pulses evenly (set Steps/Pulses/Rotate); Fibonacci, Skip, Stutter, Ping and Spiral impose their own step logic. The pattern editor below draws custom rhythms.
- **Arp Swing** *on screen: "Swing"* — Delays every second step for shuffle feel: 0 is straight, around 0.3 grooves, 0.5+ is heavy swing. Applies within the current rate grid.
- **Arp Gate** *on screen: "Gate"* — Note length as a fraction of the step (5%–100%): short gates give staccato blips, full gate ties notes together. The Gate Curve selector can vary it across the pattern.
- **Arp Velocity** — Where step velocities come from: Fixed, Accent (first step louder), Ramp (building), Random, or Fibonacci (accent pattern on Fibonacci steps).
- **Euclid Steps** *on screen: "Steps"* — Length of the Euclidean cycle (2–16 steps) when the Euclid pattern is active — the grid the pulses distribute across.
- **Euclid Pulses** *on screen: "Pulses"* — How many hits spread as evenly as possible across the Euclid steps — 3 in 8 is tresillo, 5 in 16 the classic techno clave.
- **Euclid Rotate** *on screen: "Rotate"* — Rotates the Euclidean pattern's starting point, shifting which step carries the first hit — same rhythm, different downbeat.
- **Arp Rest Probability** *on screen: "Rest"* — Chance that any step stays silent (0–1). A little breathing room breaks the machine-gun feel; automate it to thin out or fill in the line.
- **Arp Latch** — Keeps the arpeggio running after you lift your hands — the held chord stays latched until you play a new one. Live-performance essential.
- **Arp Chord** — Plays each arp step as a stack instead of a single note: triad, power fifth, Phi pair or octave pair — instant harmonized sequences from single-note patterns.
- **Arp Note Order** — Whether the pattern walks notes in the order you played them (As-Played) or sorted by pitch (Pitch-Up). As-Played makes inversions and re-fingerings audible in the line.
- **Arp Transpose** *on screen: "Transpose"* — Shifts the whole arpeggiated line in semitones (±24) without touching the held chord — quick octave jumps or parallel harmony from automation.
- **Arp Gate Curve** — Shapes gate length across the pattern: Even (constant), Decay (shortening), Build (lengthening) or Pump (alternating) — phrasing without editing individual steps.
- **Arp Note Source** — Chooses where each step's note comes from. Classic Arpeggiator walks the held chord with the Mode and Pattern settings. Follow MIDI Pattern instead takes the note from the pattern editor's degree row: degree 0 plays the lowest held note, higher degrees climb the chord and wrap up an octave. Timing is unchanged either way — this is a pitch source, not a clock.
- **Arp Restart** — Restarts the pattern from step one whenever a new phrase begins (all keys lifted, then a new chord). Off lets the pattern keep its position across phrases.
- **Unrouted Sources** — What happens to the oscillators and the sampler bus that are NOT routed to the arpeggiator while it plays: Mute silences them, Play lets them sound on the arpeggiator's notes. Routing itself is set with the per-source arp buttons.
- **Arp Start Delay** *on screen: "Start Delay"* — Lets the chord ring before the arpeggio starts. When you start a phrase (the first key after all keys were released), the held chord first plays as a normal chord; after this time it is released and the arpeggiator begins, so the chord's tail rings on into delay and reverb. Keys you add during the delay join the chord, for strums. 0 = the arpeggiator starts at once.
- **Arp On / Off** *on screen: "ARP 1 ON"* — Starts or stops this arpeggiator without changing its Mode or settings. While it is off, the keys you press play as normal notes, and sources that are not routed to the arpeggiator are no longer muted by it.

### Effects (FX page)

**Gate**

- **Gate Mix** *on screen: "Mix"* — Parallel blend around the gate — full for hard gating, partial for a reduced-but-present floor.
- **Gate Threshold** *on screen: "Threshold"* — Level below which the gate closes. Set it above noise/bleed and below the quietest wanted note.
- **Gate Range** *on screen: "Range"* — How far the gate attenuates when closed — full silence or a gentler 'ducked' floor that keeps ambience alive.
- **Gate Attack** *on screen: "Attack"* — Opening speed — too slow clips note fronts, too fast can click on bass.
- **Gate Hold** *on screen: "Hold"* — Minimum open time after triggering — prevents stuttering on wavering sustains.
- **Gate Release** *on screen: "Release"* — Closing speed once signal falls below threshold — the naturalness of the cutoff tail.
- **Gate Sidechain High-Pass** *on screen: "SC High Pass"* — Removes lows from the gate's detector so rumble doesn't hold it open.
- **Gate Detector Source** — Chooses how the noise gate measures level when deciding open or closed. Peak follows the instantaneous waveform, so the gate reacts immediately to sharp transients. Root Mean Square averages over a short window, so the gate follows perceived loudness and ignores brief spikes. Use Sidechain High Pass if you also want the detector to ignore low-frequency rumble.

**EQ**

- **EQ Tilt** *on screen: "Tilt"* — One-knob spectral seesaw (±12 dB): negative warms (lows up, highs down), positive brightens — pivoting around the Tilt Pivot frequency. A quick tonal-balance move.
- **Tilt Pivot** *on screen: "Pivot"* — The center frequency the tilt rotates around — where the seesaw's fulcrum sits.
- **EQ Auto Gain** — Compensates overall loudness as bands boost or cut, so EQ decisions aren't biased by level changes.
- **EQ Phase Mode** — Minimum-phase (standard, zero added latency) versus linear-phase (no phase shift between bands, slight latency) — linear phase matters most on parallel-processed or mastering material.
- **EQ Band Enable** *on screen: "B1"* — Switches this equalizer band in or out without losing its frequency, gain and Q settings. Use it to A/B a single band's contribution while shaping, or to keep a prepared notch parked until it is needed. Disabled bands cost no processing.

**Filter FX**

- **Filter FX Mix** *on screen: "Mix"* — Blend of the insert filter — a full synth-style filter as a rack effect.
- **Filter FX Cutoff** *on screen: "Cutoff"* — Corner frequency of the insert filter — automate or modulate it for DJ-style sweeps over the whole signal path.
- **Filter FX Resonance** *on screen: "Resonance"* — Peak emphasis at the insert filter's corner.
- **Filter FX Drive** *on screen: "Drive"* — Saturation into the insert filter — resonance compresses and sings instead of just ringing.
- **Filter FX Type** — Response of the insert filter (low-pass, high-pass, band-pass…).

**Distortion**

- **Distortion Type** — The clipping curve: from soft tube-style saturation through hard clip, fold and asymmetric shapes — each generates a different harmonic recipe from the same drive. Tesla369 adds a 3rd/9th-harmonic signature on top of a tanh limiter; Bitcrush quantizes (Drive = bit depth). Audition on a held chord; they differ most in the top end.
- **Distortion Drive** *on screen: "Drive"* — Input gain into the shaper (-30..+30 dB) — more drive, more harmonics, more compression of dynamics. Auto-Gain (if on) keeps loudness steady so you hear character, not volume. Bitcrush is the exception: positive Drive sets the bit depth (16 down to 2 bits, no input gain), negative Drive is clean attenuation.
- **Distortion Tone** *on screen: "Tone"* — Post-distortion tilt: darkens the fizz or opens the bite. Distortion generates highs — this is where you decide how many survive.
- **Distortion Mix** *on screen: "Mix"* — Parallel blend of distorted against dry — full crunch underneath, clean articulation on top. The New-York-style approach for keeping punch.
- **Distortion Oversampling** — Runs the shaper at 2–4× rate to push aliasing artifacts out of band. 2× (default) keeps heavy drive clean; 4× goes further for bright material and final renders. 1× saves a little CPU but audibly crunches on bright, driven sounds.
- **Distortion Bias** *on screen: "Bias"* — Shifts the signal's DC point into the curve, making clipping asymmetric — even harmonics appear, the tube-style 'warmth' dimension.
- **Distortion Filter Cutoff** *on screen: "Cutoff"* — The built-in post-filter's corner — tame the fizz right inside the module instead of patching an EQ after it. Blend and Resonance shape how it sits.
- **Distortion Filter Blend** *on screen: "Blend"* — Morphs the post-filter's response — how much the filtered path replaces the raw distorted signal.
- **Distortion Filter Resonance** *on screen: "Resonance"* — Peak at the post-filter corner — a resonant edge on the distortion's tone, wah-like when the cutoff is modulated.
- **Multiband Low Crossover** *on screen: "Split Low"* — Split point between the low and mid distortion bands. Keeping bass in its own band with gentler drive is how distorted mixes stay tight.
- **Multiband High Crossover** *on screen: "Split High"* — Split point between mid and high bands — the highs usually want a different (often softer or brighter) treatment than the mids.
- **Low Band Drive** *on screen: "Low Drive"* — Drive for the low band alone in multiband mode — warm the bass without flubbing it, independent of mids and highs.
- **Mid Band Drive** *on screen: "Mid Drive"* — Drive for the mid band — the presence region, where distortion reads most as 'aggression'. Push here for bite that doesn't muddy the lows.
- **High Band Drive** *on screen: "High Drive"* — Drive for the highs — from silky exciter-style shimmer at low drive to harsh fizz when pushed. Usually the gentlest of the three.
- **Low Band Mix** *on screen: "Low Mix"* — Parallel dry/wet for just the low band — keep the clean sub underneath while its harmonics get dirty.
- **Mid Band Mix** *on screen: "Mid Mix"* — Parallel blend for the mid band's distortion.
- **High Band Mix** *on screen: "High Mix"* — Parallel blend for the high band's distortion.
- **Distortion Auto Gain** — Compensates output level as drive changes, so louder never masquerades as better while you shape the character.
- **Distortion Safe Peak** — A safety ceiling on the module output — catches level spikes from extreme drive/bias settings before they hit the rest of the chain.
- **Distortion Mid/Side** — Shapes the mid and side channels separately instead of left and right — the center saturates on its own terms, so the stereo image stays wide instead of collapsing as the drive comes up.
- **Distortion Sacred Family** — One-pick signatures from sacred numbers: each family sets the shaper, Bias and Tone together (those three are bypassed while a family is active; Classic = your knobs). Fib = Fibonacci tanh stack, bias +0.13, tone 13 kHz - Pi = sine fold, symmetric, tone 3.14 kHz (rounded, dark) - Phi = golden-ratio tanh stack, bias +0.16, tone 16.2 kHz - Tesla = 3-6-9 tanh triad, bias +0.09, tone 9 kHz.
- **Distortion Filter Type** — Filter mode applied inside the distortion stage (after the shaper by default; see Filter Pre/Post). Blend controls how much of the filtered signal replaces the raw drive.
- **Distortion Filter Order** — Where the distortion filter sits: Post (after the shaper — cleans up harmonics) or Pre (before the shaper — the filter shapes what gets driven, so resonant peaks saturate first).
- **Band Distortion Type** — Waveshaping algorithm for this frequency band in multiband mode — each band can distort with its own character.
- **Distortion Mode** — Selects single-band or multiband topology. Multiband splits the signal into three bands so lows stay solid while highs saturate independently.

