Appearance
Effects
Effects for shaping any sound: echoes, movement, pitch changes and a sense of space. Most controls can be driven by other nodes in real time, so you can connect a control signal (a CV, an LFO or an envelope) to a parameter's input dot and have it change automatically while the sound plays. The stereo effects take a left and a right input (and still work fine if you only feed them a single mono sound), while a few work on one mono channel.
AM / Ring Mod
Multiplies your sound by a second signal to create those classic metallic, bell-like, robotic tones. If you do not plug anything into Mod In, a built-in tone takes over so the effect works on its own.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Amount | 0.0 - 1.0 | 1.0 | How strongly the modulator multiplies the input. 0 keeps the dry sound, 1 is full depth |
| Bias | 0.0 - 1.0 | 0.5 | Offset added to the modulator. More bias leans toward classic AM, less leans toward ring mod |
| Mod Freq | 0.01 - 4000 Hz | 3.0 | Internal modulator frequency. Below 20 Hz it acts like a tremolo; above it adds sidebands |
| Mod Shape | 0.0 - 1.0 | 0.0 | Morphs the internal modulator from a clean sine toward a triangle |
| Ring | 0.0 - 1.0 | 1.0 | Blend from Amplitude Modulation (0, harmonic) to Ring Modulation (1, clangy, inharmonic) |
| Dry/Wet | 0.0 - 1.0 | 1.0 | Balance between the dry input and the modulated output |
| Gain | 0.0 - 2.0 | 1.0 | Output level after modulation |
Inputs: Audio In, optional Mod In, plus Amount, Bias, Mod Freq, Mod Shape, Ring, Dry/Wet and Gain (all accept CV). Outputs: Out (mono). Also emits Amount, Mod Freq, Mod Shape and Ring as data outputs.
AM / Ring Mod Stereo
The same effect for a full stereo pair: Audio L/R and Mod L/R inputs run through one set of Amount, Bias, Mod Freq, Mod Shape, Ring, Dry/Wet and Gain controls, out to Out L and Out R. Use it to modulate a stereo sound (or a different sound on each side) without collapsing the stereo image.
FM Operator
Frequency-modulates one audio signal with another. Feed your carrier sound into Carrier and a modulator (any oscillator or signal) into Mod, and the modulator pushes the carrier's pitch up and down very fast, adding sidebands and that classic FM edge. Both inputs are audio, so you build the sound from your own oscillators instead of a fixed one. The single Amount control sets how deep the modulation goes. Because the carrier runs through a short modulated delay, there is a small fixed latency of about 15 ms.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Amount | 0.0 - 1.0 | 0.2 | How deeply the modulator pushes the carrier. 0 passes the carrier through, higher adds more sidebands. |
Inputs: Carrier (audio, the sound to modulate), Mod (audio, the modulator), Amount (modulation depth, accepts a value or CV). Outputs: Out (audio, the modulated carrier).
PM Operator
Phase-modulates one audio signal with another. It works like the FM Operator, but it shifts the carrier's phase rather than its frequency, which is the cleaner, DX-style flavour of FM and holds tuning more tightly. Feed your carrier into Carrier and a modulator into Mod (both audio), and dial in the depth with Amount. As with the FM Operator there is a small fixed latency of about 15 ms, since the carrier runs through a short modulated delay.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Amount | 0.0 - 1.0 | 0.2 | How deeply the modulator shifts the carrier's phase. 0 passes the carrier through, higher adds more sidebands. |
Inputs: Carrier (audio, the sound to modulate), Mod (audio, the modulator), Amount (modulation depth, accepts a value or CV). Outputs: Out (audio, the modulated carrier).
Chorus
A stereo chorus that makes any sound feel fuller and wider, with a gentle shimmering wobble. It does this with a very short, constantly shifting delay spread across the stereo image, which adds width and movement to pads, guitars, vocals and synths.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Rate | 0.0 - 20.0 Hz | 1.0 | How fast the internal LFO sweeps the delay. Slow rates drift; faster rates wobble |
| Depth | 0.0 - 1.0 | 0.25 | How far the LFO swings the delay. A little adds shimmer, a lot becomes warble |
| Centre Delay | 1.0 - 100 ms | 7.0 | Base delay time the modulation moves around. Longer values fatten and detune |
| Feedback | -1.0 - 1.0 | 0.0 | Recirculates the delayed signal for richer, flanger-like textures. Negative inverts phase |
| Mix | 0.0 - 1.0 | 0.5 | Balance between the dry signal and the wet chorus |
Inputs: In L, In R, plus Rate, Depth, Centre Delay, Feedback and Mix (all accept CV). Outputs: Out L, Out R.
