Pure sine wave. The simplest waveform with no harmonics.
Basic
These sources provide fundamental waveforms that can be combined and manipulated to create complex sounds. They are inspired by classic substractive synthesizers.
sine
tri
Triangle wave. Contains only odd harmonics with gentle rolloff.
saw
Band-limited sawtooth wave. Rich in harmonics, bright and buzzy.
zaw
Naive sawtooth with no anti-aliasing. Cheaper but more aliasing artifacts than saw.
pulse
Band-limited pulse wave. Hollow sound with only odd harmonics. Use /pw to control pulse width.
pulze
Naive pulse with no anti-aliasing. Cheaper but more aliasing artifacts than pulse.
white
White noise. Equal energy at all frequencies.
pink
Pink noise (1/f). Equal energy per octave, more natural sounding.
brown
Brown/red noise (1/f^2). Deep rumbling, heavily weighted toward low frequencies.
add
Additive oscillator. Builds timbres by stacking sine partials. Shape the spectrum with timbre, morph, harmonics, and partials.
Complex
Complex oscillator engines based on Mutable Instruments Plaits. All engines share three parameters (0 to 1):
- harmonics β harmonic content, structure, detuning, etc.
- timbre β brightness, tonal color, etc.
- morph β smooth transitions between variations, etc.
Each engine interprets these differently.
modal
Modal resonator (physical modeling). Simulates struck/plucked resonant bodies. harmonics: structure, timbre: brightness, morph: damping/decay.
va
Virtual analog. Classic waveforms with sync and crossfading. harmonics: detuning, timbre: variable square, morph: variable saw.
ws
Waveshaping oscillator. Asymmetric triangle through waveshaper and wavefolder. harmonics: waveshaper shape, timbre: fold amount, morph: waveform asymmetry.
fm2
Two-operator FM synthesis. harmonics: frequency ratio, timbre: modulation index, morph: feedback.
grain
Granular formant oscillator. Simulates formants through windowed sines. harmonics: formant ratio, timbre: formant frequency, morph: formant width.
additive
Harmonic oscillator. Additive mixture of sine harmonics. harmonics: number of bumps, timbre: prominent harmonic index, morph: bump shape.
wavetable
Wavetable oscillator. Four banks of 8x8 waveforms. harmonics: bank selection, timbre: row index, morph: column index.
chord
Four-note chord engine. Virtual analog or wavetable chords. harmonics: chord type, timbre: inversion/transposition, morph: waveform.
swarm
Granular cloud of 8 enveloped sawtooth oscillators. harmonics: pitch randomization, timbre: grain density, morph: grain duration/overlap.
pnoise
Filtered noise. Clocked noise through multimode filter. harmonics: filter type (LP/BP/HP), timbre: clock frequency, morph: filter resonance.
Drums
Synthesized percussion. Each drum has percussive defaults so it sounds right without extra parameters. All tonal drums (kick, snare, tom, rim) support wave to change the oscillator waveform: 0 = sine (default), 0.5 = triangle, 1 = sawtooth. Values in between crossfade smoothly.
kick
Pitched body with sweep and optional saturation. Aliases: bd. Default freq: 55 Hz.
morphβ sweep depth (subtle to boomy)harmonicsβ sweep speedtimbreβ saturationwaveβ oscillator waveform (0 sine, 0.5 triangle, 1 sawtooth)
snare
Body + noise. Aliases: sd. Default freq: 180 Hz.
timbreβ body/noise mixharmonicsβ noise brightnesswaveβ oscillator waveform (0 sine, 0.5 triangle, 1 sawtooth)
hat
Phase-modulated metallic tone through a resonant lowpass. Aliases: hh, hihat. Default freq: 320 Hz.
morphβ clean to metallicharmonicsβ dark to brighttimbreβ filter resonance
tom
Pitched body with gentle sweep and optional noise. Default freq: 120 Hz.
morphβ sweep depthharmonicsβ sweep speedtimbreβ noise amountwaveβ oscillator waveform (0 sine, 0.5 triangle, 1 sawtooth)
rim
Short pitched click with noise. Aliases: rimshot, rs. Default freq: 400 Hz.
morphβ pitch sweepharmonicsβ noise brightnesstimbreβ body/noise mixwaveβ oscillator waveform (0 sine, 0.5 triangle, 1 sawtooth)
cowbell
Two detuned oscillators through a bandpass. Aliases: cb. Default freq: 540 Hz.
morphβ detune amountharmonicsβ brightnesstimbreβ metallic bite
cymbal
Inharmonic metallic wash with filtered noise. Aliases: crash, cy. Default freq: 420 Hz.
morphβ ratio spread (bell-like to crash)harmonicsβ brightness (dark to sizzly)timbreβ noise amount (pure metallic to noisy crash)
Io
This special source allows you to create a live audio input (microphone) source. Click the βEnable Micβ button in the nav bar first. Effects chain applies normally, envelopes are applied to the input signal too.
live
Live audio input (microphone). Click the βEnable Micβ button in the nav bar first. Effects chain applies normally.
