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Cheatsheet Page 1 of 6

Notch width Notch depth and polarity

01

CS80-like sawtooth with 'notch'

Triangle to sawtooth to Tone, from a 1-pole filter to

02 square to pulse a waveshaper

Classic variable wave analog-style oscillator

Dephasing of saw, Waveshape, saw to square

03 pulse width of square

Morph from dephased saw to square with pulse width control

Wavefolder strength Sine > triangle

04

Blend of sine/triangle oscillators sent to wavefolder

Sine > dirac comb Detune

05

Two detuned variable sine > comb waveforms

Square pulse width Square sub-oscillator mix

06 Off at 12 o’clock, -2 octave fully CCW,
-1 octave fully CW

Variable width pulse with a square sub-oscillator -1 or -2 octaves below

Sawtooth shape Square sub-oscillator mix

07 Off at 12 o’clock, -2 octave fully CCW,
-1 octave fully CW

Variable shape saw with a square sub-oscillator -1 or -2 octaves below

Interval between Oscillator mix

08 primary / secondary oscillators

Two square-wave oscillators, one hardsynced to another

Interval between Oscillator mix

09 primary / secondary oscillators

Two saw oscillators, one hardsynced to another

Relative frequency of 2nd oscillator Relative frequency of 3rd oscillator

10

Three independently tuned saw oscillators

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Relative frequency of 2nd oscillator Relative frequency of 3rd oscillator

11

Three independently tuned square oscillators

Relative frequency of 2nd oscillator Relative frequency of 3nrd oscillator

12

Three independently tuned triangle oscillators

Relative frequency of 2nd oscillator Relative frequency of 3nrd oscillator

13

Three independently tuned sine oscillators

Relative frequency of 2nd oscillator Relative frequency of 3nrd oscillator

14

Three sine wave oscillators ring modulated > waveshaper

Saw detune Chord extension

15

(Up to) 6 note chords. Each note consists of two saw oscillators with controllable detune. When quantizer is disabled, chords are picked from
a fixed list. When quantizer is enabled, chords are built using the root, third, fifth, and extension based on the quantizer root and scale.

Pulse width Chord extension

16

(Up to) 6 note chords. Each note consists of a pulse oscillator with variable width. When quantizer is disabled, chords are picked from
a fixed list. When quantizer is enabled, chords are built using the root, third, fifth, and extension based on the quantizer root and scale.

Wavefolder amount Chord extension

17

(Up to) 6 note chords. Each note consists of a triangle wave through a wavefolder. When quantizer is disabled, chords are picked from a
fixed list. When quantizer is enabled, chords are built using the root, third, fifth, and extension based on the quantizer root and scale.

Wavefolder amount Chord extension

18

(Up to) 6 note chords. Each note consists of a sine wave through a waveshaper. When quantizer is disabled, chords are picked from a fixed
list. When quantizer is enabled, chords are built using the root, third, fifth, and extension based on the quantizer root and scale.

Wavetable index Chord extension

19

(Up to) 6 note chords. Each note consists of a wavetable oscillator that picks a wave from a fixed linear table (same as original WTx4 mode).
When quantizer is disabled, chords are picked from a fixed list. When quantizer is enabled, chords are built using the root, third, fifth,
and extension based on the quantizer root and scale.
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Saw detune Note spacing

20

(Up to) 6 note chords. Each note consists of two saw waveforms with variable detuning. When quantizer is disabled, the notes are spaced by a
controllable number of semitones. When quantizer is enabled, the notes are spaced by a controllable number of scale steps.

Pulse width Note spacing

21

(Up to) 6 note chords. Each note consists of a pulse oscillator with variable width. When quantizer is disabled, the notes are spaced by a controllable
number of semitones. When quantizer is enabled, the notes are spaced by a controllable number of scale steps.

Wavefolder amount Note spacing

22

(Up to) 6 note chords. Each note consists of a triangle oscillator through a wavefolder. When quantizer is disabled, the notes are spaced by a
controllable number of semitones. When quantizer is enabled, the notes are spaced by a controllable number of scale steps.