**Compressor**

- **Compressor Mix** *on screen: "Mix"* — Parallel compression blend: full wet is normal compression; backing it off mixes crushed and clean for loud-but-breathing dynamics.
- **Compressor Threshold** *on screen: "Threshold"* — Level where gain reduction begins. Watch the meter: 3–6 dB of reduction is shaping, 10+ is an effect.
- **Compressor Attack** *on screen: "Attack"* — How fast the compressor clamps after threshold: slow attack lets transients punch through (drums), fast attack rounds them off (glue, control).
- **Compressor Release** *on screen: "Release"* — How fast gain recovers: short release pumps energetically, long release smooths invisibly. Auto-Release adapts it to the material.
- **Compressor Ratio** — Slope above threshold: 3:1 is gentle glue, 4:1 the everyday default, 6–9:1 assertive control, and 20:1 is effectively limiting. The 1:1 to 2.7:1 steps are the transparent glue range.
- **Compressor Knee** *on screen: "Knee"* — How gradually compression engages around threshold: hard knee is precise and audible, soft knee eases in — smoother on complex material.
- **Detection Mode** — What the detector measures: Peak (log-domain follower - lets the first hit after silence through, then clamps: ~0.5 dB in the first 20 ms at the 21 ms default, full by 50 ms), RMS (average - musical loudness), True Peak (inter-sample accurate for limiting duty), and Power (mean-square x²: grabs a kick within 20 ms). FET vintage or a 1 ms attack also catch the first hit.
- **Compressor Lookahead** *on screen: "Lookahead"* — Delays the audio slightly so the detector sees peaks coming — transparent catching of fast transients at the cost of a few ms latency.
- **Auto Release** — Program-dependent release timing: fast on transients, slow on sustains — the 'set and forget' behavior of classic bus compressors.
- **Compressor Topology** — How the gain change is applied: Downward tames peaks, Parallel adds the compressed signal under the untouched one for glue, Upward lifts quiet passages, and Up+Down works in both directions at once.
- **Vintage Character** — Timing and color families on top of the clean engine: Optical = slow, very soft knee, warm; FET = 20-800 us attack, hard knee, punch saturation; VCA = bus glue (slower attack, program-dependent release, softer knee). Clean = textbook.
- **Compressor Key** — What drives the detector: the signal itself (Internal) or an external sidechain — duck the synth from another source.
- **Sidechain High-Pass** *on screen: "Sidechain"* — Filters lows out of the DETECTOR only, so bass energy doesn't pump the whole mix — the standard fix for bass-heavy material.
- **Stereo Link** *on screen: "Link"* — How much left/right share one gain computer: fully linked keeps the image stable; unlinked lets each side compress alone — wider but can wander. Inert while the compressor is in M/S mode (each leg has its own detector).
- **Compression Range** *on screen: "Range"* — Caps the maximum gain reduction in dB — the compressor works hard up to this depth and then lets go, keeping natural dynamics under heavy settings. Inert in the Upward topology, where the gain is never a reduction.
- **Makeup Gain** *on screen: "Makeup"* — Output gain to compensate the level lost to compression. Match loudness before judging — the fair-comparison knob. Inert (crossed) while Auto Makeup is on.
- **Auto Makeup** — Estimates and applies makeup automatically from threshold and ratio — convenient, but check it by ear on programme material.
- **Multiband Mode** — Splits compression into three bands with independent thresholds and gains — control the low end without squashing the highs. The band knobs activate in this mode.
- **Comp Low Crossover** *on screen: "Split Low"* — Low/mid split frequency for multiband compression.
- **Comp High Crossover** *on screen: "Split High"* — Mid/high split frequency for multiband compression.
- **Low Band Threshold** *on screen: "Low Threshold"* — Threshold for the low band alone — tame boomy notes without touching mids.
- **Mid Band Threshold** *on screen: "Mid Threshold"* — Threshold for the mid band — vocal/lead presence control.
- **High Band Threshold** *on screen: "High Threshold"* — Threshold for the highs — de-ess and smooth cymbal-range energy.
- **Low Band Gain** *on screen: "Low Gain"* — Output gain of the compressed low band — rebalance after compression.
- **Mid Band Gain** *on screen: "Mid Gain"* — Output gain of the compressed mid band.
- **High Band Gain** *on screen: "High Gain"* — Output gain of the compressed high band.
- **Compressor Mid/Side** — Compresses mid and side channels independently — tighten the center while the width breathes, a mastering-style move.
- **Compressor Sacred Family** — One-pick characters built from sacred numbers: each family sets Ratio, Attack, Release and Knee together (those four knobs are bypassed while a family is active; Free = your knobs). Phi 1.618:1 / 16 ms / 162 ms / 6.2 dB gentle glue - Phi2 2.618:1 / 6.2 / 262 / 2.6 musical - Pi 3.14:1 / 3.1 / 314 / 3.1 rounded - Tesla 6:1 / 3 / 90 / 9 punch - Fib 2:1 / 21 / 89 / 13 transparent.
- **Multiband Band Mode** — Enables or solos this compressor band. Solo lets you tune one band's threshold and ratio in isolation before hearing the full three-band sum.
- **Band Ratio (Multiband)** *on screen: "Low Ratio"* — Compression ratio for this band alone when the compressor runs in multiband mode. 1:1 leaves the band untouched; 4:1 and beyond firmly levels it. Classic trick: heavier ratio on the low band keeps the bass steady while mids and highs stay dynamic - the master threshold and makeup still apply to all bands together.
- **Band Attack (Multiband)** *on screen: "Low Attack"* — How fast this band's compressor clamps down once the signal crosses the threshold, in milliseconds. Short attacks catch drum transients but can dull the punch; slower attacks let the hit through and squeeze what follows. Tune each band separately - lows usually like slower attacks than highs.
- **Band Release (Multiband)** *on screen: "Low Release"* — How quickly this band recovers after gain reduction, in milliseconds. Fast release maximises loudness but can pump audibly on sustained bass; slow release sounds smoother yet may duck the band longer than needed. Watch this band's meter bar and let it breathe with the groove.
- **Compressor Upward Cap** *on screen: "Upward Cap"* — Ceiling for the upward leg, in decibels (Upward and Up+Down topologies only). Upward compression lifts quiet material toward the threshold; without a ceiling a near-silent passage can be boosted by tens of decibels and the noise floor comes up with it. Lower this to keep the lift polite, raise it for aggressive levelling. It does not affect downward compression.
- **Compressor Upward Threshold** *on screen: "Low Up Thr"* — Threshold of the lower leg (Up+Down topology only). Material below it is lifted toward it by Up Ratio, or pushed further down when Up Ratio is negative. In 3-Band mode each band has its own; in Single mode the Low pair drives the whole signal.
- **Compressor Upward Ratio** *on screen: "Low Up Ratio"* — How hard the lower leg works below the Upward Threshold (Up+Down topology only). Positive values lift quiet detail up (upward compression, limited by Upward Cap); negative values push it further down like an expander; 0 switches the leg off. In 3-Band mode each band has its own; in Single mode the Low pair drives the whole signal.

**Onset — pre-delay, attack and curve (on every effect card; listed once)**

- **Onset** — Holds this effect back when you start playing. After a pause, the effect only starts to receive your notes this long after the first key, so a reverb or delay does not catch the attack. The tails of earlier notes keep ringing. Quick note changes and arpeggios (gaps under 0.12 s) count as one phrase. 0 = the effect hears every note at once.
- **Onset Attack** — How long the effect takes to fade in after the Onset time. Use it to let an effect bloom in slowly. 0 = no fade (it still opens without a click).
- **Onset Curve** — Shape of the fade-in: left = soft (slow start), center = straight, right = hard (fast start).

