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Shift+Click fine control knobs

Ctrl+Click reset knob to default position

Chapter 4. Filter Module

Filter Type Click name or < > to change filter type. ([***] = for best result for Flange filters,
set mix knob at 50%)
Cutoff sets primary cutoff frequency for filter, with just a couple exceptions (such as vowel
for the formant filters).
Key-track switch Piano icon allows the cutoff to be offset from MIDI notes
Res Change height(gain) of narrow band of frequencies, near the cutoff level, where the
sound is amplified.
Stereo At 50% (default) knob has no effect.
When turned to left, Left channel cutoff will increase, and the Right channel cutoff will
When turned to right past 50%, Left cutoff will decrease and the Right channel cutoff will
Drive The Drive knob increases the height(gain) of filter and can impart some mild distortion
to the sound.
Var The Var knob has a different function depending on the filter type chosen.
Mix The Mix knob allows for a wet/dry amount for the filter. The default(100%) means 100%
Low Can remove all other freqs except fundamental. (Fundamental:The
- tuned frequency and the lowest frequency that is present in the
Pass sounding of a pitch by an instrument.) In a struck piano string, Initial
(LP) bright sound get duller as it dies away. This effect can be made by
opening the filter as the note starts and then gradually sweeping the
cut-off frequency down to create the effect of the note dying away.

High Removes the fundamental of sound, leaving only fizzy harmonic

- overtones. Rarely used in the creation of instruments and are
Pass usually used to create effervescent sound effects or bright timbres that
(HP) can be laid over the top of another low-pass sound to increase
the harmonic content. The typical euphoric trance leads are a good
example of this, as they are often created from a tone with the
fundamental overlaid with numerous other tones that have been
created using a high-pass filter.
Notc Attenuate certain range of freqs usually leave the
h fundamental unaffected. Good for scooping out
(N) frequencies, thinning out a sound while leaving the
fundamental intact, creating timbres that contain a
d- discernible pitch but do not have a high level of harmonic
Reje content.
Ban Create timbres consisting of fizzy harmonics. Often
d- removes fundamental,so good for lo-fi and trip-hop
Pass timbres+ very thin sounds. Similar to notch filters which
can be used for a similar purpose.

Com Some of the samples entering the filter are delayed in time and the
b output is then fed back into the filter to be reprocessed to produce the
results. Using this method, sounds can be tuned to amplify or reduce
specific harmonics based on the length of the delay and the sample rate,
making it useful for creating complex sounding timbres that can-not be
accomplished any other way.

For A fixed-frequency set of notch filters and bandpass filters,

man arranged such that they reproduce the chracteristics of a
t(F) naturally resonant object or space, such as a violin body, a
drum head, or the human voice tract.

Level Hidden under the Mix knob . Adjusts volume of filter. Click on the Mix name to
change Mix into level.

Chapter 7. Effects
0= less compression
100= more compression
0= less compression
100= Limiter
99= more compression
*Limiter: gain reduction occurring in a limiter is not decided by a ratio control but by an absolute output
ceiling you set, so level of audio input cant go above this value.

0= comp appears sooner(right when note is pressed)
100= comp appear later into note

0= comp lasts shorter
100= comp lasts longer

0= less gain
100= more gain
*Gain: Amount of increase in audio signal strength(dB). More gain=loud+grainy+distort+skrilley.

Gain reduction meter/screen:

0= less gain reduction
-36= more gain reduction(blue)
Blue shows you how much gain is reduced.

Multiband mode switch:

In Multiband mode,anything over threshold is compressed just like before, but anything below threshold
is pushed louder by a certain amount of gain in dB.