Flanger
The jet-plane whoosh. It delays the sound by a tiny amount, sweeps that delay with an LFO and feeds the result back into itself. The very short delay puts a row of notches through the sound, the sweep moves them, and the feedback sharpens them until they ring. From a slow shimmer on a pad to a full metallic sweep on drums or guitars.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Rate | 0.01 - 10 Hz | 0.3 | How fast the sweep moves. Very slow rates drift for minutes; a few Hz is the seasick end |
| Depth | 0.0 - 1.0 | 0.7 | How far the sweep travels from the Manual setting. At 0 the delay sits still and you get a fixed comb filter |
| Manual | 0.05 - 20 ms | 0.5 | The delay the sweep starts from, and the control that sets the character: under a millisecond is thin and metallic, a few milliseconds is closer to a chorus |
| Feedback | -0.95 - 0.95 | 0.6 | How much of the delayed sound goes back in. Positive sharpens the peaks, negative inverts the comb for the hollow version. Soft-clipped, so it cannot run away |
| Stereo Spread | 0 - 180 degrees | 90 | Phase offset of the LFO between left and right. 0 sweeps both together and stays mono-safe; 180 is the widest |
| Mix | 0.0 - 1.0 | 0.5 | Balance between the dry sound and the swept one. 0.5 is the classic full flange: a comb filter needs equal parts to notch properly |
| LFO Shape | Sine / Triangle | Sine | Sine sweeps smoothly through the turns; Triangle moves at a constant speed and turns sharply, closer to sweeping by hand |
Set Rate to its minimum and drive Manual from an envelope or another LFO to sweep the flanger by hand instead of letting it cycle.
Inputs: In L, In R, plus Rate, Depth, Manual, Feedback, Spread and Mix (all accept CV), and Shape. Outputs: Out L, Out R.
Wow & Flutter
Recreates the unsteady, wavering pitch of an old, worn tape machine. It blends a slow wobble (wow), a faster shimmer (flutter) and a slow random drift, all gently bending the pitch. By default it plays only the processed sound, so it adds movement rather than thickening the tone.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Wow Rate | 0.05 - 5.0 Hz | 0.5 | Speed of the slow LFO that simulates worn tape pulleys |
| Wow Depth | 0.0 - 1.0 | 0.5 | Amount of slow pitch wobble. Higher gives a more obvious tape-warp feel |
| Flutter Rate | 4.0 - 30.0 Hz | 10.0 | Speed of the fast LFO that simulates capstan and head vibration |
| Flutter Depth | 0.0 - 1.0 | 0.2 | Amount of fast pitch jitter. Small adds character, large adds nervous shimmer |
| Drift | 0.0 - 1.0 | 0.0 | Slow filtered-noise drift on top of the LFOs for long, unpredictable wandering |
| Mix | 0.0 - 1.0 | 1.0 | Balance between the dry signal and the modulated signal |
Inputs: In L, In R, plus Wow Rate, Wow Depth, Flutter Rate, Flutter Depth, Drift and Mix (all accept CV). Outputs: Out L, Out R.
Tape Damage
Makes a sound feel like it is playing back from a damaged tape. Random dropouts briefly cut the volume, random pitch tears cause quick momentary dives, and a high-cut control darkens the top end the way an old, worn tape would. By default it plays only the processed sound.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Dropout | 0.0 - 1.0 | 0.3 | How often the level briefly drops out |
| Tear | 0.0 - 1.0 | 0.2 | Density and depth of momentary pitch tears |
| Hi-Cut | 0.0 - 1.0 | 0.4 | Darkens the top end (0 is bright, 1 is muffled) |
| Mix | 0.0 - 1.0 | 1.0 | Balance between the dry signal and the damaged signal |
Inputs: In L, In R, plus Dropout, Tear, Hi-Cut and Mix (all accept CV). Outputs: Out L, Out R.
Looper
A stereo looper that records, plays back and layers sound on top of itself (overdub). You build up a phrase using four playback controls: record it, play it, and add more layers over the top. The recorded loop is saved with your project, and a Phase output lets several loopers stay in sync with each other.
