Voices have different signal paths. Samples and synths have envelopes, filtering and effects, with reverb available only on selected voices. This chapter walks each stage and the four filter pages where you control them.
The signal chain
A sample voice broadly follows this path. Reverb is available on voices 1, 2 and 5–8 and the poly synth; voices 3, 4, 13 and 14 do not have a reverb send.
The chain above is the musical idea. The actual Teensy graph (every mixer gain, amp, and bus) is on Audio path — including that bitcrush sits before the SVF, not after.
The four filter pages
Enter from the grid with the both-touch gesture, right pad first. (Left-first on sample voices opens the sample browser instead.) Each filter page is a vertical mixer strip split into four encoder columns. Turn an encoder to edit; short-press to assign that parameter as the fast-filter default (encoder 3 from draw mode will recall it). Encoder 2 long press is play/pause so you can audition without leaving the editor. Pages cycle with a tap on touch 2.
How each filter page is drawn: at rest the matrix shows four narrow vertical sliders with a single letter printed next to each one — that is all the space the grid has. The moment you start turning an encoder, the device replaces those tiny letters with the parameter's full 4-letter name spelled out across the lower rows, in the colour of the parameter you are changing. Release the encoder and it falls back to the resting letters.
Page 0 — sample lane: HCUT · LCUT · RVRB · BITC
At rest
Sliders + single-letter tags: H · L · R · B.
Encoder turning
Full name printed: here LCUT is being changed.
Letter
Full name
What it does
Range
H
HCUT
High cut — SVF lowpass. Full 0–32 fader (no LP/HP split).
0–32 ≈ 280 Hz – 10 kHz (32 = open)
L
LCUT
Low cut — SVF highpass. 0 uses HCUT (lowpass); 1–32 switches the mixer to highpass.
RVRB availability: the reverb send appears on sample voices 1, 2, 5–8 and synth voice 11. Voices 3 and 4 show a dim, inactive slider — no send path. Voices 13 and 14 use CENT (coarse pitch) in the third column on page 0 instead of RVRB.
Page 1 — sample lane: RES · DTNE · OCTV · TIME
At rest
Letters R · D · O · T on voices 1–8.
Encoder turning
Full name TIME while encoder 4 is being moved.
Letter
Full name
What it does
Range
R
RES
Filter resonance around the cutoff.
0–32
D
DTNE
Fine pitch — fractional semitone detune after OCTV.
0–32 (centre = in tune)
O
OCTV
Coarse pitch in whole semitones.
−24…+24 semis (encoder scale 0–48, centre = 0)
T
TIME
Independent time-stretch (WSOLA). Lengthens or shortens without changing pitch the same way OCTV does.
Pitch vs TIME: OCTV/DTNE change playback rate (pitch). TIME stretches duration around the current pitch. Leave TIME at 11 unless you want that smear.
Page 1 — synth voices: CHRS · RESO · FLNG
At rest
Letters C · R · F — column 4 is empty on this page (poly / mono synth lanes).
Encoder turning
Full name RESO while encoder 2 is being moved.
Letter
Full name
What it does
Range
C
CHRS
Chorus depth — adds a detuned doubled copy of the voice.
0–32
R
RESO
Filter resonance peak around the cutoff frequency.
0.7 – 5.0 (numeric value in firmware)
F
FLNG
Flanger amount — short modulated delay.
0–32
Page 2 — WAVE · INST · CENT · SEMI
At rest
Letters W · I · C · S.
Encoder turning
Full name INST while encoder 2 is being moved.
Letter
Full name
What it does
Range
W
WAVE
Changes oscillator 1; uniform three-oscillator presets change all three together. Selecting INST restores and displays that preset's waveform default.
Sine · Square/Pulse · Sawtooth · Triangle
I
INST
Instrument archetype for synth voice 11.
BASS · KEYS · CHPT · PAD · WOW · ORG · FLT · LEAD · ARP · BRSS
C
CENT
Coarse register control.
0–32
S
SEMI
Fine and semitone pitch offset.
0–32, centred at 16
Page 3 — ADSR: ATCK · DECY · SUST · RELS
At rest
Letters A · D · S · R — attack, decay, sustain, release.
Encoder turning
Full name SUST while encoder 3 is being moved.
Attack — time from trigger to peak. Decay — time from peak to the sustain plateau. Sustain — held level while the note remains on. Release — fall after note-off. Each parameter is 0–32 on the encoder; the firmware maps it to milliseconds (A / D / R) or 0–1.0 (S).