0= smaller room
100= larger room

Predelay: Amount of time in milliseconds before reverb occurs. Using predelay

allows you to give the impression that a sound is close to you but in a large room, separate
your transient from the reverb (A transient is a high amplitude, short-duration sound at the
beginning of a waveform that occurs in phenomena such as musical sounds, noises or
speech.) or create a delay-like echo.
0=less predelay
100= more predelay

Lowcut: Suppress low frequencies from reverb. 0% = no supression on lows, 100% =

Supress low frequencies
Hicut: Suppress high frequencies from reverb. 0% = no supression on highs, 100% =
Supress high frequencies
(Cut: 1.To reduce gain of a particular band of frequencies with an equalizer. 2.To not pass a particular
band of frequencies said of a filter)

Damp: An additional high-frequency cut for the reverb. The knob controls how fast this high-
frequency attenuation occurs. *Increasing the damping produces a more "muted" effect. The
reverberation does not build up as much, and the high frequencies decay faster than the low
frequencies. Simulates the absorption of high frequencies in the reverberation.
0% = no damp, 100% = maximum damping.
Width: Expand or collapse stereo(2 channel) width of reverb. Increasing this value
applies more variation between left and right channels, creating a more "spacious" effect.
0=less width
100= more width

Feed: Sets amount of delayed signal appearing back at input of delay,control how
many repeats of the delay are audible.

BPM Sync Switch: Put delay times in tempo-based units ( note,

etc) or in milliseconds.

Link: Any changes in the channel left/right delay time will also affect other channel,
creating a mono delay.

Delay times:
2 columns of number boxes, labelledLEFT and RIGHT.
Upper box is the base Delay time for the respective Left or Right audio channel.
The lower box is an offset for the above delay time, for instance a value of 1.1 means that the
above delay time will now sound 110% of its value.
You'll also notice when dragging these lower boxes you'll see TRIP(triplet in music theory)
and DOT(dotted value in music theory)appear when you reach 133% (1.333) and 150% (1.5)

Filter screen: Same as filter in filter chapter.

Ping-pong: Output of delay on left side gets inputted into right side and vice

Tap>Delay: Right side delays normally(has feedback on it), while left side only
happens once(cuz no feedback on it)
Size:Sets the amount of delay time for the delays.
Mix:The Dimension has its own Mix control. When set to 0%, the Dimension effect is

Think of a reverb and delay and chorus effect a blend of all 3. Stereo effect made out of 4
delay lines summed out-of-phase and slowly amplitude modulated to provide a subtle amount motion
to the effect. Adding width to an mono signal.

Size: Sets the amount of delay time for the delays.

0= Shorter delay time
100= Longer delay time
0= No effect
100= More effect

Think of a unison, delay and chorus effect a blend of all 3.
*The Hyper effect is a micro-delay chorus effect with a variable number of voices (1-7). In addition the
Hyper effect can be configured to re-trigger on every MIDI note, which adds to the potential simulation
of a unison.

Rate: speed of voices vibrating sharp/flat in pitch.

0= less vibration
100= more vibration
Detune: Make hyper voices more out of tune
0= less out of tune
100= more out of tune
Retrig: When enabled, the Retrig switch will reset all of the Hyper voices to start over from a
zeroed pitch offset. This provides a laserlike zap effect on each note on. Typical use probably doesn't
involve enabling this switch, but you may decide otherwise, in particular on monophonic patches it may
be of use.

Unison: This number box sets the number of chorus voices make up the Hyper effect.

0= no effect
100= more effect

Mode: Mode menu (displays Tube by default) brings up a list of distortion types. Use < > to
navigate by clicking.

Off/Pre/Post Switch: Set filtering either Pre-distortion or Post-distortion.

F (frequency): Number-box under filter display sets cutoff frequency for filter.
Q (resonance): Sets resonance for filter. Typical use is a lower setting.
LP/BP/HP: Sets filter type for the distortion filter. Allows for morph between lowpass-to-
bandpass, or bandpass-to-hipass.