Wavefolder amount Note spacing

23

(Up to) 6 note chords. Each note consists of a sine oscillator through a wavefolder. When quantizer is disabled, the notes are spaced by a controllable
number of semitones. When quantizer is enabled, the notes are spaced by a controllable number of scale steps.

Wavetable index Note spacing

24

(Up to) 6 note chords. Each note consists of a wavetable oscillator that picks a wave from a fixed linear table (same as original WTx4 mode).
When quantizer is disabled, the notes are spaced by a controllable number of semitones. When quantizer is enabled, the notes are spaced by a
controllable number of scale steps.

Detuning Highpass filter

25

Supersaw. 7 saw waves mixed

Relative tuning of comb filter Negative / positive feedback

26

Saw > tuned comb filter

Toy clock rate Data line short circuiting

27

Circuit bent toy emulation

Filter frequency Waveshape saw > square > triangle

28

Synthesis of the response of a lowpass filter excited by a waveform

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Filter frequency Waveshape saw > square > triangle

29

Synthesis of the response of a peaking filter excited by a waveform

Filter frequency Waveshape saw > square > triangle

30

Synthesis of the response of a bandpass filter excited by a waveform

Filter frequency Waveshape saw > square > triangle

31

Synthesis of the response of a highpass filter excited by a waveform

Relative frequency of formant Relative frequency of formant

32

VOSIM formant synthesis emulation

Vowel, a e i o u Formant frequency shift

33

Vowel speech synthesis

Vowel, a e i o u Formant frequency shift

34

Vowel speech synthesis

Amplitude distribution Center frequency for

35 amplitude distribution

Additive synthesis of 12 sine harmonics

Modulation amount Relative frequency

36

2-operator phase-modulation synthesis

Modulation amount Relative frequency

37

2-operator phase-modulation synthesis, with carrier feedback

Modulation amount Relative frequency

38

2-operator phase-modulation synthesis, with 2 feedback paths

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Damping Plucking position

39

Plucked string synthesis. Requires trigger signal

Friction Bowing position

40

Bowed string modelling. Requires trigger signal

Air pressure Instrument geometry

41

Reed instrument modelling

Air pressure Instrument geometry

42

Flute instrument modelling

Damping Inharmonicity
43

Bell additive synthesis

Damping Brightness
44

Metal drum synthesis

Decay time Brightness / tone

45

Simulation of Roland TR808 kick

Bandpass filter frequency Oscillator / noise balance

46

Simulation of Roland TR808 cymbal

Tone Noise "snappy"

47

Simulation of Roland TR808 snare

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Sweeps wavetable Picks wavetable

48

Wavetable synthesis

Sweeps wavetable in X direction Sweeps wavetable in Y direction

49

2-dimensional wavetable synthesis. Waves placed in a 16-by-16 grid, Interpolated in both dimensions

Sweeps wavetables Interpolation method. Past 12 o’clock

50 decreases playback resolution

Wavetable synthesis, 1-dimensional scanning through all wavetables

Which 'slice' of the word to play, from Which word to play

51 start to end of word. Apply a ramp
shape to play word from start to end.

Classic voice synthesizer, configured as a 16-word granular sample player. Trigger plays back word from TIMBRE position to word end

Which 'slice' of the word to play, from Which word to play

52 start to end of word. Apply a ramp
shape to play word from start to end.

Classic voice synthesizer, configured as a 16-word granular sample player. Trigger plays back word from TIMBRE position to word end

Filter resonance Crossfade between lowpass

53 and highpass

White noise through a state-variable filter. Pitch input controls filter frequency

Filter resonance Filter frequency spacing

54

White noise processed by two bandpass filters

Periodicity Quantization, from 2 to 32

55 distinct values per sample

Random samples generated at rate determined by main pitch

Density and overlap of grains Frequency randomization

56

Texture generator by mixing short grains of windowed sine waves

Density and overlap of grains Frequency randomization

57

Texture generator by mixing short decaying ‘pings’ of sound