Wavetable
You can use any audio sample as a wavetable oscillator. The sample is played at the specified pitch. The cycle length for each wavetable can be specified with wtlen. Use audio-rate modulation on scan to animate the wavetable position (e.g. scan β0~1:2tβ).
scan~
Wavetable position. For multi-cycle wavetables, morphs between adjacent waveforms.
wtlen
Cycle length in samples. Set to 0 to use entire sample as one cycle. Common values: 256, 512, 1024, 2048 (Serum standard).
Soundfont
General MIDI playback using SF2 soundfont files. Native engine only β examples on this page wonβt produce sound in the browser. Place an .sf2 file inside your samples directory and start doux with --samples.
gm
Plays a General MIDI instrument. Use /n/ to select a program by name (e.g. piano, strings, drums) or by number (0β127). The engine reads envelope and loop data from the soundfont.
Available preset names
| 0 | piano | 24 | guitar | 48 | strings | 72 | piccolo |
| 1 | brightpiano | 25 | steelguitar | 49 | slowstrings | 73 | flute |
| 4 | epiano | 26 | jazzguitar | 52 | choir | 74 | recorder |
| 6 | harpsichord | 27 | cleangt | 56 | trumpet | 75 | panflute |
| 7 | clavinet | 29 | overdrive | 57 | trombone | 79 | whistle |
| 8 | celesta | 30 | distgt | 58 | tuba | 80 | ocarina |
| 9 | glockenspiel | 33 | bass | 60 | horn | 81 | lead |
| 10 | musicbox | 34 | pickbass | 61 | brass | 82 | sawlead |
| 11 | vibraphone | 35 | fretless | 64 | sopranosax | 89 | pad |
| 12 | marimba | 36 | slapbass | 65 | altosax | 90 | warmpad |
| 13 | xylophone | 38 | synthbass | 66 | tenorsax | 91 | polysynth |
| 14 | bells | 40 | violin | 67 | barisax | 104 | sitar |
| 16 | organ | 41 | viola | 68 | oboe | 105 | banjo |
| 19 | churchorgan | 42 | cello | 70 | bassoon | 108 | kalimba |
| 21 | accordion | 43 | contrabass | 71 | clarinet | 114 | steeldrum |
| 22 | harmonica | 45 | pizzicato | ||||
| 46 | harp | ||||||
| 47 | timpani |
Drums are on a separate bank: use drums or percussion.
Pitch
Pitch control for all sources, including audio samples.
freq~
The frequency of the sound. Has no effect on noise.
note
The note (midi number) that should be played. If both note and freq is set, freq wins.
speed~
Multiplies with the source frequency or buffer playback speed.
detune~
Shifts the pitch by the given amount in cents. 100 cents = 1 semitone.
glide
Creates a pitch slide when changing the frequency of an active voice.
Only has an effect when used with voice.
Timing
The engine clock starts at 0 and advances with each sample. Events with time are scheduled and fired when the clock reaches that value. The duration sets how long the gate stays open before triggering release. The repeat reschedules the event at regular intervals.
time
The time at which the voice should start. Defaults to 0.
duration
The duration (seconds) of the gate phase. If not set, the voice will play indefinitely, until released explicitly.
repeat
If set, the command is repeated within the given number of seconds.
Envelope
The envelope parameters control the shape of the gain envelope over time. It uses a typical ADSR envelope with exponential curves:
- Attack: Ramps from 0 to full amplitude. Uses
xΒ²(slow start, fast finish). - Decay: Falls from full amplitude to the sustain level. Uses
1-(1-x)Β²(fast drop, slow finish). - Sustain: Holds at a constant level while the note is held.
- Release: Falls from the sustain level to 0 when the note ends. Uses
1-(1-x)Β²(fast drop, slow finish).
attack
The duration (seconds) of the attack phase of the gain envelope.
decay
The duration (seconds) of the decay phase of the gain envelope.
sustain
The sustain level (0-1) of the gain envelope.
release
The duration (seconds) of the release phase of the gain envelope.