Drive: Amount of gain boost for the distortion

0= Less gain boost for distortion
100= More gain boost for distortion
The exceptions are...
*on Downsample effect type, the Drive knob controls the amount of sample rate reduction.
*On the X-Shaper and X-Shaper (Asym) modes (read more below), the drive knob is a 'morph'
between the the two waveshapes. (0% drive knob = waveshaper A, 100% drive knob = wave shaper

Flanger FX caused by delaying

input signal for a few milliseconds then mixing the delayed signal with the original signal.

BPM: When on, flanger's sweep is synced to the host BPM musical time measurements. When
off, the rate knob is in Hz.

Rate: Control rate of flangers sweep. When BPM on, the rate knob snaps to beat. When BPM off,
the rate knob is in Hz.
100= 20HZ OR 1/32 notes
0= less flange
100= more flange
0= Less feedback/ringing (makes the effect less pronounced (metallic ringing).
100= More feedback/ringing (makes the effect more pronounced (metallic ringing).
The stereo(having 2 channels) phase offset(The time interval by which one wave leads or lags another.)
for the LFO influence over the flanger(Left flange and Right flange offset).
0% = both L and R have the same frequency.
50% = 180 degrees - L and R have opposite frequency, in other words the flanger sweep will be rising on the left while falling
on the right, or vice versa.

Phaser Somewhat like flanging

although less intense. Swirling effect?

BPM: When on, phaserr's sweep is synced to the host BPM musical time measurements. When
off, the rate knob is in Hz.

Rate: Control rate of phasers sweep. When BPM on, the rate knob snaps to beat. When BPM off,
the rate knob is in Hz.
100= 20HZ OR 1/32 notes
0= less phase
100= more phase
0= Less feedback/ringing (makes the effect less pronounced (metallic ringing).
100= More feedback/ringing (makes the effect more pronounced (metallic ringing).
The stereo(having 2 channels) phase offset(The time interval by which one wave leads or lags another.)
for the LFO influence over the phaser(Left flange and Right flange offset).
0% = both L and R have the same frequency.
50% = 180 degrees - L and R have opposite frequency, in other words the phaser sweep will be rising on the left while falling
on the right, or vice versa.

Chorus fuller and thicker and

spacious. As if performed by a number of identical instruments playing in unison.

BPM: When on, chorus modulation is synced to the host BPM musical time measurements. When
off, the rate knob is in Hz.

Rate: Control rate of chorus modulation. When BPM on, the rate knob snaps to beat. When BPM
off, the rate knob is in Hz.
100= 20HZ OR 1/32 notes
Delay 1/2:Sets the amount of delay time in milliseconds between dry signal and the
first/second stereo pair of chorus voices.
0= shorter delay time
100= longer delay time
0= less chorus
100= more chorus
0= Less feedback/ringing (makes the effect less pronounced (metallic ringing).
100= More feedback/ringing (makes the effect more pronounced (metallic ringing).
LPF: Set the cutoff frequency of the lowpass filter which comes after the chorus wet effect.

*Screen and two switches for setting type for each of the two filter bands.
*Left band is intended for low-frequency (LF) adjustment and Right is for HF.

Freq(L/R): 0=lower cutoff lv for filter band. 100=Higher cutoff lv for

filter band.
Q(L/R): 0= lower resonance(peak)for filter band. 100=Higher
resonance(peak)for filter band.
(Resonance: narrow band of frequencies, near the cutoff level, where the sound is amplified. )

Gain(L/R): 0= less gain for filter band. 100= More gain for filter
(Gain: The amount of increase in audio signal strength, often expressed in dB. )

Filter The filter effect operates

identical to the filter found on the main OSC tab, except running as a master effect.

Chapter 9.
Modulation Routing
Think of Modulation as having a digital hand automatically turning knob by a certain degree at
the start of each note.
ENV1 is special since it is the main volume adsr envelope so be careful with it. ENV2~3 or LFO
1~4 are all normal.
Click+drag Tile ENV2~3 or LFO 1~4 to a knob and let go of mouse to add modulation to that
destination knob.
You'll also notice a number will appear on the right side of the ENV2~3 or LFO 1~4 tile.
If 1 means the tile has one mod destination and 2 means two mod destination and so on.
Click on LFO tile to see destination(s).