**Chorus**

- **Chorus Mix** *on screen: "Mix"* — Dry/wet of the chorus ensemble. At 0.5 the effect is classic doubling; full wet turns it into pure modulated ensemble — useful before reverb for string-machine pads.
- **Chorus Rate** *on screen: "Rate"* — Speed of the chorus LFOs (0.01–10 Hz). Slow rates give lush, drifting ensemble; fast rates approach vibrato and underwater wobble. Active only when Ensemble Mode is Manual — the other modes set Rate, Depth, Voices and Spread themselves.
- **Chorus Depth** *on screen: "Depth"* — How far the delay lines swing — wider swings mean stronger detune and thicker ensemble. Depth and Rate trade off: slow-and-deep or fast-and-shallow both stay musical. Active only when Ensemble Mode is Manual.
- **Chorus Voices** *on screen: "Voices"* — Number of modulated delay lines (1–8). Two is the classic stereo chorus; six to eight builds a full string-machine ensemble with phase-spread LFOs. Active only when Ensemble Mode is Manual.
- **Chorus Spread** *on screen: "Spread"* — Distributes the voices across the stereo field and staggers their LFO phases — from centered thickening to a wraparound ensemble. Active only when Ensemble Mode is Manual.
- **Chorus Tone** *on screen: "Tone"* — Tilts the wet signal darker or brighter — dark chorus sits behind the dry signal (vintage), bright chorus shimmers on top (modern).
- **Chorus Wow** *on screen: "Wow"* — Slow tape-style pitch drift layered onto the modulation — the lazy, seasick undulation of worn tape machines.
- **Chorus Flutter** *on screen: "Flutter"* — Fast micro pitch instability on top of the LFO — the fragile, grainy edge of cassette and BBD hardware.
- **BBD Character** *on screen: "BBD"* — Emulates bucket-brigade chips: progressive darkening and soft saturation of the delayed signal — instantly vintage, especially with Wow and Flutter.
- **Chorus Stereo Offset** *on screen: "Offset"* — Static time offset between left and right chorus lines (±20 ms) — Haas-style width under the modulation, before any LFO movement. Active only when Ensemble Mode is Manual — the other modes set the stereo offset themselves.
- **Chorus Brilliance** *on screen: "Brilliance"* — High-shelf sparkle on the wet path — the 'brilliance' control from classic ensemble hardware. Lifts the chorus out of a dark mix without EQing the dry.
- **Ensemble Mode** — Preset voice/LFO topologies modelled on classic ensemble machines — each mode re-wires voice count, phase spread and modulation into a known character.
- **Chorus Feedback** *on screen: "Feedback"* — Feeds the chorused signal back through the lines, sharpening the modulation toward flanger-like resonance while keeping chorus spacing.
- **Chorus LFO Shape** — Waveform of the chorus modulation: Sine (smooth), Triangle (linear sweep), Square (two alternating pitches) or Sample-and-Hold (random stepping).
- **Chorus Sacred Ratios** — Detunes the ensemble voices on sacred ratios (Fibonacci, Phi, Pi) instead of even spacing — the beating pattern takes on the series' character.
- **Through-Zero Flange** *on screen: "Through Zero"* — Lets the modulated line cross the dry signal's exact time point — the tape-style through-zero whoosh with its brief full cancellation, unreachable by standard chorus topology.
- **Chorus Width** *on screen: "Width"* — Mid/side width of the wet ensemble: narrow keeps the chorus tucked behind the dry image, wide wraps it around the edges of the field.
- **Chorus Sync** — Locks the chorus LFO to host-tempo divisions instead of the free Rate knob, so the shimmer breathes with the groove. Free returns control to Rate.
- **Chorus Delay** *on screen: "Delay"* — The base delay the voices sit at, in milliseconds, before the LFO sweeps them. Short settings (1-5 ms) put the copies close enough to comb with the dry signal for a flanger-like sheen; longer settings (15-40 ms) separate them into distinct voices for a wide ensemble. Depth sweeps on top of this base, and Stereo Offset shifts the right channel around it.

**Delay**

- **Delay Mix** *on screen: "Mix"* — Dry/wet balance of the delay. With Duck active you can run generous mixes that only bloom between phrases.
- **Delay Time** *on screen: "Time"* — Echo spacing in milliseconds (1–4000; above 96 kHz the usable maximum drops with the fixed buffer). Tempo-lock it with the Sync selector instead for musical divisions; the Pi sync option gives an irrational, never-quite-repeating echo.
- **Delay R Mode** — How the RIGHT delay line gets its time. Link keeps it identical to the left line (the classic single-time behavior). 1/2 L, 2/3 L, 3/2 L, Phi L and 1/Pi L multiply the left time by that ratio, so both channels follow the Time knob (and Sync) together while staying offset. Free ignores the left line and uses the Time R knob's own milliseconds.
- **Delay Time R** *on screen: "Time R"* — Echo spacing of the RIGHT delay line in milliseconds (1-4000). Only live when R Mode is Free; in Link and the ratio modes the right time is derived from the left one and this knob is marked dead.
- **Delay Sync** — Locks delay time to host-tempo divisions from 1/32 up to 4/1, including triplet (T) and dotted (D) variants, or the irrational Pi ratio. Off uses the millisecond Time knob directly. A division too long for the delay buffer is marked CLIP.
- **Delay Feedback** *on screen: "Feedback"* — How much of each echo re-enters the line: 0.3–0.5 gives a few repeats, 0.8+ builds toward self-oscillating dub walls. Damping shapes how the repeats darken as they regenerate. With Delay Freeze on, only the SIGN of this control still matters — the loop is held at unity gain. Sacred modes cap the loop: Tesla holds it at 2/3 (the top of the knob adds nothing) and Steps quantizes it to seven rungs.
- **Delay Damping** *on screen: "Damping"* — High-frequency loss per repeat — each echo emerges darker than the last, the tape-echo signature. The Filter selector (LP/HP/BP) chooses what shape the loss takes. Inactive while Freeze holds the buffer — the frozen loop is deliberately lossless, so nothing darkens it.
- **Delay Filter Mode** — The filter inside the feedback path: Low-Pass darkens repeats (tape), High-Pass thins them (dub sirens ride clean), Band-Pass focuses them into a telephone band that narrows with each pass. Inactive while Freeze holds the buffer, together with Damping.
- **Ping-Pong** — Ping Pong alternates echoes left-right-left - instant stereo motion from any mono source; pairs beautifully with Haas offset for extra width. Stereo (off) runs left and right as independent lines: R Mode, Haas and Cross Feedback stay active, nothing is summed to mono.
- **Delay Drive** *on screen: "Drive"* — Saturation inside the feedback loop — repeats grow warmer and more compressed as they regenerate instead of just quieter. Tape-machine behavior at moderate feedback. Inactive while Freeze holds the buffer.
- **Delay Diffusion** *on screen: "Diffusion"* — Smears each echo with allpass diffusion — repeats soften from distinct slaps toward reverb-like washes. High feedback plus diffusion approaches an echo-verb hybrid.
- **Cross Feedback** — Feeds the left delay's output into the right channel's input and vice versa — echoes migrate across the field, widening the repeats into a woven pattern. Blends from parallel (0) to full ping-pong (1); with Ping-Pong switched On the cross is already full, so this knob is crossed out.
- **Haas Offset** *on screen: "Haas"* — Offsets left/right delay times by ±50 ms. Small offsets exploit the Haas effect: repeats acquire width and direction without obvious doubling.
- **Delay Duck** *on screen: "Ducking"* — Compresses the echoes while the dry input plays, letting them surge back in the gaps — articulate playing with a huge tail that never fights it.
- **Phi Modulation** *on screen: "Phi Mod"* — Modulates delay time on a golden-ratio LFO — subtle, never-repeating pitch movement in the repeats. Analog wobble without a fixed wow period.
- **Fibonacci Lattice** *on screen: "Fib Lattice"* — Splits the delay into a lattice of taps at Fibonacci spacings: echoes become a cascade whose rhythm follows the sequence — dense but never square.
- **Delay Flutter** *on screen: "Flutter"* — Fast, small tape-flutter modulation of the delay time — adds fragile pitch instability to each repeat, the worn-cassette flavor.
- **Reverse Delay** — Plays each echo window backwards — repeats swell toward you instead of trailing away. Psychedelic staple; combine with Sync for rhythmic reversal.
- **Delay Freeze** — Locks the current buffer into an infinite loop, ignoring new input — capture a phrase and let it cycle as a bed while you play over it.
- **Delay Sacred Pattern** — Shapes the feedback amount by a signature ratio: Phi scales it by 0.618 for the classic golden tail, Pi by 0.318 for a short rhythmic chop, Fib steps it to the nearest golden-power level, Tesla caps it at two thirds and adds a slow bloom. Free leaves the knob untouched. Inactive while Freeze holds the buffer.