You control the looper with four pins (and matching buttons). Each one works in two ways at once: clicking the button triggers it, and a connected gate or control signal also triggers it the moment it rises. Record captures the first take, then switches to adding new layers on top. Play starts or resumes playback. Stop stops while keeping the loop. Clear erases the loop so you can start fresh.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Length | 1 - 60 s | 30 | Maximum loop length. Inspector only, since changing it reallocates the buffer |
| Feedback | 0.0 - 1.0 | 1.0 | How much of the previous loop survives an overdub pass. 1.0 keeps old layers, lower fades them |
| Loop | 0.0 - 1.0 | 1.0 | Loop volume. 0 mutes the loop, 1 is full level |
| Level | 0.0 - 4.0 | 1.0 | Output level applied to the looped audio |
| Position | 0.0 - 1.0 | 0.0 | Seek into the loop. Ignored while Recording or while Phase In is connected |
| In Mute | On/Off | Off | Mutes the dry input so only the loop is heard |
Inputs: In L, In R, Phase In, the Record / Play / Stop / Clear transport pins, plus Feedback, Loop, Level, Position and In Mute (all accept CV). Outputs: Out L, Out R, and a Phase ramp (0..1) synced to the playhead.
Beat Repeat
A slice repeater (stutter effect) that grabs short pieces of the incoming sound in time with the beat and repeats them. It records the input continuously; at every Interval it rolls the dice (Chance), and when the roll passes it captures a Grid-sized slice and plays it back several times in a row, with optional pitch drops, fades, reversals and accelerating rolls. The body shows a step timeline of the interval, the captured slice and each repetition as it fires.
Timing follows a Transport Source: Internal runs the node's own clock from the BPM control, Transport (DAW) follows your project's tempo and position, and the two External modes lock to a ramp signal patched into Position or Phase, so several nodes can share one timeline. Two controls do the rhythmic work and are easy to mix up: Interval is how often a stutter can start, Grid is how long each repeated slice lasts.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Transport Source | Internal / Transport (DAW) / External Position / External Phase | Transport (DAW) | Which clock drives the timing. Internal uses the BPM control; the External modes follow a ramp on the Position or Phase input |
| BPM | 20 - 300 | 120 | Tempo of the internal clock, used when Transport Source is Internal |
| Interval | Choice | 1 Bar | How often a repeat can start, as a musical note value. Each boundary rolls the Chance dice |
| Offset | 0.0 - 0.99 | 0.0 | Where inside the interval the capture starts. 0 is right on the boundary, 0.5 is halfway through |
| Grid | Choice | 1/16 | Length of one captured slice, as a musical note value. Smaller means shorter, faster stutters |
| Variation | 0 - 100 % | 0 | Randomises the slice length a little on every repeat, for unpredictable, glitchy rolls |
| Chance | 0 - 100 % | 100 | Probability that an interval actually starts repeating. 100 is every interval, 50 is about half |
| Gate | 1 - 64 | 8 | How many times the captured slice plays per burst |
| Ratchet | 0.25 - 1.0 | 1.0 | Multiplies the slice length on every repeat. Below 1 the stutter speeds up as it goes; 1.0 is off |
| Pitch | -48 - +48 st | 0 | Transposes the repeats, tape-style. Positive is up, negative is down |
| Pitch Decay | 0 - 12 st | 0 | Each repeat slides further down in pitch than the one before, for falling rolls |
| Vol Decay | 0 - 100 % | 0 | Each repeat gets quieter than the last, so the burst fades away |
| Reverse | 0 - 100 % | 0 | Chance that a repeat plays backwards |
| Fade | 0.5 - 50 ms | 5 | Short fade at the slice edges to avoid clicks |
| Mode | Mix / Insert / Gate | Mix | Mix adds the repeats on top of the dry sound, Insert replaces it while repeating, Gate outputs only the repeats |
| Dry/Wet | 0 - 100 % | 100 | Overall blend between the dry input and the effect |
| Filter | Off / On | Off | Bandpass filter applied to the repeats only, for the classic radio-style colour |
| Filter Freq | 50 - 18000 Hz | 1000 | Centre frequency of the repeat filter |
| Filter Width | 0.5 - 9 oct | 4 | Width of the repeat filter, in octaves |
| Enable | Off / On | On | Master on/off. Off lets the dry signal pass straight through |
| Hold | Off / On | Off | Freezes the current repetition and loops it until released |
| Repeat | Off / On | Off | Latch: every interval repeats, ignoring Chance |
Two buttons round it off: Trigger fires a repeat burst right now, ignoring Interval and Chance, and Reset restarts the pattern and re-aligns the clock. Both also work from their pins, so any signal or event can fire them.