Voice
Doux is a polyphonic synthesizer with up to 32 simultaneous voices. By default, each event allocates a new voice automatically. When a voice finishes (envelope reaches zero), it is freed and recycled. The voice parameter lets you take manual control over voice allocation, enabling parameter updates on active voices (e.g., pitch slides with glide) or retriggering with reset.
voice
The voice index to use. If set, voice allocation will be skipped and the selected voice will be used. If the voice is still active, the sent params will update the active voice.
reset
Only has an effect when used together with voice. If set to 1, the selected voice will be reset, even when itβs still active. This will cause envelopes to retrigger for example.
Oscillator
These parameters are dedicated to alter the nominal behavior of each oscillator. Some parameters are specific to certain oscillators, most others can be used with all oscillators.
pw~
The pulse width (between 0 and 1) of the pulse oscillator. The default is 0.5 (square wave). Only has an effect when used with /sound/pulse or /sound/pulze.
spread
Stereo unison. Adds 6 detuned voices (7 total) with stereo panning. Works with sine, tri, saw, zaw, pulse, pulze.
Inspired by the M8 Trackerβs WavSynth, these parameters transform the oscillator phase to create new timbres from basic waveforms. They work with all basic oscillators (sine, tri, saw, zaw, pulse, pulze).
size
Phase quantization steps. Creates stair-step waveforms similar to 8-bit sound chips. Set to 0 to disable, or 2-256 for increasing resolution. Lower values produce more lo-fi, chiptune-like sounds.
mult
Phase multiplier that wraps the waveform multiple times per cycle. Creates hard-sync-like harmonic effects. A value of 2 doubles the frequency content, 4 quadruples it, etc.
warp
Phase asymmetry using a power curve. Positive values compress the early phase and expand the late phase. Negative values do the opposite. Creates timbral variations without changing pitch.
mirror
Reflects the phase at the specified position. At 0.5, creates symmetric waveforms (a saw becomes triangle-like). Values closer to 0 or 1 create increasingly asymmetric reflections.
Sub Oscillator
A secondary oscillator tuned octaves below the main oscillator. Works with all basic oscillators (sine, tri, saw, zaw, pulse, pulze) and spread mode.
sub~
Mix level of the sub oscillator. At 0 the sub is silent, at 1 it matches the main oscillator volume.
suboct
Octave offset below the main oscillator. 1 means one octave down, 2 means two octaves down, 3 means three octaves down.
subwave
Waveform of the sub oscillator.
Additive Partials
partials~
Number of active harmonics for the add source. Fractional values smoothly crossfade the last partial. Lower values produce simpler timbres, higher values produce richer spectra.
Gain
The signal path is: oscillator β gain * velocity β filters β distortion β modulation β phaser/flanger β envelope * postgain β chorus β pan.
gain~
Pre-filter gain multiplier. Applied before filters and distortion, combined with velocity as gain * velocity.
postgain~
Post-effects gain multiplier. Applied after phaser/flanger, combined with the envelope as envelope * postgain.
velocity
Multiplied with gain before filters. Also passed as accent to Plaits engines.
pan~
Stereo position using constant-power panning: left = cos(pan * Ο/2), right = sin(pan * Ο/2). 0 = left, 0.5 = center, 1 = right.
width~
Stereo width using mid-side processing. At 0 the signal collapses to mono, at 1 it is unchanged, above 1 the stereo image is exaggerated.
haas~
Haas effect. Delays the right channel by a short amount (1-35ms) to create spatial placement without changing volume. Small values (1-10ms) widen the image, larger values (10-35ms) create a distinct echo.
Pitch Env
An ADSR envelope applied to pitch. The envelope runs with gate always on (no release phase during note). The frequency is multiplied by 2^(env * penv / 12). When psus = 1, the envelope value is offset by -1 so sustained notes return to base pitch.
penv
Pitch envelope depth in semitones. Positive values sweep up, negative values sweep down.
patt
Attack time. Duration to reach peak pitch offset.
pdec
Decay time. Duration to fall from peak to sustain level.
psus
Sustain level. At 1.0, the envelope returns to base pitch after decay.
prel
Release time. Not typically audible since pitch envelope gate stays on.
Vibrato
The pitch of every oscillator can be modulated by a vibrato effect. Vibrato is a technique where the pitch of a note is modulated slightly around a central pitch, creating a shimmering effect.
vib~
Vibrato frequency (in hertz).
vibmod~
Vibrato modulation depth (semitones).
vibshape
Vibrato LFO waveform shape. Options: sine, tri, saw, square, sh (sample-and-hold).