**Reverb**

- **Reverb Mix** *on screen: "Mix"* — Dry/wet balance of the reverb. Around 0.2–0.3 places a sound in a room; 0.5+ becomes an effect in its own right. Duck (below) can keep the dry signal clear while the tail blooms between notes.
- **Reverb Size** *on screen: "Size"* — Sets the decay time of the space — from about 40 ms at the bottom to over a minute at the top, each step lengthening the tail exponentially. The room's character stays the same; only the tail length changes. Default sits at the golden ratio (about a 2.7 s hall). Inactive while Reverb Freeze holds the tail.
- **Reverb Damping** *on screen: "Damping"* — High-frequency absorption of the space: low damping is glassy and bright (tile), high damping warm and quickly-mellowing (curtains and carpet). The separate Low Damp handles boominess at the other end. Inactive while Reverb Freeze holds the tail.
- **Reverb Pre-Delay** *on screen: "Pre Delay"* — Gap between the dry sound and the reverb's onset (0–300 ms). Even 20–30 ms keeps transients articulate before the wash arrives — an easy way to keep reverbed sounds clear. Inactive while Reverb Freeze holds the tail.
- **Reverb Width** *on screen: "Width"* — Stereo spread of the tail: 0 is mono, 1 leaves the tail untouched (the factory setting), 2 is the widest the engine goes. Narrow the reverb under wide synths so the dry stereo image stays the star.
- **Reverb Shimmer** *on screen: "Shimmer"* — Feeds a pitch-shifted copy (interval set by Shimmer Pitch) back into the reverb, so each pass climbs — the glassy, ever-rising choir effect. Feed it sustained material; transients turn to sparkle. Inactive while Reverb Freeze holds the tail.
- **Shimmer Pitch** *on screen: "Shim Pitch"* — The interval the shimmer loop transposes per pass (±24 semitones). +12 is the classic octave-up bloom; +7 gives a fifths-cathedral; negative values darken into descending, gothic tails. Inactive while Reverb Freeze holds the tail.
- **Low Decay Multiplier** *on screen: "Low Decay"* — Scales tail length below the crossover: under 1 tightens the low end (keeps mixes clean), over 1 lets bass linger — cinematic but risky under dense material. Part of the three-band decay set. Inactive while Reverb Freeze holds the tail.
- **Mid Gain** — Cuts the 800 Hz body of the tail (peaking filter inside the loop, -4 dB at minimum, 0 dB at 1.0). Unlike Low/High Decay this is a level trim, not a tail-length multiplier. Inactive while Reverb Freeze holds the tail.
- **High Decay Multiplier** *on screen: "High Decay"* — Scales tail length above the crossover: under 1 mimics air absorption (natural), over 1 keeps highs ringing unnaturally long — great for shimmer and glass textures. Inactive while Reverb Freeze holds the tail.
- **Reverb Input Low Cut** *on screen: "Low Cut"* — High-passes the signal entering the reverb (not the dry path). Cutting below 150–250 Hz prevents low-end mud from ever reaching the tail — the standard mix-hygiene move. Inactive while Reverb Freeze holds the tail.
- **Reverb Input High Cut** *on screen: "High Cut"* — Low-passes the reverb input: darker sends read as older, warmer spaces and sit behind the dry signal instead of competing with it. Inactive while Reverb Freeze holds the tail.
- **Reverb Tilt** *on screen: "Tilt"* — A tilt EQ on the wet output (±12 dB): negative warms the tail down, positive airs it up — one-knob tonal placement of the whole reverb.
- **Reverb Duck** *on screen: "Ducking"* — Compresses the wet signal while the dry input plays — the tail dips under notes and swells back in the gaps. The trick for huge reverbs that never drown the performance.
- **Duck Threshold** — Input level above which ducking engages. Lower thresholds duck on every note; higher only on peaks — set it so the tail breathes with your phrasing. Needs Ducking above zero; the knob is crossed out while Ducking is at zero.
- **Reverb Low Damp** *on screen: "Damp Low"* — Absorbs low frequencies inside the feedback loop, so bass decays faster than the rest — tames boominess without EQing the input. Inactive while Reverb Freeze holds the tail.
- **Reverb Modulation** *on screen: "Mod Depth"* — Slow chorusing inside the tank: breaks up metallic ringing and adds chorus-like lushness to long tails. Vintage-style at low amounts, seasick beyond. Inactive while Reverb Freeze holds the tail.
- **Reverb Diffusion** *on screen: "Diffusion"* — Echo density: low diffusion leaves discrete, grainy repeats (vintage character), high smears them into a smooth wash. Percussive material reveals the difference most. At short Size the tail is too brief to carry much diffusion, so the knob has less to work with there. Inactive while Reverb Freeze holds the tail.
- **Reverb Matrix** — The feedback mixing matrix (Hadamard: smooth and even; Householder: denser, slightly darker buildup). A subtle engine-character choice.
- **Gated Reverb** *on screen: "Gate"* — Enables the gate on the reverb tail — the explosive 'big drum' effect where the tail cuts off abruptly after the gate time instead of decaying. Inactive while Reverb Freeze holds the tail.
- **Gate Time** — How long the gated tail lives before it's chopped (30–800 ms). Short is the tight 80s snare; long lets a bloom escape before the cut. Inactive while Reverb Freeze holds the tail.
- **Room** — Physical room size (0.25x–6x delay-line scaling), independent of the decay time, which Size sets. Small = tight chamber, large = cathedral spacing. Re-tunes the tank through a short duck; inactive while Reverb Freeze holds the tail.
- **Mod Rate** — Speed of the tail's pitch modulation (0.004–8 Hz). Slow rates thicken, fast rates shimmer and detune; Mod Depth sets how far the read heads wander.
- **Gate Threshold** — Level below which the gated tail closes — lower thresholds keep more tail before the chop, higher gates harder. Needs the Gate amount above zero to do anything: route a modulator (or host automation) to FX Reverb > Gate. The knob is crossed out while Gate is at zero. Inactive while Reverb Freeze holds the tail.
- **Reverb Freeze** — Locks the current tail into an infinite loop — the reverb becomes a frozen pad you can play over. Grab a chord, freeze it, and play lead lines above the drone.
- **Reverb IR Mix** *on screen: "IR Mix"* — Blends a convolution impulse-response layer with the algorithmic engine — real-space early reflections with algorithmic tail control on top. Needs an impulse response: load one with Load IR, or this knob does nothing.
- **Reverse Reverb** — Plays the tail backwards from a rolling buffer — swells that rush toward the note. The classic pre-verb effect, live instead of rendered.
- **Reverb Sacred Pattern** — Selects the early-reflection geometry: classic patterns or sacred-ratio sets (Fibonacci, Phi, Pi…) whose tap spacings follow the mathematical series — each gives the space a distinct rhythmic fingerprint.

**Flanger**

- **Flanger Mix** *on screen: "Mix"* — Dry/wet of the flanger. Full effect needs near-equal blend — the comb cancellation is strongest at 50/50.
- **Flanger Rate** *on screen: "Rate"* — Sweep speed of the flanging comb (0.01–10 Hz). Slow sweeps are the classic jet pass; the default golden-ratio 0.618 Hz never syncs neatly with the beat, keeping the motion organic.
- **Flanger Depth** *on screen: "Depth"* — How far the delay sweeps — deeper sweeps drag the comb notches across a wider frequency range for a more dramatic jet.
- **Flanger Feedback** *on screen: "Feedback"* — Regeneration through the comb (±0.95): positive sharpens the peaks into a ringing metallic resonance, NEGATIVE flips the comb for the hollow, inverted-jet flavor.
- **Flanger Stereo Phase** *on screen: "Phase"* — Offsets the sweep LFO between channels — left and right combs travel out of step, turning the jet into a stereo spiral.
- **Barber-Pole Flange** *on screen: "Barber Pole"* — Infinite-glissando flanging: the sweep seems to rise (or fall) forever without ever arriving — the audio equivalent of the barber pole. Sign sets direction, amount sets speed.
- **Through-Zero Point** — Enables true through-zero flanging where the wet line crosses the dry signal's time position — brief total cancellation at the crossover, the classic tape-flange effect.
- **Flanger Sacred Pattern** — Sets the comb's base delay on a sacred value instead of the classic pi ms: Fib 5 ms, Pi 6.28 ms, Phi 0.618 ms (jet-tight), Tesla 9 ms (wide, chorus-edge). Center scales whichever base is chosen; the LFO itself is unchanged.
- **Flanger Sync** — Locks the flanger sweep to host-tempo divisions instead of the free Rate knob, so the jet motion lands on the beat. Free returns control to Rate.
- **Flanger Center** *on screen: "Center"* — Center delay of the sweeping comb in milliseconds (Classic); the sweep runs above and below it by Depth. In the Sacred modes this knob scales the mode's own base delay (Fib 5 ms, Pi 6.28 ms, Phi 0.618 ms, Tesla 9 ms) instead of setting milliseconds directly — so in those modes the 'ms' unit on the readout is a SCALER, not a delay time. With Through-Zero Flanging on, the engine also clamps the center from below (Classic Center 0.5 / Depth 1 lands near 2.58 ms), so very small settings stop getting shorter. Tiny values sound metallic and jet-like; longer ones drift toward chorus territory.
- **Flanger LFO Shape** — Waveform of the flanger sweep. Sine eases in and out at the ends of the sweep; Triangle moves through the comb at a constant speed, the even, jet-like sweep of classic hardware flangers.