Inputs: In, the Trigger and Reset pins, Phase and Position ramp inputs for the External modes, an Appearance pin, plus a pin for every parameter above (all accept CV). Outputs: Out, plus Active (a gate held high while repeating), Step (a pulse at the start of every repetition) and Phase Out (a 0..1 ramp for syncing other nodes).
Beat Repeat Stereo
The same slice repeater for a stereo pair: In L and In R come out as Out L and Out R, with slices captured and repeated on both channels together. All the controls, the timeline display and the Active / Step / Phase outputs work exactly as above.
Unison
Adds slightly detuned, spread-out copies of any sound for instant thickness and width. It turns a thin mono synth or sample into a big, wide stereo sound, like several players performing the same part just slightly out of tune with each other.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Detune | 0 - 80 cents | 18 | How much the stacked voices are detuned from each other |
| Spread | 0.0 - 1.0 | 0.65 | How the voices are distributed around the centre |
| Stereo Width | 0.0 - 1.0 | 0.8 | Stereo opening of the voice fan |
| Motion | 0.0 - 1.0 | 0.35 | How much the unison moves and drifts over time |
| Voices | 1 - 9 | 5 | Number of stacked voices. More voices is thicker but heavier on CPU |
| Mix | 0.0 - 1.0 | 1.0 | Balance between the dry signal and the unison output |
Inputs: In L, In R (if In R is omitted, In L feeds both), plus Detune, Spread, Stereo Width, Motion, Voices and Mix (all accept CV). Outputs: Out L, Out R.
Pitch Shift
Shifts the pitch of incoming sound up or down on the fly, without any gaps in the audio. Use Semitones for big jumps and Fine for tiny tuning tweaks.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Semitones | -48 - +48 st | 0 | Coarse transposition. 12 is one octave up, -12 one octave down |
| Fine | -100 - +100 cents | 0 | Fine tune in cents (1/100 of a semitone) for sub-semitone precision and detuning |
Inputs: In, plus Semitones and Fine (both accept CV). Outputs: Out.
Pitch Shift Stereo
The same shifter for a stereo pair: In L and In R come out as Out L and Out R with identical Semitones and Fine controls. It adds a Grain control (with an Auto option) that sets the size of the little pieces used for shifting, so you can tune the character for drums, voices or pads.
Freq Shifter
Shifts every frequency in the sound up or down by a fixed number of Hz. That is not the same as a pitch shift: because every part of the sound moves by the same amount, the natural spacing between harmonics is broken and the tone turns metallic and bell-like. Small shifts of a few Hz give phaser-like movement and slow detune, and with some Feedback the shift is applied over and over for endlessly rising or falling barberpole effects; larger shifts give robotic, inharmonic tones.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Shift | -5000 - +5000 Hz | 100 | How far the whole spectrum moves. Positive shifts up, negative shifts down |
| Feedback | 0.0 - 0.95 | 0.0 | Sends the shifted sound back through the shifter for spiralling, barberpole textures |
| Mix | 0.0 - 1.0 | 1.0 | Balance between the dry input and the shifted output |
Inputs: In, plus Shift, Feedback and Mix (all accept CV). Outputs: Out.
Freq Shifter Stereo
The same shifter for a stereo pair (In L/R to Out L/R), with both channels kept perfectly in step so the stereo image is preserved. It adds a Spread control (0 - 2000 Hz) that shifts the left and right channels in opposite directions for a wide, slowly rotating image; at 0 the channels stay locked.
Reverb
A stereo reverb that adds a sense of depth and space, like playing the sound in a room. It is fast to set up, easy on your computer, and a reliable first choice for vocals, drums and overall mixes.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Room | 0.0 - 1.0 | 0.5 | Virtual room size. Larger values create longer tails |
| Damp | 0.0 - 1.0 | 0.5 | High-frequency damping. Higher makes the tail darker |
| Width | 0.0 - 1.0 | 1.0 | Stereo width of the reverb |
| Freeze | On/Off | Off | Holds the current reverb tail indefinitely |
| Mix | 0.0 - 1.0 | 0.33 | Balance between the dry and wet signal |
Inputs: In L, In R, plus Room, Damp, Width, Freeze and Mix (all accept CV). Outputs: Out L, Out R.