Frequency Modulation
Any source can be frequency modulated. Frequency modulation (FM) is a technique where the frequency of a carrier wave is varied by an audio signal. This creates complex timbres and can produce rich harmonics, from mellow timbres to harsh digital noise. A second modulator can be enabled with fm2 for 3-operator FM, with fmalgo selecting between cascade, parallel, and branch routing algorithms.
fm~
The frequency modulation index. FM multiplies the gain of the modulator, thus controls the amount of FM applied.
fmh~
The harmonic ratio of the frequency modulation. fmh*freq defines the modulation frequency. As a rule of thumb, numbers close to simple ratios sound more harmonic.
fmshape
FM modulator waveform shape. Options: sine, tri, saw, square, sh (sample-and-hold). Different shapes create different harmonic spectra.
fmenv
Envelope amount of frequency envelope.
fma
The duration (seconds) of the fm envelopeβs attack phase.
fmd
The duration (seconds) of the fm envelopeβs decay phase.
fms
The sustain level of the fm envelope.
fmr
The duration (seconds) of the fm envelopeβs release phase.
fm2~
Modulation index for the second FM operator. When fm2 is greater than 0, a third operator is introduced. Its routing depends on fmalgo. The second operator shares the same waveform (fmshape) and envelope (fma, fmd, fms, fmr) as the first.
fm2h~
Harmonic ratio of the second FM operator. fm2h * carrier frequency defines the second modulatorβs frequency.
fmalgo
Selects the FM routing algorithm when fm2 is active. 0 is cascade (fm2 modulates fm1, fm1 modulates carrier), 1 is parallel (fm1 and fm2 both modulate the carrier independently), 2 is branch (fm2 modulates both fm1 and the carrier).
fmfb~
Self-feedback amount on the topmost FM operator. Feedback progressively adds harmonics, turning a sine into a sawtooth-like waveform at moderate values and into noise at high values. When only fm is active, feedback applies to operator 1. When fm2 is active, feedback applies to operator 2.
Amplitude Modulation
Amplitude modulation multiplies the signal by a modulating oscillator. The formula preserves the original signal at depth 0: signal *= 1.0 + modulator * depth. This creates sidebands at carrier Β± modulator frequencies while keeping the carrier present.
am~
AM oscillator frequency in Hz. When set above 0, an LFO modulates the signal amplitude.
amdepth~
Modulation depth (0-1). At 0, the signal is unchanged. At 1, the signal varies between 0 and 2x its amplitude.
amshape
AM LFO waveform shape. Options: sine, tri, saw, square, sh (sample-and-hold).
Ring Modulation
Ring modulation is a crossfade between dry signal and full multiplication: signal *= (1.0 - depth) + modulator * depth. Unlike AM, ring modulation at full depth removes the carrier entirely, leaving only sum and difference frequencies at carrier Β± modulator.
rm~
Ring modulation oscillator frequency in Hz. When set above 0, an LFO multiplies the signal.
rmdepth~
Modulation depth (0-1). At 0, the signal is unchanged. At 1, full ring modulation with no dry signal.
rmshape
Ring modulation LFO waveform shape. Options: sine, tri, saw, square, sh (sample-and-hold).
Sample
Doux can play back audio samples organized in folders. Point to a samples directory using the βsamples flag. Each subfolder becomes a sample bank accessible via /s/folder_name. Use /n/ to index into a folder.
n
Sample index within the folder. If the index exceeds the number of samples, it wraps around using modulo. Samples in a folder are indexed starting from 0.
begin
Sample start position (0-1). 0 = beginning, 0.5 = middle, 1 = end. Only works with samples.
end
Sample end position (0-1). 0 = beginning, 0.5 = middle, 1 = end. Only works with samples.
cut
Choke group. Voices with the same cut value silence each other. Use for hi-hats where open should be cut by closed.
Recorder
The recorder captures the master output into a buffer. Send /doux/rec to start, send it again to stop. The buffer is registered as a sample and can be played back with all standard parameters. Maximum 60 seconds. Native only.
rec
Toggle recording. Auto-named rec0, rec1, etc. First send starts, second send stops and registers the sample.
rec + name
Set an explicit name via /s/name. The recording is registered under that name for playback.
overdub
Layers new output on top of an existing recording. Wraps at buffer end. Falls back to fresh recording if the target does not exist.
Recorded samples work like any other sample: begin, end, speed, filters, effects all apply.
