Basic
These sources provide fundamental waveforms that can be combined and manipulated to create complex sounds. They are inspired by classic substractive synthesizers.
sine
Pure sine wave. The simplest waveform with no harmonics.
tri
Triangle wave. The default source. 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.
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.
kick
Analog bass drum. 808-style kick. harmonics: punch, timbre: tone, morph: decay.
snare
Analog snare drum. harmonics: tone/noise balance, timbre: drum mode balance, morph: decay.
hihat
Analog hihat. 808-style metallic hihat. harmonics: metallic tone, timbre: high-pass filter, morph: decay.
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.
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.
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.
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.
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.
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.
Lowpass Filter
A lowpass filter 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 highpass filter 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 bandpass filter 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.
Filter Type
Controls the steepness of all filters. Higher dB/octave values create sharper transitions between passed and attenuated frequencies.
ftype
Filter slope steepness. Higher dB/octave values create sharper cutoffs. Applies to all filter types (lowpass, highpass, bandpass).
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.
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
Dattorro plate reverb with 4 input diffusers and a cross-fed stereo tank.
verb
Send level to the reverb bus.
verbdecay
Tank feedback amount (clamped to 0.99 max). Controls tail length.
verbdamp
One-pole lowpass in the tank feedback path. Higher values darken the tail.
verbpredelay
Delay before the diffusers (0-1 of max ~100ms). Creates space before reverb onset.
verbdiff
Allpass coefficients in both input and tank diffusers. Higher values smear transients.
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 1, near-passthrough. At 2, one fold per peak. At 4, two folds.
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.