Basic Waveformssine | purest; single harmonic | saw | edgy; buzzy, thin low-end | pulse | artificial sounding; heavier low-end | triangle | quiet; bigger, rounder low-end |
Doubling & TransposingMix | determines balance between OSCs | | | usually 50/50 | Semi | one octave = 12 semitones | | | fifth = 7 semitones | Waveforms usually set the same | For better bass, favor lower-pitched OSC (especially for triangle wave) |
Sub OscillatorPulse | edgy weight | Triangle | big, round weight | | | quieter than pulse | | | often has attack transient; remove with increased attack env. |
FiltersMode | high pass, low pass, band pass | Cutoff | frequency that sound is attenuated | Resonance | provides volume boost at cutoff frequency |
Filter Typeslow-pass | cutoff controls brightness | | | lower cutoff decreases volume | high-pass | cutoff controls bottom-endI | | | increase cutoff to make thinner, lighter sound | band-pass | cuts off highs and lows | | | thinness of high-pass, roundness of low-pass | | | at extreme settings, can sound like low-pass/high-pass |
LFOTODO - outline section 11 | | Envelope Stagesattack | amount of time for control to change from initial to maximum | hold | amount of time control remains at maximum setting | | | Not always present; ADSR, AHDSR | decay | amount of time for control to change from maximum to sustain | | | short values can create attack transients | sustain | level of control after decay when key is held down | release | amount of time for control to change from sustain to initial |
Common Envelope TargetsAmp | modulates synth's volume over time | | | low/fast attack = string "swell" | LPF | Brightens -> Darkens | | | fast value = "fat", "horn-like" attack | | | Env. Amount controls how bright sound gets at end of attack | HPF | Cutoff = fullest state | | | Env. Amount = thinnest state | | | Sounds with more low-end seem closer | BPF | Cutoff = fullest/darkest | | | Env. Amount = brightest/thinnest | If decay and release are equal, sound will be the same no matter how it is played | Set amp release > filter release or filter release will be inaudible |
| | DelayMix | controls wetness of sound | | | usually not set above 50/50 | | | at 50/50, volume reduction will be noticable | Delay Time | determines how far apart the echos are apart | | | typically expressed in rhythmic values | Delay Feedback | determines how many echoes are created | | | min = 1 echo, max = infinite echos | Delay Spread | spreads echos across stereo field | | | 0 spread = delay down middle | | | medium spread = dry middle & wet stereo extremes, rhythmically tight | | | max spread = dry middle & wet, rhythmically-off stereo extremes | Typically set mix, then time, then feedback, then spread |
Smearing and PulsatingTwo OSCs doubled & "fine" detuned in opposite directions | The farther they are detuned, the more pulsating there is | Fine control | expressed in cents; 1 semitone = 100 cents | OSC Start: ON | OSCs starts when key pressed | | | pulsating always the same | | | pointy attack transient | OSC Start: OFF | when off, OSCs are free-running | | | softer, rounder attack transient | | | pulsating changes with every keypress | | | most obvious with 1-cent detune | When doubling, use same waveform and pulse width for both OSCs | For a slow flanging effect, detune 1 OSC only, by only 1 cent |
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