A blue halo will appear on a destination knob. This shows how much hand turns knob each
Drag halo up and down to change how much hand turns knob each time.
Up=Hand turns knob more each time
Down=Hand turns knob less each time
If you lower this beyond zero, the value is inverted/negative (as the LFO output goes up, the
influence to the pan knob goes down) and the halo changes color.
The halo can be 1-directional or 2-directional. Toggle between modes by SHIFT+ALT then CLICK
on the halo. Or mod matrix.

If you Right-click on a control such as a knob, a context-menu will appear. With the following
Bypass Modulator: Mute connection between destination and the modsource tile. Halo around the
knob grey when mute.
Remove Modulator: Removes the connection between the modulation source and this knob
Remove All Modulators: Removes all connections to this knob from all Modulation Sources.
Reset Control: Resets this knob/control to its default value this is the same as CTRL-click.
Mod Source (sub menu): Displays all of the possible modulation sources to control this parameter.
This allows another way
to make a connection to a control without having to drag from the ModSource tile or visiting the
Matrix window.
MIDI Learn: Selecting this menu item puts Serum in a MIDI Learn Mode, where it waits for an
incoming MIDI CC value. Once it receives a MIDI CC, the MIDI Learn is deactivated and the CC# is
now assigned to this control. This assignment is saved with the preset/patch. Revisiting this pop-up
context menu again will display the CC# and give you the ability to either re-learn it to a different
CC#, or else remove it.

Mod Matrix Window

Mod matrix puts all mods in a list which allows you to select the routing and amounts for the various
modulation connections.
Mod Matrix Curve
Curve changes the shape of the modulation. Same as adjusting curve on ENV2~3 or LFO 1~4.

Mod Matrix Amount Slider

CTRL-Click (Windows) to set to default. Same as halo in Modulation section.

Mod Matrix type

Click on type to switch amount slider to 1or2 directional. Same as SHIFT+ALT then CLICK on
the halo.

Mod Matrix Aux source

A secondary modulation source for the modulation destination. See more in Mod Matrix:
Mod next page.
Mod Matrix Sources and destinations
Same as in Modulation section but there are some that can only be found in mod-matrix.
Some mod sources only exist in the Mod Matrix (no 'drag source' tile):
Aftertouch (aka Channel Pressure)

Chaos 1 and 2 (Chaos controls are on the Global tab).

Note-On Random 1 and 2 (two separate random numbers generated when note

Noise Osc (the Noise Oscillator's output can be used as a modulation source, try
pitching the Noise Osc low for more of a chaos LFO type of effect)

Pitch Bend wheel and Mod wheel(on bottom left of serum)

Fixed (not really a mod source, but you can use this to allow a modulation
assignment to get a 'fixed' value with slider depth control, should you want that for
some reason).
Mod Matrix: Mod
The Mod drop-down gives you some bonus ways to manipulate modulation assignments.
* Normal default mode. The two modulation sources are multiplied
together, so that one is scaling the other. For instance, if LFO1 is
the Source, and ModWheel is the Aux(secondary) Source, then we
will not hear the LFO1 influence unless the ModWheel is raised
above zero (and the Aux Amt slider is also above zero).
*(inv) Same as the above, except the secondary source (Aux Src) is
value-inverted. For instance in the above example, there would be
no modulation if the ModWheel was at maximum, and there would
be full modulation if the ModWheel is at minimum.
bypass Same as bypass/muting in modulation section. Mod
Matrix: Output
Same as Mod Matrix Amount slider, only an additional one to help you.

ENV1 is special since it is the main volume adsr envelope so be careful with it. ENV2~3 or LFO
1~4 are all normal.
Zoom magnifier
There is a faint magnifier on the right edge of envelope graph display. Drag up and down to
zoom in and out of graph.
Auto-zoom view
Faint lock button above magnifier. Click to enter auto-zoom view where envelope always fit
perfectly in display.