Lowpass Filter
A state variable lowpass filter (TPT/SVF) that attenuates frequencies above the cutoff. Each filter has its own ADSR envelope that modulates the cutoff frequency.
lpf~
Cutoff frequency in Hz. Frequencies above this are attenuated.
lpq~
Resonance (0-1). Boosts frequencies near the cutoff.
lpe
Envelope amount. Positive values sweep the cutoff up, negative values sweep down.
lpa
Envelope attack time in seconds.
lpd
Envelope decay time in seconds.
lps
Envelope sustain level (0-1).
lpr
Envelope release time in seconds.
Highpass Filter
A state variable highpass filter (TPT/SVF) that attenuates frequencies below the cutoff. Each filter has its own ADSR envelope that modulates the cutoff frequency.
hpf~
Cutoff frequency in Hz. Frequencies below this are attenuated.
hpq~
Resonance (0-1). Boosts frequencies near the cutoff.
hpe
Envelope amount. Positive values sweep the cutoff up, negative values sweep down.
hpa
Envelope attack time in seconds.
hpd
Envelope decay time in seconds.
hps
Envelope sustain level (0-1).
hpr
Envelope release time in seconds.
Bandpass Filter
A state variable bandpass filter (TPT/SVF) that attenuates frequencies outside a band around the center frequency. Each filter has its own ADSR envelope that modulates the center frequency.
bpf~
Center frequency in Hz. Frequencies outside the band are attenuated.
bpq~
Resonance (0-1). Higher values narrow the passband.
bpe
Envelope amount. Positive values sweep the center up, negative values sweep down.
bpa
Envelope attack time in seconds.
bpd
Envelope decay time in seconds.
bps
Envelope sustain level (0-1).
bpr
Envelope release time in seconds.
Comb Filter
Send effect with feedback comb filter. Creates pitched resonance, metallic timbres, and Karplus-Strong plucked sounds. Tail persists after voice ends.
comb~
Send amount to comb filter.
Noise into a tuned comb creates plucked string sounds (Karplus-Strong).
combfreq
Resonant frequency. All voices share the same orbit comb.
combfeedback
Feedback amount. Higher values create longer resonance.
combdamp
High-frequency damping. Higher values darken the sound over time.
Ladder Filter
A Moog-style ladder filter with self-oscillation and analog-modeled nonlinear saturation. Produces a warmer, more aggressive character than the standard filters. Based on the improved virtual analog model by Stefano DβAngelo and Vesa VΓ€limΓ€ki. Available as lowpass (llpf), highpass (lhpf), and bandpass (lbpf). Filter envelope parameters are shared with the standard filters (lpe/lpa/lpd/lps/lpr for lowpass, etc.).
llpf~
Ladder lowpass cutoff frequency in Hz.
lhpf~
Ladder highpass cutoff frequency in Hz.
lbpf~
Ladder bandpass cutoff frequency in Hz.
llpq~
Ladder lowpass resonance (0-1). At high values, the filter self-oscillates.
lhpq~
Ladder highpass resonance (0-1).
lbpq~
Ladder bandpass resonance (0-1).
Phaser
Two cascaded notch filters (offset by 282Hz) with LFO-modulated center frequency.
phaser~
Phaser LFO rate in Hz. Creates sweeping notch filter effect.
phaserdepth~
Phaser effect intensity (0-1). Controls resonance and wet/dry mix.
phasersweep~
Phaser frequency sweep range in Hz. Default is 2000 (Β±2000Hz sweep).
phasercenter~
Phaser center frequency in Hz. Default is 1000Hz.
Flanger
LFO-modulated delay (0.5-10ms) with feedback and linear interpolation. Output is 50% dry, 50% wet.
flanger~
Flanger LFO rate in Hz. Creates sweeping comb filter effect with short delay modulation.
flangerdepth~
Flanger modulation depth (0-1). Controls delay time sweep range.
flangerfeedback~
Flanger feedback amount (0-0.95).
Chorus
A rich chorus effect that adds depth and movement to any sound.
chorus~
Chorus LFO rate in Hz.
chorusdepth~
Chorus modulation depth (0-1).
chorusdelay~
Chorus base delay time in milliseconds.