**Phaser**

- **Phaser Mix** *on screen: "Mix"* — Dry/wet of the phaser. The wet signal already carries the notches, so the effect is deepest at full knob; lower values blend the clean signal back in.
- **Phaser Rate** *on screen: "Rate"* — Sweep speed of the allpass notches. The golden-ratio default drifts without locking to the tempo; Sync (if enabled) pins it to divisions instead.
- **Phaser Depth** *on screen: "Depth"* — How far the notch cluster travels each sweep — from a gentle breathing color to full-range swooshes.
- **Phaser Feedback** *on screen: "Feedback"* — Resonance through the allpass chain (±1.0): positive sharpens the peaks between notches into a vowel-like emphasis; negative re-voices the comb with a hollower character.
- **Phaser Stages** — Number of allpass stages (2–24) — each pair adds a notch. Four stages is the classic stompbox; twelve-plus turns silky and vocal. More stages, more CPU.
- **Phaser Manual** *on screen: "Manual"* — Blends the sweep source from the LFO to an input-level envelope follower — an auto-wah style phaser. 0 = LFO only; 1 = fully level-driven (Rate, LFO Shape, Sync and Stereo Phase stop having any effect). For a fixed notch position use Phaser Center.
- **Phaser Wet Pan** *on screen: "Wet Pan"* — Pans just the phased signal, leaving the dry centered — the sweep circles the listener while the source stays put.
- **Phaser Low Guard** *on screen: "High Pass"* — High-passes the wet path so the sweep never hollows out the low end — keeps bass solid under a full-range phase sweep.
- **Phaser Mid/Side** *on screen: "Mid Side"* — Applies the phaser to the mid or side channel only: side-phasing animates the stereo edges while the center stays untouched — a wide, modern trick. Note: at full Mid/Side the effect lives entirely in the SIDE signal, so a centered (mono) source passes through unchanged — turn it down, or widen the source, to hear the sweep.
- **Phaser 3D** *on screen: "3D"* — Adds elevation-style spectral cues to the sweep, pushing the notches into a third dimension — the sweep seems to arc overhead rather than pan flat.
- **Phaser Stereo Phase** *on screen: "Stereo Phase"* — Offsets the sweep between channels so left and right notches counter-rotate — the wider, spiralling version of the effect.
- **Phaser LFO Shape** — Sweep waveform: Sine (smooth), Triangle (even), Square (two alternating notch positions) or Sample-and-Hold (random jumps — rhythmic filter-step phasing).
- **Phaser Drive** *on screen: "Drive"* — Saturation into the allpass chain — pushes resonant peaks into gentle compression for a thicker, more analog sweep.
- **Phaser Sync** — Locks the sweep to host-tempo divisions so the notch motion lands with the groove.
- **Phaser Sacred Spacing** — Spaces the allpass stages on sacred ratios instead of uniformly — the notch comb takes on Fibonacci/Phi/Pi geometry, changing the sweep's vowel.
- **Phaser Center** *on screen: "Center"* — Center frequency the phaser's all-pass stages sweep around. Low settings put the movement into the body of the sound; high settings turn it into an airy top-end swirl. If the LFO sweep feels lopsided, move the center rather than widening the depth.

**Tremolo / Auto-Pan**

- **Tremolo Mix** *on screen: "Mix"* — How much of the tremolo / auto-pan movement you hear. 0 = the effect is off and the sound passes through untouched.
- **Tremolo Rate** *on screen: "Rate"* — Speed of the movement in cycles per second. When Sync is set to a note value, the speed follows the project tempo and this knob is inactive.
- **Tremolo Sync** — Free uses the Rate knob in Hz. A note value (1/16 to 2/1) makes one cycle last exactly that long at the project tempo.
- **Tremolo Depth** *on screen: "Depth"* — How far the level dips on each cycle. 100% goes all the way down to silence (a full chop with Square); 50% dips to half level.
- **Tremolo Shape** — The movement's waveform: Sine (smooth pulse), Triangle, Square (on / off chop with soft edges, no clicks), Saw Up, Saw Down, and Random (a new level every cycle, gliding smoothly).
- **Tremolo Stereo** *on screen: "Stereo"* — 0% is classic tremolo: both channels move together. Raise it to offset the right channel; at 100% the channels move in opposite directions, an auto-pan that keeps the same loudness as it sweeps across.
- **Tremolo Retrigger** — Free Run keeps the movement on its own rhythm. Retrigger restarts the cycle at the start of each phrase (the first key after a pause), so every phrase begins the same way.

**Bitcrusher**

- **Bitcrush Mix** *on screen: "Mix"* — Parallel blend of the crushed signal — full-fidelity body with digital grit sprinkled on top.
- **Sample Rate Crush** *on screen: "Downsample"* — Downsamples the signal — aliased mirror frequencies fold into the audible band, the classic lo-fi ring. The Anti-Alias toggle decides whether folding is allowed to bite.
- **Bit Crush** *on screen: "Crush"* — Crush amount, not a bit count: fully down is a clean 16-bit path, fully up quantizes to 2 bits. Quantization noise rises as you turn it up — from subtle vintage-sampler crunch to coarse gravel. Dither smooths the floor if wanted.
- **Crush Drive** *on screen: "Drive"* — Gain into the quantiser — hotter signals exercise more of the coarse steps, changing the crunch's character from dusty to aggressive.
- **Crush Tilt** *on screen: "Tilt"* — Tonal tilt of the crushed path — darken the aliasing hash or emphasise it.
- **Crush Filter** *on screen: "Filter"* — Post-crush filter corner (type selectable LP/HP) — clean up or isolate the digital artifacts.
- **Crush DC Offset** *on screen: "DC Offset"* — Injects DC before quantization so the steps clip asymmetrically — adds even-harmonic bite to the crush.
- **Crush Dither** *on screen: "Dither"* — Adds noise before quantization, trading crackly distortion at low bits for smooth hiss — a low-bit converter character.
- **Crush Stereo Offset** *on screen: "Stereo"* — Offsets the downsampling clocks between channels — the artifacts decorrelate into stereo shimmer. Needs Downsample above zero.
- **Crush Asymmetry** *on screen: "Asymmetry"* — Quantizes positive and negative halves differently — asymmetric staircase distortion with a distinctive even-order edge.
- **Noise Shaping** *on screen: "Noise Shape"* — Pushes quantization noise toward less audible frequencies — vintage converter behavior, subtler crunch at the same bit depth. Needs Crush above zero; a full 16-bit signal is left untouched.
- **Crush Anti-Alias** — Pre-filters before downsampling: on for smooth lo-fi that keeps pitch intact, off for full inharmonic aliasing chaos. Needs Downsample above zero.
- **Crush Hold Mode** — How the reduced sample rate holds values between samples — different hold shapes give different aliasing flavors. Needs Downsample above zero.
- **Crush Sacred Pattern** — Quantization step patterns based on sacred ratios — crunch whose harmonic signature follows the series.
- **Bitcrusher Filter Type** — Post-crush filter flavor that tames or shapes the quantization noise — from raw and fizzy to smoothed digital character.

**Ring Mod and frequency shifter**

- **Ring Mod Mix** *on screen: "Mix"* — Blend of the ring-modulated signal. Even small amounts add inharmonic sparkle; full wet replaces the source with sum-and-difference spectra.
- **Ring Mod Frequency** *on screen: "Frequency"* — The internal carrier's frequency (20 Hz – 8 kHz): low rates give tremolo, audio rates generate the classic metallic sidebands. Envelope Amount can make it track playing dynamics. In the Tesla-Trk sacred mode the carrier follows the played note and this knob is inactive.
- **Ring Mod Low Guard** *on screen: "High Pass"* — High-passes the wet path — ring mod generates difference tones that can rumble; this keeps the low end clean.
- **Ring Mod Envelope** *on screen: "Envelope"* — Lets the input's envelope push the carrier frequency — the effect sweeps with your playing, from watery on soft notes to clangorous on hits.
- **Ring Mod Quadrature** *on screen: "Stereo 90"* — Runs the right channel's carrier 90° out of phase — the sidebands decorrelate into a wide, swirling stereo field.
- **Ring Mod Sub** *on screen: "Sub"* — Adds two lower carriers, at half and a third of the carrier frequency, next to the main one — the ring tones gain sub-octave partners and the effect gets heavier. Ring mode only: inactive in Frequency Shifter mode.
- **Ring Mod Bell** *on screen: "Bell"* — Ring-modulates the result a second time with a carrier nine times higher — adds the clangorous, inharmonic partials of bells and gongs, great for mallet and gamelan colors. Ring mode only: inactive in Frequency Shifter mode.
- **Ring Mod Carrier Shape** — The carrier's waveform — sine is clean sidebands; richer shapes multiply the sideband families for denser inharmonic spectra. Ring mode only: inactive in Frequency Shifter mode.
- **Frequency Shifter Mode** — Switches from ring modulation to single-sideband frequency shifting — all partials move by the SAME Hz (not ratio), detuning harmonics into beautiful inharmonic drift.
- **Ring Mod Sacred Ratio** — Locks the carrier to sacred-ratio relationships with the played pitch — sidebands land on the series instead of arbitrary frequencies. Ring mode only: inactive in the Frequency Shifter modes.