Chapter 10. LFO

LFO Graph Display
The graph area is where you draw the shape for the LFO. Here are the mouse/hotkey functions
for graph editing:
double-click: Add/Remove points
shift-click: draw steps at the Grid Size (step sequencer)
alt-click+drag Points: snap points to the Grid Size
click+drag on background: multi-select points
alt-click+drag any Curve Point: move all curve points at once.
right-click: bring up a pop-up menu for additional features, such as setting the segment
'shape'(flat, ramp down, ramp up) for shift-click, assigning or removing the start point(only in ENV
and TRIG mode) or loopback points(only in ENV).
shift-control-click on a point when in Env mode : set this point as the
Loopback position (or the very last point if you wish no Loopback position). No need to remember
this one since could use menu instead.
ctrl-click on point then ctrl-drag outwards from pt: multi-select points
for relative movement (rainbow color show on points, dragging them in this state will make closer
points move more and further points will move less).

The LFO Controls The LFO module is in the bottom-center of Serum window.
These are its controls:
Grid Size Number box to set grid size of LFO graph. The Grid is made to work with the Alt-
click (snap points) or the Shift-clicking (draw step segments) on the LFO graph so you could have
more/less grid lines on grid to draw points on.

LFO Mode (Trig / Env / Off) Allows you to select how the LFO behaves to new
Trig: Re-triggers LFO. LFO restart/retrigger with new note.
When length of note exceeds the end of LFO, the LFO retriggers, restarting at beginning again.
Env: similar to Trig, except the LFO will stop once it reaches the right-edge of the graph, when
length of note exceeds the
end of LFO. It only plays once, like an ADSR envelope. It
is possible to loop a segment of the LFO, for instance add a point to the middle of the
LFOGraph and
shift-ctrl-click and you'll see an orange marker appear above the point. Now when you play a
new note and hold it
down, assuming you have routed this LFO to a destination, you'll see+hear it looping this
second half of the LFO
graph (from the marker to the right edge).
Off: When new note played, LFO doesnt restart at beginning. Instead, LFO starts at where the
last note ended. This
effect is most apparent when you set rate to 32 bars.

Load/Save menu Folder icon for saving and loading LFO shape presets.
BPM switch Enabling this will make the time value snap to tempo-based units ( note,
1/8th note, etc).

Rate the playback speed of the LFO in other words the amount of time represented on the LFO
graph area.
In beat units by default (BPM switch on) but can also be made changed to a Hz value (BPM switch

Rise Basically an gradually increasing ATTACK(in ADSR envelope) for the LFO graph to start
influencing your input sound.
(Long explanation: Amount of time taken for LFO graph shape to have influence over the LFO output. Let LFO
slowly have influence over your sound. In other words, the LFO will begin with a fixed output (imagine the
LFOGraph is a flat horizontal line, with whatever value the left-most point of the LFOTool graph contains) and
slowly (based on the Rise time) becoming the shape of the visible graph.)

Delay Amount of time before rise begins. LFO will have a fixed output and after the delay time
period, rise will begin.

Smooth this smooths the LFO output. This is useful for avoiding abrupt jumps in the LFO
output, without having to draw curves on every segment of the LFO graph. Same effect as
drawing round curves on LFO graph.

Copying LFOs Alt-click+drag one of the LFO 1~4 tiles to another, to copy all LFO
settings from one LFO to another.

Export LFO into OSC wavetable Alt-click+drag LFO tile to OSC screen to
export LFO into wavetable.

Dot/Trip switches(BPM switch must be enabled) Allow for triplet and dotted times on
the rate control.
These switches are useful for avoiding triplet or dotted times when automating the LFO Rate, that
is, for avoiding doted and triplet times when you know you want an evenly beat-divisible time(s).
Anchor switch(BPM switch must be enabled) This determines whether or not the LFO's
playback position will jump if you automate the time control: if Anchor is enabled, then the time
is anchored to your song time, in other words changing the tempo from note to 1 bar means
the time position may jump in order to have the playback properly affixed to the bar cycle.
Conversely, if the Anchor is disabled, the play position will not jump when you change the LFO
Rate, but now may feel rhythmically off-the-beat. This is how a traditional LFO behaves.