Feedback
Orbit feedback delay. Sends voice signal to the orbit bus where it is re-injected with controllable delay time and damping.
feedback~
Feedback delay send level and re-injection amount. 0 = bypassed. Internally clamped to 0.99 to prevent runaway.
fbtime
Feedback delay time in milliseconds. Short values produce metallic resonances, longer values give slapback echoes.
fbdamp
High-frequency damping in the feedback path. Higher values roll off treble on each iteration, producing warmer repeats.
fblfo
Feedback delay time LFO rate in Hz. Modulates the delay time to produce wobbling, warping delay tails. 0 = no modulation.
fblfodepth
Depth of the feedback delay time LFO modulation. Controls how much the delay time varies around its center value.
fblfoshape
Waveform shape of the feedback delay time LFO. Options: sine, tri, saw, square, ramp.
Delay
Stereo delay line with feedback (max 1 second at 48kHz, clamped to 0.95 feedback).
delay~
Send level to the delay bus.
delayfeedback
Feedback amount (clamped to 0.95 max). Output is fed back into input.
delaytime
Delay time in seconds (max ~1s at 48kHz).
delaytype
- standard β Clean digital. Precise repeats.
- pingpong β Mono in, bounces LβRβLβR.
- tape β Each repeat darker. Analog warmth.
- multitap β 4 taps. Feedback 0=straight, 1=triplet, between=swing.
Reverb
Send-effect reverb with two algorithms: space (default) and plate.
verb~
Send level to the reverb bus.
verbtype
- space β Lush and dense with chorus modulation.
- plate β Bright and metallic.
verbdecay
Controls how long the reverb tail rings out.
verbdamp
Higher values darken the reverb tail.
verbpredelay
Gap before the reverb starts.
verbdiff
Room size. Low values give small tight spaces, high values give large halls.
verbchorus
Adds movement to the reverb tail (space only).
verbchorusfreq
Speed of the chorus modulation (space only).
verbprelow
Cuts low frequencies before they enter the reverb (space only).
verbprehigh
Cuts high frequencies before they enter the reverb (space only).
verblowcut
Where the low-frequency shaping kicks in inside the reverb (space only).
verbhighcut
Where the high-frequency shaping kicks in inside the reverb (space only).
verblowgain
How much bass survives in the reverb tail (space only). Lower values thin it out.
Lo-Fi
Sample rate reduction, bit crushing, and waveshaping distortion.
coarse~
Sample rate reduction. Holds each sample for n samples, creating stair-stepping and aliasing artifacts.
crush~
Bit depth reduction. Quantizes amplitude to 2^(bits-1) levels, creating stepping distortion.
fold~
Sine-based wavefold (Serge-style). At 0, near-passthrough. At 0.25, subtle harmonics. At 0.5, rich harmonics. At 1, extreme density.
wrap
Wrap distortion. Signal wraps around creating harsh digital artifacts.
distort~
Soft-clipping waveshaper using (1+k)*x / (1+k*|x|) where k = e^amount - 1. Higher values add harmonic saturation.
distortvol
Output gain applied after distortion to compensate for increased level.
EQ
Per-voice equalizer with a 3-band DJ-style EQ and a single-knob tilt control.
3-Band EQ
Fixed-frequency shelving and peaking filters. All gains are in dB: 0 is flat, positive boosts, negative cuts.
eqlo~
Low shelf gain at 200Hz.
eqmid~
Mid peak gain at 1000Hz (Q 0.7).
eqhi~
High shelf gain at 5000Hz.
Tilt EQ
tilt~
Spectral tilt using a high shelf at 800Hz. Positive values brighten, negative values darken. Range maps to Β±6dB.
Smear
Allpass chain β 12 cascaded first-order allpass filters that smear transients into laser chirps and metallic sweeps. Zero buffers, pure phase manipulation. Allpass filters only shift phase, so the effect is inaudible at static frequencies β modulate smearfreq to hear it.
smear~
Wet/dry mix (0 = bypass, 1 = full wet). Controls the blend between dry input and the allpass-smeared signal.
smearfreq~
Break frequency of the allpass chain. Lower values produce longer, more dramatic chirps. Higher values affect only the highest partials. Sweep it to hear the smearing.
smearfb~
Feedback amount for resonance. Wraps the allpass output back to the input, creating metallic resonances and self-oscillation at high values.
Compressor
Sidechain compressor. Ducks this orbitβs output based on another orbitβs level β classic pumping effect.
comp~
Duck amount. 0 = off, 1 = full duck. Point it at another orbit with comporbit.
compattack
How fast the ducker reacts. Short = tight pumping, long = slow swell. Alias: cattack.
comprelease
Recovery time after the sidechain drops. Longer = more pronounced pump. Alias: crelease.
comporbit
Which orbit drives the compression. Typically the orbit carrying your kick or bass. Alias: corbit.