Reverb II
A second stereo reverb, based on well-known classic reverb designs. Its tail is denser and grainier than the first Reverb, and it adds a pre-delay control (a short gap before the reverb starts).
| Parameter | Range | Default | Description |
|---|---|---|---|
| Size | 0.0 - 1.0 | 0.65 | Virtual enclosure size. Larger is bigger and more diffuse |
| Decay | 0.0 - 1.0 | 0.60 | Length of the reverb tail |
| Damp | 0.0 - 1.0 | 0.25 | How quickly high frequencies fade inside the reverb |
| Width | 0.0 - 1.0 | 0.85 | Stereo width of the wet signal. 0 is mono, 1 is full stereo |
| PreDelay | 0 - 250 ms | 18 | Delay between the dry sound and the start of the reverb tail |
| Mix | 0.0 - 1.0 | 0.35 | Balance between the dry input and the wet reverb |
Inputs: In L, In R, plus Size, Decay, Damp, Width, PreDelay and Mix (all accept CV). Outputs: Out L, Out R.
TIP
Try both Reverb and Reverb II on the same source. They have different characters and one may suit your sound better than the other.
Convolver
Places your sound inside a recorded space or speaker. Load an impulse response (a short audio file that captures how a room, hall, plate or guitar cabinet responds) by dropping the file onto the node or using the file picker, and the Convolver plays your sound through it: real reverbs, cab and amp tones, or creative colours from any audio file. The body shows the loaded impulse waveform and can sit on the front panel.
| Parameter | Range | Default | Description |
|---|---|---|---|
| IR File | File | (empty) | The impulse response to load (WAV, AIFF or FLAC, up to 60 seconds) |
| Mix | 0.0 - 1.0 | 1.0 | Balance between dry and processed. Starts fully wet, ready for cab and amp impulses |
| Output Gain | -24 - +24 dB | 0 | Output level trim |
| Normalize IR | On/Off | On | Keeps loaded impulses at a consistent loudness. Turn off to keep a file's own level |
| CPU Mode | Zero Latency / Low CPU | Zero Latency | Zero Latency is best for cabs and short impulses; Low CPU is much lighter for long reverb impulses and reports its small latency to the host |
| Reverse IR | On/Off | Off | Plays the impulse backwards for reversed-reverb swells |
| IR Size | 50% / 75% / 100% / 150% / 200% | 100% | Stretches or shrinks the impulse in time, making the space smaller or bigger |
| Predelay | 0 - 250 ms | 0 | Short gap before the processed sound starts |
| Tone | -100 - +100 | 0 | Tilts the processed sound darker (negative) or brighter (positive) |
Inputs: In L, In R, IR File (a file path), plus Mix, Output Gain, Predelay and Tone (all accept CV), Normalize, Reverse and IR Size (values), and an Appearance pin. Outputs: Out L, Out R.
Delay Mono
A mono echo. You can set the time freely or lock it to your song's tempo, shape the repeats with a filter, and choose how the sound behaves when you change the time (a smooth blend, or a tape-style pitch slide). Great for echoes, slapback and rhythmic repeats.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Mode | Free / Sync | Free | Free uses the Time in ms; Sync derives the time from BPM and a subdivision |
| Time | 0.1 - 5000 ms | 500 | Delay time in milliseconds, used in Free mode |
| Subdiv | Choice | 1/4 | Musical subdivision used in Sync mode (1/64 up to longer, with triplet and dotted variants) |
| BPM | 1 - 999 | 120 | Tempo used by Sync mode. Set manually or follow a Transport node |
| Feedback | 0.0 - 1.0 | 0.3 | How much of the delayed signal feeds back. Soft-clipped to stay safe |
| Interp | Crossfade / Repitch | Repitch | How time changes are handled. Crossfade keeps pitch steady; Repitch allows tape-style slides |
| Filter | Off / LP / HP / BP | Off | Filter inserted in the feedback path |
| Filter Freq | 20 - 20000 Hz | 8000 | Cutoff or centre frequency of the feedback filter |
| Mix | 0.0 - 1.0 | 0.5 | Balance between the dry input and the delayed output |
| Clear | button | - | Empties the delay line. Everything still going round in the feedback stops, without waiting for it to die away and without touching your settings. A short fade comes first, so it does not click |
Inputs: In, plus Time, Feedback, Mix, BPM, Filter Freq, Mode, Subdiv, Interp and Filter Type (all accept CV), and Clear, which accepts both: any message empties it, so a Bang or a Once at load works, and a CV stream empties it on every rising edge, so a gate or a trigger works too. Outputs: Out.