**Granular FX**

- **Granular Mix** *on screen: "Mix"* — Blend of the granular cloud against the dry signal — from a haze behind the source to full textural replacement.
- **Granular Density** *on screen: "Density"* — Grains per second. Low density is pointillistic, high fuses into a wash. NEGATIVE values switch to Sync mode: grain births sit on a strict even grid - the Spawn pattern and Spray timing are ignored (with Spawn Off and Spray 0 both signs sound the same). Jitter still scatters the read positions, so lower it for phase-locked, pad-like layers; Spray still varies grain length and a small per-grain detune keeps the layers from comb-filtering.
- **Granular Size** *on screen: "Size"* — Grain length (5–500 ms): short is grainy and pitchy, long preserves the source's gesture inside each grain.
- **Granular Pitch** *on screen: "Pitch"* — Transposes the grains (±24 st) independent of the dry signal — parallel octave clouds, shimmer beds, sub-octave smears.
- **Granular Stereo Spread** *on screen: "Spread"* — Random stereo placement per grain — the cloud widens from centered to enveloping.
- **Granular Position** *on screen: "Position"* — Read position within the rolling capture buffer — reach back into the recent past of the signal and granulate what already happened.
- **Granular Jitter** *on screen: "Jitter"* — Random scatter of each grain's read position in the capture buffer — blur the buffer's timeline into ambience.
- **Granular Freeze** — Stops the capture buffer, granulating one frozen moment forever — grab a chord and stretch it into an infinite pad.
- **Grain Window** — Each grain's amplitude envelope (Hann, Gauss, Rect, Tukey, Triangle) — smooth windows wash, hard windows crackle.
- **Granular Stretch** *on screen: "Stretch"* — Time-stretches the cloud (0–2×) decoupled from pitch — 1 is neutral, below crawls, above skims.
- **Granular Damp** *on screen: "Low Pass"* — Low-pass on the cloud — settle the grains behind the dry signal.
- **Granular Spray** *on screen: "Spray"* — Randomizes grain timing to dissolve the spawn-rate periodicity — less machine-gun, more weather. In Sync mode (negative Density) the spawn grid stays regular and Spray only varies each grain's length.
- **Width LFO Rate** *on screen: "Width Rate"* — Speed of the cloud's stereo-width breathing.
- **Width LFO Depth** *on screen: "Width Depth"* — Depth of the width breathing — the cloud swells and narrows cyclically.
- **Grain Reverse** *on screen: "Reverse"* — Probability that grains play backwards — at 0.5 the texture loses its arrow of time.
- **Granular Scrub** *on screen: "Scrub"* — Drags the read head through the buffer like scrubbing tape — performable time travel through the last few seconds.
- **Granular Shimmer** *on screen: "Shimmer"* — Octave-up probability per grain — crystalline sparkle over the cloud.
- **Granular Texture** *on screen: "Texture"* — Macro character morph of the engine — from smooth, overlapping wash to coarse, separated grains, retuning several internals at once.
- **Grain Pitch Quantize** — Snaps random grain pitches to a scale (chromatic through Phi-arc sets) — the cloud becomes harmonic instead of smeared.
- **Grain Spawn Pattern** — The rhythm of grain births: even, clustered, Fibonacci-spaced — audible as the cloud's underlying pulse at low densities.

**Transient Shaper**

- **Transient Shaper Mix** *on screen: "Mix"* — Parallel blend of the transient-shaped signal — attack surgery with the original body underneath.
- **Transient Attack** *on screen: "Attack"* — Boosts or softens note fronts without touching sustain — positive makes everything punchier, negative rounds attacks into pads.
- **Transient Sustain** *on screen: "Sustain"* — Raises or lowers the body AFTER each transient — positive brings up room and tail, negative dries and tightens.
- **Transient Speed** *on screen: "Speed"* — How quickly the detector distinguishes attack from sustain — faster splits sharper transients, slower treats longer swells as attacks.
- **Transient Output** *on screen: "Output"* — Makeup gain after shaping — rebalance the level once attacks have moved.
- **Transient Link (Stereo)** — Links the transient shaper's left and right detectors so both channels duck and snap together. Linked keeps the stereo image rock solid on drums; unlinked lets each side react to its own hits - wider, livelier, but the image can wander on hard pans.

**Auto Wah**

- **Auto Wah Mix** *on screen: "Mix"* — Blend of the envelope-following wah filter.
- **Wah Sensitivity** *on screen: "Sensitivity"* — How strongly input dynamics push the wah filter — play soft for closed, dig in to open it. The touch-wah response curve.
- **Wah Center** *on screen: "Frequency"* — The filter's resting frequency, from which dynamics sweep it — the 'voicing' of the wah.
- **Wah Resonance** *on screen: "Resonance"* — Peak sharpness of the wah filter — from mild emphasis to vocal quack.
- **Wah Attack** *on screen: "Attack"* — How fast the filter opens when energy rises — the wah's articulation speed.
- **Wah Release** *on screen: "Release"* — How fast the filter falls back as notes decay — the return stroke of the sweep.
- **Wah Direction** — Up opens brighter with dynamics (classic); Down inverts — playing harder darkens, an inverse-funk flavor.
- **Wah Filter Type** — The moving filter's response type — band-pass quack versus low-pass swell.
- **Wah Sacred Mode** — Retunes the wah's resonant sweep to the sacred-ratio families used across EnneAgraM (phi, pi, Tesla 3-6-9) instead of the classic pedal curve. Each mode places the vowel-like peaks at different harmonic anchors - sweep slowly and pick the one whose vowels sing with your key.

**Vocoder (needs the audio input, see Audio input)**

- **Vocoder Mix** *on screen: "Voc Mix"* — Blend of the vocoded signal — the synth voice reshaped by the audio input's spectral envelope (or reversed, per the Reverse toggle).
- **Vocoder Attack** *on screen: "Voc Atk"* — How fast the filter bank follows rising energy in the modulator — fast for crisp consonants, slow for smeared, pad-like talking.
- **Vocoder Release** *on screen: "Voc Rel"* — How fast the bands let go — long release blurs syllables into washes.
- **Vocoder Sibilance** *on screen: "Voc Sib"* — Uses the modulator's energy above 5 kHz as a gate on the CARRIER's own high band - brings back the bite that band filtering removes. Silent if the patch has no content above 5 kHz; the modulator's own sound never reaches the output.
- **Vocoder Reverse** *on screen: "Voc Rev"* — Swaps modulator and carrier roles: the synth's dynamics shape the audio input instead — the inside-out vocoder.

**Master limiter (FX page, MASTER — LIMITER + STEREO)**

- **Limiter Ceiling** *on screen: "Ceiling"* — The absolute output ceiling — nothing passes above this. Keep a little headroom (-0.3 dB) for inter-sample safety on lossy formats.
- **Limiter Lookahead** *on screen: "Lookahead"* — How far ahead the limiter sees (0–10 ms) — enough lookahead catches transients transparently instead of clipping their fronts.
- **Limiter Release** *on screen: "Release"* — Recovery speed after limiting — fast is loud but can distort lows, slow is clean but pumps. The default suits full-range material.
- **Limiter Mix** — Parallel blend around the limiter — rarely moved from full, but useful for transparent 'mostly limited' blends.

**Master stereo tool (FX page, MASTER — LIMITER + STEREO)**

- **Stereo Width** *on screen: "Width"* — Mid/side width of the final output: 0 mono, 1 untouched, higher widened. Check mono compatibility when pushing past 1.3.
- **Bass Mono** — Folds the low end to mono below this frequency at 24 dB per octave — solid, phase-safe bass under any stereo width above.
- **Mid Gain** — Level of the mid (center) channel alone — push the core forward or tuck it behind the sides.
- **Balance** — Final left/right balance of the output.
- **Stereo Tool Mix** *on screen: "Stereo Mix"* — Blend of the stereo processing against the unprocessed signal.

**Effect on / off and bypass**

- **Effect Bypass** — Switches this effect completely out of the chain. State is preserved while bypassed, and re-engaging restarts the stage cleanly — use it for honest before/after comparisons.
- **All Effects On / Off** *on screen: "ALL FX ON"* — Turns every effect in the rack on or off at once, so you can compare the processed sound with the dry one. The master limiter and stereo stage stay active, and each effect keeps its own on / off setting underneath.
- **Effect On / Off** — Turns this effect on or off without touching its routing or settings. Click the effect's button in the FX chain strip to switch it; while it is off, the sound passes through as if the effect were not routed.