VELO, NOTE, MACRO(special modulation

VELO: Like ENV/LFO but modulate parameter based on velocity(how hard is a keyboard key pressed
when struck) of midi note input. Can edit graph curve and add pts with Alt-click. Green grid visually
shows velocity of note pressed on keyboard.
Harder strike= More mod Weaker strike= Less mod
NOTE: Same as VELO but modulate based on the pitch of notes. Higher pitch= more mod, Lower
pitch= less mod
MACRO: Unlike ENV/LFO, doesnt move throughout note. Just an easy lazy way to turn several knobs
at same time.
Drag to several knobs to turn several knobs at the same time with one MACRO knob. Like having
multiple hands to turn more than 2 knobs at the same time.

Chapter 11. Voicing &

Voicing Settings
In the lower-right corner is Voicing section that let u change how Serum behaves to multiple notes
playing at once.

Mono Switch
When on, limit keyboard to max 1 active note at-a-time. If a new note is pressed while one is
playing, old note ends abruptly.

Legato Switch
Only applicable when Mono enabled.
When a old note is interrupted (cuz a new note is pressed) in mono mode......
if Legato off, Envelopes/LFO's will re-trigger.
If legato on, they will not retrigger= allows for a smooth change to the new note which is pressed.

Poly number box

Sets the number of notes which can be played simultaneously. Good for arpeggios, chords,long
release ADSR. Saves a lotta CPU.

Poly count display

Underneath number-box is a fraction: X/Y. Y=total#of voices in this preset X=#of voices
active right now

Portamento Settings
Below voicing settings is Portamento-- allow glide/pitch bend from 1 note to another. Most
useful when Mono enabled.
This way if you hold one note and play another, it will slowly change the pitch from the first
note to the second.

Porta Knob The Porta knob controls the rate of glide from one note to another.

Porta Curve Control The Porta curve adjusts the contour of glide from one note to
If convex (typical use),note pitch will depart the beginning pitch quickly and slow down as it nears the
note destination frequency.
If set concave (dragged down below half), pitch will slowly depart the source pitch, and later rapidly
arrive at the destination pitch.

'Always' switch When on, the portamento will occur on a new note even if no note is
currently playing.(so portmento is always present) When Off, a 1 st note must be held for
portamento to take place on the (2nd) note.

'Scaled' switch
Potentially useful for melodic leads where you wish there to be a less noticeable portamento
on short intervals.
When activated, the portamento rate is adjusted based on the distance of intervals/pitch
between the 1st and 2nd note.
If the portamento is a glide between two notes 12semitones/1octave apart, the rate knob's
time value will be used.
If the portamento is a glide between notes less than 12semitones/1octave apart, the time will
be faster, and vice-versa (notes larger than an octave will be progressively slower).

Chapter 12.Global page

All of the Global settings are saved in your Preset/Song/Patch, except the Preferences which are
truly Global.

Oscillator Settings In the top-left of the Global page is the

Oscillator Settings:
Pitch Tracking OSC A/B switch
This switch determines whether or not OSC A will follow the MIDI note to determine pitch.
When off, all incoming MIDI notes will trigger OSC A at the same (low) pitch.

Noise Fine
Pitch tuning(cents) for Noise oscillator. Useful when Key-track(snap noise osc to pitch of note
played) is enabled for the Noise oscillator and the Noise oscillator sounds out of tune.

This sets the quality for Serum. Use 1XDraft for making drafts of tracks and change to 2
or 4 when exporting to save CPU!
Click on lock to make sure all presets use 1XDraft quality by default!
This is extremely important! Use 4X quality when you are using Warp mode and FM!
Use 2 or 4 for sound design because you need to hear details!