Delay Stereo
A stereo echo with separate times for the left and right sides, so each side can have its own rhythm. It also offers ping-pong and cross-feedback routing (echoes that bounce between the two sides), tempo sync, a filter on the repeats, and a choice between a smooth blend or a tape-style pitch slide when the time changes. Great for wide, spacious echoes.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Mode | Free / Sync | Free | Free uses Time L and Time R in ms; Sync derives the times from BPM and per-channel subdivisions |
| Time L | 0.1 - 5000 ms | 500 | Delay time of the left channel, used in Free mode |
| Time R | 0.1 - 5000 ms | 500 | Delay time of the right channel, used in Free mode |
| Subdiv L | Choice | 1/4 | Left-channel subdivision used in Sync mode |
| Subdiv R | Choice | 1/4 | Right-channel subdivision used in Sync mode |
| BPM | 1 - 999 | 120 | Tempo used by Sync mode |
| Feedback | 0.0 - 1.0 | 0.3 | How much of the delayed signal feeds back. Soft-clipped to stay safe |
| Interp | Crossfade / Repitch | Repitch | How time changes are handled. Crossfade keeps pitch steady; Repitch allows tape-style slides |
| Filter | Off / LP / HP / BP | Off | Filter inserted in the feedback path |
| Filter Freq | 20 - 20000 Hz | 8000 | Cutoff or centre frequency of the feedback filter |
| Mix | 0.0 - 1.0 | 0.5 | Balance between the dry input and the delayed output |
| Clear | button | - | Empties both delay lines. Everything still going round in the feedback stops, without waiting for it to die away and without touching your settings. A short fade comes first, so it does not click |
Inputs: In L, In R, plus Time L, Time R, Feedback, Mix, BPM, Filter Freq, Mode, Subdiv L, Subdiv R, Interp and Filter Type (all accept CV), and Clear, which accepts both: any message empties it, so a Bang or a Once at load works, and a CV stream empties it on every rising edge, so a gate or a trigger works too. Outputs: Out L, Out R.
Vocoder
The classic "talking synth" effect. It listens to one sound (the modulator, usually a voice), splits it into up to 16 frequency bands, tracks how loud each band is, and then shapes a second sound (the carrier) to match. Plug a synth into Carrier In for the classic robot-voice sound, or leave it empty to use the built-in tone.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Bands | 4 - 16 | 8 | Number of analysis and synthesis filter bands |
| Low Freq | 40 - 4000 Hz | 120 | Frequency of the lowest band |
| High Freq | 300 - 16000 Hz | 7200 | Frequency of the highest band |
| Resonance | 0.3 - 18.0 | 6.5 | Filter resonance. Higher is sharper and more robotic |
| Attack | 0 - 200 ms | 7 | Envelope follower attack speed |
| Release | 2 - 1000 ms | 90 | Envelope follower release speed |
| Unvoiced | 0.0 - 1.0 | 0.18 | Amount of noise mixed in for consonant detail |
| Carrier Freq | 40 - 2000 Hz | 110 | Internal carrier oscillator frequency, used when no external carrier is patched |
| Wet | 0.0 - 1.0 | 1.0 | Balance between the dry carrier and the vocoded output |
| Mod Depth | 0.0 - 2.0 | 1.0 | Spectral contrast: how strongly the voice shapes the carrier. 1 behaves as before, above 1 exaggerates the differences between bands for a more pronounced, talky character, below 1 flattens them, and 0 lets the carrier through almost unshaped |
Inputs: Mod In, optional Carrier In, plus Bands, Low Freq, High Freq, Resonance, Attack, Release, Unvoiced, Carrier Freq, Wet and Mod Depth (all accept CV). Outputs: Out.
Vocoder Stereo
A true-stereo vocoder with separate Mod L/R and Carrier L/R inputs and an independent set of filter bands for each channel, so wide sources stay wide. It goes up to 100 bands and adds a Gate control that silences the quietest bands for a cleaner, more articulate result.