### Sampler (SAMPLER page)

- **Sampler On** *on screen: "ON"* — Powers the sampler engine. It runs alongside the oscillators — layer sampled orchestral sections under synth pads, or run it alone as the whole instrument.
- **Sampler Root** *on screen: "Root"* — The MIDI note at which a single loaded sample plays at original speed. SFZ instruments carry per-zone roots and ignore this; it matters for single dropped WAVs.
- **Sampler Pitch** *on screen: "Pitch"* — Transposes sampler playback in semitones (±24) — repitch a whole instrument without remapping its zones.
- **Sampler Level** *on screen: "Level"* — The sampler's output level in the voice mix — balance it against the oscillators here, before the shared filters and effects.
- **Sampler Fine Tune** *on screen: "Fine"* — Fine tuning in cents (±100) — match a sampled library to a synth layer that sits a hair off, or detune deliberately for width against a doubled layer.
- **Sampler Pan** *on screen: "Pan"* — Stereo position of the sampler bus. Orchestral libraries often carry their own seating position — this shifts the whole image.
- **Sampler Makeup** *on screen: "Makeup"* — Output trim from -24 to +40 dB — quiet chamber libraries often need +10 dB or more to sit with synth layers. Applied after everything else in the sampler.
- **Sample Start** *on screen: "Start"* — Playback start within the zone's playable region (0–1). On SFZ zones it sub-selects INSIDE the region the library defined — pushing it past the attack gives pad-like entries from bowed samples.
- **Sample End** *on screen: "End"* — Playback end within the zone's region (0–1). Together with Start it crops what part of each sample plays — 1.0 is the natural end.
- **Loop Start** *on screen: "LpSt"* — Loop region start (fraction of the zone). SFZ or WAV-embedded loop points override these knobs when the library provides them — the knobs are the manual fallback. • With Disk Stream on, this window has no effect unless the instrument's regions declare their own loop (the control shows a cross): turn Disk Stream off and reload the instrument.
- **Loop End** *on screen: "LpEn"* — Loop region end. With Play Mode set to a loop variant, playback wraps inside Loop Start/End using the Crossfade to hide the seam. • With Disk Stream on, this window has no effect unless the instrument's regions declare their own loop (the control shows a cross): turn Disk Stream off and reload the instrument.
- **Loop Crossfade** *on screen: "XFade"* — Crossfade length at the loop seam (0–1 of the loop span). Raise until the wrap disappears; libraries that declare their own crossfade override this knob. • With Disk Stream on, this window has no effect unless the instrument's regions declare their own loop (the control shows a cross): turn Disk Stream off and reload the instrument.
- **Play Mode** — Playback behavior: Off (follow library/legacy settings), Loop, One-Shot (ignore note-off), Reverse (backwards, single pass), Loop Rev (backwards AND looping), Loop F-R (ping-pong). Reverse modes start from the sample's end — expect the release tail first on sustained material.
- **Reverse (Legacy)** *on screen: "REV"* — Legacy reverse toggle honoured when Play Mode is Off — the Play Mode dropdown is the current control.
- **Disk Streaming** *on screen: "DISK"* — Streams long samples from disk instead of loading them fully into memory — orchestral sets load in seconds and RAM stays low. Streamed zones play one-shot: the global Play Mode and the Loop Start/End controls only apply to zones held in RAM, so turn streaming off for material you want to loop.
- **Sampler Velocity** *on screen: "Vel"* — Velocity-to-loudness response of the sampler (0–100%). Orchestral layers usually pair this with velocity crossfade layers baked into the library — 60% is a balanced default.
- **Velocity Curve** — Shape of the velocity response — linear, softer or harder curves remap your keyboard's feel onto the library's dynamic layers.
- **Follow SFZ Velocity** *on screen: "SFZ"* — Lets the library's own amp_veltrack opcodes govern velocity response instead of the knobs — maximum fidelity to how the instrument was authored.
- **Mod Wheel Volume** *on screen: "CC1>Vol"* — How much the mod wheel (CC1) rides the sampler's volume — the orchestral dynamics-crossfade convention: wheel down whispers, wheel up commands.
- **Mod Wheel Brightness** *on screen: "MWCut"* — Routes the mod wheel to the sampler's filter cutoff — wheel-up opens brightness alongside volume, mimicking how real dynamics add overtones.
- **Aftertouch to Filter** *on screen: "AT>F"* — Channel pressure opens the sampler's filter — lean into a held chord and it blooms. A performance depth control needing no extra hands.
- **Aftertouch to Volume** *on screen: "AT>V"* — How much channel pressure raises the sampler's level: at 1.0 full pressure adds +6 dB (the classic response), at 0 the level ignores pressure. Set it to 0 when aftertouch should only open the filter (AT>F).
- **Pitch Bend Smooth** *on screen: "PBSm"* — Slews pitch-bend messages over this many milliseconds — turns stepped hardware bends into continuous orchestral glissandi.
- **Sampler MPE** *on screen: "MPE"* — Enables per-note MPE expression for sampler voices — each finger's pressure and slide shape its own note. Needs the global MPE Mode on; an MPE controller that announces its zone switches it on.
- **MPE Pressure to Cutoff** *on screen: "P>Ct"* — Per-note pressure opens that note's filter alone — swell one voice inside a held chord. Needs the global MPE Mode, Sampler MPE and the sampler filter on.
- **MPE Pressure to Vibrato** *on screen: "P>Vb"* — Per-note pressure adds vibrato to that note — press deeper for more expression, exactly like a string player's finger. Needs the global MPE Mode and Sampler MPE on.
- **Legato Time** *on screen: "Legato"* — Crossfade length of the legato handover — the overlap that makes lines sing instead of re-attacking. Has no effect while Legato Mode is Off.
- **Legato Mode** — How overlapping notes connect. Off leaves polyphony untouched. Mono hands the line over with a crossfade when a single note is already sounding. Glide adds a pitch slide into the new note, and Perf does the same with the interval shaping below.
- **Interval Scale** *on screen: "IvSc"* — Scales the legato transition character by interval size — wider leaps get proportionally longer/stronger transitions, like a real player's shift.
- **Bow Dip** *on screen: "Dip"* — A brief dynamic dip at each legato junction (up to a few dB) — the sound of bow pressure easing through a note change. 1.5 dB reads as 'human'.
- **Time Stretch** *on screen: "TStr"* — Stretches sample playback independent of pitch (granular overlap-add). 1.0 bypasses; slower values elongate bows and swells without dropping pitch. Heavier CPU while active.
- **Round Robin Mode** — How repeated notes cycle through alternate recordings: Strict (in order), Random, Shuffle (random without immediate repeats), Keyup (in order, restarting after a pause) or Lock (always the same recording) — kills the machine-gun repetition of one sample. Libraries that define their own round-robin order (SFZ seq_length) keep that order and ignore this setting.
- **Lock Variation** *on screen: "LockV"* — Pins playback to one specific round-robin variation — for surgical consistency (or auditioning each recording individually).
- **Round Robin Tail** *on screen: "Tail"* — Lets the previous round-robin's tail bleed under the next same-pitch note (up to ~150 ms) — the natural overlap of a real section re-bowing.
- **Note Spread** *on screen: "Sprd"* — Spreads simultaneous notes across the stereo field automatically — chords seat themselves like players across a stage.
- **Sampler Note Priority** — Which notes keep their voices when the sampler runs out — last played, highest, or lowest. Protect the bass or the melody, your choice.
- **Hold to Sustain** *on screen: "Hold"* — Holding a short articulation past this time hands the note to the LONG (sustain) articulation automatically — spiccato taps stay short, held notes bloom into sustains.
- **Sympathetic Pedal** *on screen: "PED"* — Gates sympathetic resonance behind the sustain pedal — resonance only blooms while the pedal is down, piano-style.
- **Drum Mode** *on screen: "DRUM"* — One-shot drum behavior: notes ignore note-off and each re-strike chokes the previous hit of the same key — kit playback without hanging voices.
- **Auto Vibrato** *on screen: "AutoV"* — Adds progressive vibrato to held notes without touching the wheel — depth grows into the note like a player warming into the pitch. Delay/Fade shape its entrance.
- **Pitch Humanize** *on screen: "PtcH"* — Random per-note pitch offset (up to 25 cents) — a section never lands on identical intonation twice. 3–8 cents reads as ensemble life.
- **Gain Humanize** *on screen: "GnH"* — Random per-note level variation — no two strokes identical, the loudness texture of real playing.
- **Start Humanize** *on screen: "StH"* — Random forward offset into each sample's start (bow contact variance) — attacks stop sounding cloned in fast passages.
- **Attack Noise** *on screen: "AtkN"* — Blends a touch of bow/breath noise into note onsets — the mechanical reality that samples often smooth away.
- **Repeat Dead Zone** *on screen: "NRpt"* — Ignores re-triggers of the same note within this window — cleans up double-fired MIDI and over-eager repetition.
- **Timing Humanize** *on screen: "Timing"* — Random note-on delay (a few ms) — an ensemble never attacks as one sample-accurate machine; this restores the natural smear.
- **Mechanical Noise** *on screen: "Mech"* — Key/action noise layer under the notes — the body of the instrument as an adjustable presence.
- **Sampler Cutoff** *on screen: "Cut"* — The sampler's own filter corner, before the shared synth filters — tame bright libraries or darken distant mics at the source.
- **Sampler Resonance** *on screen: "Res"* — Peak at the sampler filter's corner — gentle focus rather than synth scream is the useful zone on acoustic material.
- **Sampler Filter Mode** — Response of the sampler's filter (off, low-pass variants…) — Off bypasses the stage entirely for zero color.
- **Sampler Filter Envelope** *on screen: "Flt Env"* — Bipolar envelope depth on the sampler's cutoff — positive opens through the note, negative starts bright and darkens.
- **Velocity to Filter** *on screen: "Flt Vel"* — Velocity drives the sampler's cutoff (bipolar) — harder playing opens brightness, mirroring acoustic behavior where force adds overtones.
- **IR Enable** *on screen: "IR"* — Switches the convolution stage on — place the instrument in a sampled space via impulse response.
- **IR Mix** — Dry/wet of the loaded impulse response — from a hint of hall glue to fully placed in the sampled room. Load IR picks the file.
- **Sampler High-Pass** *on screen: "Bus HP"* — High-pass on the sampler bus (up to 400 Hz) — clears stage rumble and mic handling lows from orchestral recordings.
- **Articulation Crossfade** *on screen: "Art XF"* — Fade time when switching articulations mid-phrase — longer fades make keyswitch changes seamless on sustained lines.
- **Anti Pop** — Micro fade-in at note start (0–30 ms) — insurance against clicks from samples cut on a non-zero crossing.
- **Sympathetic Resonance** *on screen: "Symp"* — Simulates undamped strings ringing along with played notes — harmonic neighbors shimmer under the music, piano/harp physics for any library.
- **Bow Alternation** *on screen: "Bow"* — Alternates up-bow/down-bow character on repeated notes — subtle timbre and level rocking that fast string passages need to sound real.
- **Dynamics** *on screen: "Dyn"* — Macro dynamic level — rides volume AND timbral brightness together the way real dynamics work. The primary expression dial for the library.
- **Brightness** *on screen: "Bri"* — Macro tone control — tilts the instrument darker or brighter, independent of dynamics.
- **Air** — Adds high-shelf 'air' — the sheen of distance mics and open rooms.
- **Pan Spread** *on screen: "Width"* — Widens the sampled image — how far the section spreads across the stage.
- **Articulation Envelope** *on screen: "AEnv"* — Morphs attack/release character per articulation family — tighter and more percussive one way, longer and more vocal the other.
- **Interpolation** — Resampling quality (Hermite and friends) — higher settings clean up extreme transpositions; the default is transparent for normal ranges.
- **Close Mic** *on screen: "Close"* — Level of the close microphone layer — detail, bow noise, presence. Multi-mic libraries map their positions to these four faders.
- **Tree Mic** *on screen: "Tree"* — Level of the main array (Decca tree) — the classic concert-hall perspective; usually the backbone of the balance.
- **Ambient Mic** *on screen: "Amb"* — Level of the ambient/room pair — space and depth; raise for distance, cut for an in-your-face section.
- **Wide Mic** *on screen: "Wide"* — Level of the outrigger/wide pair — stereo breadth at the image's edges.
- **Long Articulation Level** *on screen: "Long"* — Trim for the sustain/long articulation family — balance it against shorts without touching the master.
- **Spiccato Level** *on screen: "Spic"* — Trim for the short/spiccato family — shorts often need a lift against sustained layers.
- **Pizzicato Level** *on screen: "Pizz"* — Trim for pizzicato — plucked layers sit differently in a mix than bowed ones; balance here.
- **Tremolo Level** *on screen: "Trem"* — Trim for tremolo — the shimmering sustained texture, balanced independently.
- **Articulation Auto Switch** — Picks the articulation from how hard you play instead of from keyswitches: the velocity range is split across the loaded articulations, so soft notes land on one and harder notes on the next. Playing speed and overlap are not measured.
- **Auto Divisi** *on screen: "DIVISI"* — Splits chords across section desks automatically — each chord tone gets a thinner 'desk' blend instead of the full section stacking per note.
- **Sampler Granular Bind** — Routes the sampler's audio into an oscillator's granular engine — orchestral grains re-synthesised through OSC 1/2/3's grain controls.
- **Sampler Unison Bind** — Borrows an oscillator's unison engine for sampler voices — stacked, detuned section-of-sections effects.
- **Slice Mode** *on screen: "SLICE"* — Switches the bottom zone matrix into slice editing — cut a loop into slices and map them across the keys.
- **Active Instrument** — Which scanned instrument the panel edits — the INSTRUMENTS list on the right selects it.
- **Mod Wheel Curve** *on screen: "MW Curve"* — Response shape of the mod wheel: linear, soft (fast rise), or hard (slow rise) — match the wheel's feel to your controller.
- **Release Velocity** *on screen: "Off Vel"* — How note-off velocity drives release-sample loudness — supported libraries answer harder key lifts with stronger release noises.
- **Wheel Articulation Blend** — Lets the mod wheel crossfade between articulation layers — wheel up morphs shorts into sustains on supported mappings.
- **Auto Normalize** *on screen: "NORM"* — Levels scanned samples on import so mixed-source libraries arrive at a consistent loudness.
- **Sampler FX Bypass** *on screen: "FX BYP"* — Bypasses the sampler's internal effect stages in one switch — instant A/B of the raw library against your processing.
- **Sampler Envelope Source** — Which envelope shapes sampler notes: the library's own SFZ envelope or one of the six plugin envelopes for uniform shaping.
- **Accent Vol** *on screen: "W1"* — Level trim for accented hits — how much louder an accented step plays than a normal one, in decibels.
- **Articulation** — Selects the loaded orchestral articulation — sustains, staccatos, tremolos and more, as provided by the library.
- **Sampler Loop** — Enables sample looping using the library's loop points, sustaining notes beyond the recorded length.
- **Range Extend** *on screen: "KEYEXT"* — Stretches zones beyond their mapped key range so out-of-range keys repitch the nearest zone instead of staying silent.
- **Sampler Filter Bind** *on screen: "Filter 1"* — Routes the sampler bus into this voice filter — the sampler then shares the synth's filter character and its envelope movement. Check any combination; with no box checked the sampler bus skips the filter section and stays dry.
- **Sampler Effect Route** *on screen: "EQ"* — Sends the sampler bus through the selected effect stage — the sampler has its own shadow effect chain, independent of the oscillators. With nothing checked the bus reaches the output untouched.
- **Sampler Unison Bind** *on screen: "Unison 1"* — Applies this oscillator's unison stack to sampler notes — detuned sample layers without loading multiple zones.
- **Vibrato Delay** *on screen: "VbDl"* — Time before performance vibrato fades in after note start — emulates a player settling into the note.
- **Vibrato Fade** *on screen: "VbFd"* — Length of the vibrato fade-in once it starts — longer fades sound more vocal and deliberate.
- **Vibrato to Mod Wheel** *on screen: "VibM"* — Lets the mod wheel scale performance vibrato depth, matching orchestral library conventions.
- **Mini Sampler to Filter** — Sends the mini sampler layer into one of the three voice filters - its own routing, fully independent of the oscillators' filter buttons. Check several to run the layer through filters in series. With no box checked the layer skips the filter section entirely and passes through dry - there is no fallback to Filter 1.
- **Mini Sampler FX Send** — Routes the mini sampler layer into one slot of the effects rack - the same private-send idea the oscillators have, so the layer can carry its own delay, reverb or crush chain without touching the synth voices. Checked slots process only this layer; order follows the FX rack.