Chaos 1 | Chaos 2
Additional modulation sources like LFOs. Can assign to a knob through Mod matrix or right-
clicking a destination knob.
Chaos 1 and 2 are different types of chaos LFO (low frequency oscillators).
They have special sounds compared to LFOs and ENVs.
Chaos 1 has a more periodic (repeating) and more bipolar (two separate tendencies, up or
down) sound.
Chaos 2 has more of a chaotically random 'restarting' sort of sound to it.
A good use for the Chaos modulators is subtlety, for instance very small fine-tune deviations
to simulate the drift of analog oscillator pitch.

Chaos BPM sync

Enabling this will snap the LFO rates to musical divisions based on your host BPM. However
you should not expect rhythms out of this, but can help you get the chaos rate you had in

Chaos Mono switch

When disabled, every note(if you're playing a chord) will have it's own chaos oscillators.
However sometimes you may wish all notes to share the same chaos motion (for instance if
controlling filter cutoff, you may want all notes to have this same chaos movement). Enabling
the mono switch will make all notes and voices use a single Chaos oscillator for this purpose.

Unison Settings More advanced Unison settings for OSC A and OSC B on
global page.
Must first have unison enabled in OSC to be able to hear changes in the Unison Settings!
All Unison settings can be modulated with a mod source(like NOTE,VELO,LFO,ENV etc.)

(Unison) Range (maximum detune amount)

Set range(in semitones) of Oscillators Unison Detune knob(on OSC panel) . Default value is 2

(Unison) Width (stereo spread)

Sets the stereo panning for the individual unison voices.
0 = all voices panned center, 100 = voices panned as much as 100% Left and Right.

(Unison) Warp
Sets the amount of warp offset for each of the individual unison voices. To hear this, you must have a
Warp mode is selected (Sync, FM, etc) and Unison raised above 1. An easy way to think about this is
imagine the Warp knob on the Osc page has a little lower or higher value for each unison voice. The
more this Warp offset is raised, the wider the spread for each unison-voice this +/- assignment, based
from the Warp knob's current value.

(Unison) WT Pos Similar concept to Warp (above) but instead the offset per-unison-voice is made to
the WT Pos. This way a single note with unison enabled can be playing multiple sub-tables in your
wavetable simultaneously. The greater this control's value, the more spread.

(Unison) Stack The stack control provides multiple options for having the unison voices playing
different pitches. The default is off where all voices play the incoming pitch (note you played). The
first option: 12 (1x) means that every 2nd unison voice will play up an octave (0, +12, 0, +12, 0 +12,
etc). The next option: 12 (2x) means that this transposition can be either 1 or 2 octaves (0, +12, 0
+24, 0 +12, etc). The choices with +7 means that a perfect fifth will also be included in these layerings.
The last choices: Center-12 and Center-24 means the center voices of the Unison stack will be lowered
in pitch 1 or 2 octaves, respectively.

(Unison) Mode
Determines the mode of detune for the detune knob. These changes are also reflected visually when
adjusting the detune knob on the main oscillator panel, you'll notice the vertical stalks which draw on
the waveform area will have a different look, depending on this Tuning Setting.
Linear which means all voices will be detuned by equally spaced amounts.
Super is a little less even than Linear, the detune has a slight emphasis towards notes being the
correct (in-tune) pitch. This
simulates a little closer how an ensemble of instruments playing the same note might sound (a couple
people are out of tune, but the average is closer to in-tune).
Exp., short for Exponential, favors notes closer to being intune even more. This might be closer to
how a more talented ensemble trying to play the same note might sound ;)
Inv., short for Inverted, is a little abstract, note tuning is pushed more to the outside edges. This
gives the ear a bit more of a
sensation of 2 pitch centers (sharp and flat).
Random selects random detune amounts every time there is a new note-on. This might sound more
natural in some situations, as of course humans don't play out of tune the same amount every