Tip: tweak release last. Long release smears notes into the next step; pair short release with high sustain for staccato drums.
ADSR in detail
All voices share the same envelope generator. Channel 11 (poly synth) additionally has a filter envelope with its own A/D/S/R that modulates the filter cutoff — same encoder layout, different page nest. Reach it through filter page 1 on voice 11 (the third filter row swaps in for filter-ADSR when applicable).
Attack 0 = instant click. Use for percussive material.
Decay 0 + Sustain max = organ-style hold. Use for pads.
Release 0 = note shuts immediately at the next step. Use to tighten busy grooves.
Per-voice effects
Three blocks live after the filter:
Block
Controls
Range
Bitcrusher
Bit depth + sample-rate reduction with loudness compensation.
1–16 bits; 1000–44117 Hz
Reverb
Room size, damping (bright→dark), wet/dry blend.
Room 0.0–0.79; Damp 0.01–0.8
Filter (multimode)
LP / HP / BP with cutoff and resonance.
0–10 kHz; Q 0.7–5.0
The reverb is a global shared bus. Only voices with an active RVRB control can send into it (see filter page 0 above). Balance wet against dry by mixing send amounts on the lanes that support it.
Fast filter (encoder 3 from the grid)
From draw or single mode, turning encoder 3 twists the parameter chosen as the fast-filter default for the current channel. That choice is set in the filter editor: short-press a column to mark it as that voice's macro. The next time you spin encoder 3 from the grid, you are sweeping that control.
The same encoder 3 fast filter stays available while you hold encoder 2 for the mute / solo overlay (green ring). Random sample pick moves to encoder 4 for that hold.
Most players assign HCUT as the default for sample lanes and CUT for synth lanes. Lanes can each have their own choice — the firmware remembers per channel.
The synth voices in detail
Voice 11 — 3-voice polyphonic synth
Three oscillators per voice, three voices of polyphony, ten instrument presets in a single ROM-style table (BASS · KEYS · CHPT · PAD · WOW · ORG · FLT · LEAD · ARP · BRSS). Each preset bundles a waveshape recipe, envelope curve, and filter envelope amount. Independent ADSR per voice, independent filter envelope per voice, per-voice pan, gain, waveform, fine pitch (cents), and coarse pitch (semitones).
Selecting an instrument loads its matching filter, register, waveform, and ADSR defaults. The presets deliberately cover different roles: PAD and WOW swell, ORG uses clean drawbar-style harmonics, FLT is breathy, LEAD is a square-forward pluck, ARP is a tight pulse stack, and BRSS uses a darker saw body with a slower filter bloom. You can edit the loaded values immediately; saved projects retain those edits.
Voices 13 & 14 — 2-oscillator mono synths
Two oscillators each, full ADSR. Filter page 0 swaps RVRB for CENT (coarse pitch) in the third column — there is no reverb send on these lanes. They add two performance modulators:
LFO — rate 0–2 Hz, depth 0–100%, applied to filter frequency for that voice.
Waveforms include sine, sawtooth, square, and triangle. These channels are great for basslines and lead lines where polyphony is unnecessary.
Normal sequencer notes retrigger their envelope. To connect adjacent notes on voices 11, 13, or 14, mark the destination note G/L in note detail: repeating the same pitch holds the existing envelope, while a different pitch retunes the active voice without restarting it. G/L without an adjacent source attacks normally; a gap ends the phrase. No separate R/T setting is needed because every non-G/L note already retriggers.
Voices 9, 10, 12 — empty rows
These matrix rows are reserved but intentionally carry no voice. The cursor can visit them, but placing notes or opening filters has no effect — there is no audio path. See The matrix → voice lanes.
Per-voice tuning
Global transpose — semitone offset added to the synth pitch path. Currently a code-level hook (initialised to 0); no menu page exposes it.
Channel detune — −12 to +12 semitones, per channel.
Channel octave — −3 to +3 octaves, per channel.
Synth-11 fine tune — −50 to +50 cents per voice.
Synth-11 semitone offset — −2 to +2 per voice.
These add together. Big-picture tuning lives in detune + octave; subtle character lives in cents + semitone offset.
Resetting a voice
From the filter editor of any channel, encoder 4 long press resets envelopes, filters, and synth data for that channel only. Note data in the grid stays intact — only the tone snaps back to factory curves. To reset the whole project's sound layer (every voice), use ETC → RSET → EFX; that one is destructive across the board.
EFX reset is global. Patterns and sample assignments survive, but every filter, envelope, synth, and octave helper goes to defaults across all 16 channels.