### Audio input (☰ menu → "Show Audio In Panel")

- **Audio In Mode** — What the live input drives: Off, pitch/envelope TRACKING (input becomes modulation sources), or the processing modes (PSOLA pitch shift, phase vocoder, LPC, Klatt, vocoder carrier). The panel's knobs re-purpose per mode.
- **Audio In Level** *on screen: "Level"* — Level of the live input where it is heard or processed: Mix, Replace, the Vocoder modulator and the PSOLA / PV / LPC / Klatt processors. The pitch and envelope trackers read the raw input, so this knob does not change what they see (in PitchTrack mode it has no effect).
- **Pitch Tracker Threshold** *on screen: "Thresh"* — How strict the YIN pitch detector is: higher values accept noisier input as pitched (more false positives), lower values demand cleaner periodicity. Lower it if the tracker jumps around on breath noise.
- **Envelope Smooth** *on screen: "Smooth"* — Smoothing time for the tracked input envelope (the AuEnv matrix source). Short follows every syllable; long turns speech into slow swells.
- **Pitch Glide** *on screen: "Glide"* — Slew on the tracked pitch — smooths note changes in the input into portamento instead of steps. It works inside the tracker, so everything that follows the tracked pitch glides too: the mod sources, PSOLA, Pitch Snap and LPC Buzz.
- **Tracker Jitter Guard** — Median filter on the tracked pitch (20 ms analysis frames) that removes one-off misreads such as octave jumps. Off below 30 ms; it steps up at 30, 70, 110 and 150 ms (3, 5, 7, 9 frames). Raise it for gravelly or reverberant sources.
- **Voiced Gate** — Level gate for the pitch tracker: while the input envelope is below this level the input counts as unvoiced (noise/silence). The tracker holds its last pitch internally, its confidence drops to 0 and the tracked-pitch mod source returns to center (no shift).
- **PSOLA Pitch Snap** — Pulls the input's detected pitch toward the nearest note of the Pitch Quantize scale and root (nearest semitone when Pitch Quantize is off): 0 leaves pitch continuous, 1 hard-corrects — the classic vocal tuning effect, live on the input. PSOLA Shift is applied after the correction.
- **PSOLA Shift** — Pitch-shifts the live input in semitones using time-domain PSOLA — natural on monophonic voices within a few semitones, increasingly robotic beyond.
- **PSOLA Mix** — Dry/wet balance between the untouched input and the PSOLA-processed signal — blend a shifted harmony against the original voice.
- **Vocoder Pitch** — Phase-vocoder pitch shift of the input, in semitones. Frequency-domain, so it handles polyphonic material better than PSOLA at the cost of a glassier tone.
- **Formant Shift** — Moves the input's formants independent of pitch — up toward chipmunk, down toward giant, or corrective (shift formants opposite to a pitch shift to keep a voice natural).
- **Phase Vocoder Mix** — Blend between the dry input and the phase-vocoder output.
- **LPC Mix** — Blend of the LPC cross-synthesis: the input's vocal-tract envelope is imposed on the synth voice — the talking-synth effect, rougher and more robotic than the vocoder.
- **Klatt Vowel** — Vowel selection for the Klatt formant synthesis mode — speech-synthesis formant sets rather than filter approximations.
- **Klatt Mix** — Blend of the Klatt formant-synthesised signal against the dry path.
- **LPC Carrier** *on screen: "LPC Car"* — Carrier source for the linear-prediction vocoder path — the analysed vocal envelope is imposed onto this signal.
- **LPC Order** — Number of prediction coefficients. Higher orders capture more formant detail; lower orders sound broader and more robotic.

### Number-based tools (Esoteric)

- **Chakra Volume** *on screen: "Vol"* — Level of the chakra tones triggered from the CHAKRA panel. The tones play through the full synth chain (oscillators, filters, effects), so balance them against your played notes with this and the oscillator Levels.
- **Chakra Oscillator** — Which oscillator renders the chakra tones — OSC 1, 2, 3 or all three. Pick a dedicated oscillator with its own soft timbre to keep chakra drones distinct from your playing.


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