Copyright© 2000-2001 by
David Billen.
Specifies a triangular wave shape for the oscillator. This produces a dark tone.
Specifies a sawtooth wave shape for the oscillator. This produces a bright tone.
Specifies a pulse wave shape for the oscillator, (also called a square wave). This produces a bright tone yet with different harmonics than the sawtooth. The pulse width can be adjusted with the PW knob.
Specifies a sine wave shape for the oscillator. This produces a very dark and pure tone. The sine can be varied from standard to the 4th power using the PW knob.
Specifies a random wave shape for the oscillator. This produces noise. The range of the noise can be adjusted using the Frq knob where zero is white.
Adjusts the pulse width of the pulse wave shape. This varies the harmonic content of the oscillator. Technically it varies it from odd harmonics to all harmonics, however some experimentation may be required in order for most people to understand how that sounds.
The PW param also modifies a sine wave from a standard sine to a sine quad, (to the 4th). Again, some experimentation is probably required in order to understand how that sounds.
Offsets the frequency of the oscillator in semitones. Has a two octave range, from 12 to +12.
Offsets the frequency of the oscillator in cents, (1/100ths of a semitone). Has a two semitone range, from 100 to +100.
Sets the output level of the oscillator from 0 to 100%.
Specifies the amount that the LFO modulates the frequency of the oscillator. Has a two octave range, from 100% to +100%. Note that in order for the LFO to modulate around a tuned frequency, the Frq and or Fine knobs must be adjusted to compensate.
Specifies the amount that the Amplitude envelope modulates the frequency of the oscillator. Has a two octave range, from 100% to +100%.
Adds an octave to the oscillator. Normally only useful for the sine and triangular wave shapes.
Adds a second octave to the oscillator. Normally only useful for the sine wave shape.
Warms the oscillator by adding a second frequency which is detuned, (flat).
Causes oscillator one to be ring modulated by oscillator two. This makes a harsh sound that was expensive on older hardware.
Sets the base cutoff frequency of the filter, from 0% to 100%. All other controls over the cutoff filter, (env and LFO for example), are added to this setting.
Also called resonance and Q. Emphasizes the frequencies near the cutoff. A little emph is useful for general purpose synthesis. A lot of emph sounds highly electronic and is useful for techno or special effects.
Selects high pass output for the filter. Note that this knob reduces low pass output as high pass output is increased. Set to 50% to produce a notch filter.
Selects band pass output for the filter. Note that this knob reduces low pass, (or high pass as specified by the high knob), as band pass output is increased.
Specifies the amount which the LFO modulates the filter cutoff, negative or positive. This amount is added to the cutoff setting. Important: You must turn on the LFO for this knob to have a valid affect.
Specifies the amount which the cutoff varies with the notes from FruityLoops.
Specifies the amount which the filter envelope modulates the filter cutoff, negative or positive. This amount is added to the cutoff setting.
This switches causes the filter envelope to become unavailable. Instead, the Env knob causes the filter cutoff to be modulated by the amp envelope. This makes editing easier when creating presets with identical filter and amp envelopes.
Specifies the attack time of the filter envelope. This is the amount of time required for the envelope to go from zero to full when a new note is played.
Specifies the decay time for the filter envelope. This is the amount of time required for the envelope to fall from full to the sustain level after the attack.
Specifies the level at which the filter envelope will sustain as long as a note is held.
Specifies the release time for the filter envelope. This is the amount of time required for the envelope to fall from the sustain level to zero after the note is released, or through being held.
Specifies the attack time of the envelope. This is the amount of time required for the envelope to go from zero to full when a new note is played.
Specifies the decay time for the envelope. This is the amount of time required for the envelope to fall from full to the sustain level after the attack.
Specifies the level at which the envelope will sustain as long as a note is held.
Specifies the release time for the envelope. This is the amount of time required for the envelope to fall from the sustain level to zero after the note is released, or through being held.
Selects triangular LFO shape. This rises and falls.
Selects sawtooth LFO shape. This only falls.
Selects the pulse LFO shape. This alternates between high and low.
Selects a random LFO shape.
Selects the speed of the LFO.
Selects the amount of time required for the LFO to take affect. The LFO will fade in over this period.
When selected, the LFO starts at zero when a note is played. Also, the delay begins with each note. When not selected, the LFO cycles continually.