Glossary

A

AMP

Contextual to Exciter

Amplificator. See Shape.

AMPLITUDE

Contextual to VCA

Base output gain.

ARPEGGIATOR_ARP

Contextual to Part Global

• This voice mode takes the notes of a held chord and automatically triggers the voice to play them one by one in a rhythmic sequence.
  • PATTERN : Sequence direction : UP / DOWN (DN) / UP+DOWN (U+D) / RANDOM (RND)
  • TEMPO / DIVISION (DIV) : The tempo division control allows you to subdivide that master beat into precise mathematical fractions. A beat will be divided into 4, 8, or 16 parts. The triplets (denoted with a "T", e.g., 1/8T) fit three pulses into the exact space where two standard pulses would normally go. Values: 1/4, 1/8, 1/8T, 1/16, 1/16T, 1/32.
  • LENGTH (STEPS) : truncate the pattern to a fixed number of steps. Values: 1 to 64.
  • VOICING : Each step can be a single note or a voiced chord. Values: MONO, MULTI, chord presets (MAJ, MIN, ...).
  • LATCH : HOLD keeps the arpeggio going.
  • DYNAMICS (GATE) : Fraction of each step the note sounds. Values: 1 to 255. 128 = 50%´
  • RANGE : Octave-span the pattern walks through. Values: 1 to 8 octaves.

Arpeggiator CV (CONTROL VOLTAGE)* and not MIDI. CV is an analog*, physical standard. A CV arpeggiator generates raw, measurable electricity. To change the pitch of the arpeggio, it literally increases or decreases the voltage.

AUDIO

Contextual to Exciter

Continuous colored noise — beds, wind, breath, filter excitation. See Shape.

B

BEHAVIOR

Contextual to Panner

Select between two modes : linear (straight amplitude crossfade) or constant-power (a constante-power (-3 dB center) curve). * NO PAN LAW : Straight Amplitude Crossfade (Linear Panning) - How it Works: The volume changes in a strict, straight mathematical line. If the panner is dead center, both the left and right speakers output exactly 50% of the signal's amplitude.

• The Sonic Effect: Because of how acoustic energy and human hearing work, two speakers playing at 50% amplitude do not sound as loud as one speaker playing at 100%. If you sweep a sound left and right using this setting, it will sound like the volume noticeably drops or loses energy every time it passes through the center.

• WITH PAN LAW : Constant-Power (-3 dB Center) Curve

• How it Works: Instead of a straight line, the volume changes along a rounded, calculated curve (typically based on sine and cosine functions). When the panner is dead center, both speakers output at roughly 70.7% amplitude, which equals exactly a -3 dB reduction per channel.

• The Sonic Effect: When the acoustic power of two speakers playing at -3 dB is combined in a room (or in your headphones), they add up perfectly to 100% of the original perceived power. This eliminates the volume dip, ensuring the sound maintains a perfectly consistent, smooth loudness as it travels from hard-left to hard-right.

BIPOLR

Contextual to Exciter

See Polarity_bipolr.

BP

Contextual to Filter

Band-pass. Allows only a specific "band" (or slice) of frequencies to pass through, simultaneously cutting both the extreme lows and the extreme highs outside of that slice.

C

CHRD_CHORD

Contextual to Part Global

Voice mode. Pressing a single key triggers an entire predefined chord rather than just a single note. The played note is the root; intervals add on top. Each chord tone consumes a voice, so a MAJ7 chord uses four voices per key. VOICING : Clickable text box (e.g., MAJ ▼) triggering a modal dropdown. Select the chord of your interest : MAJ, MIN, MAJ7, MIN7, DOM7, DIM, AUG, SUS4, SUS2, PWR, OCT, 5+OCT.

CLICK :

See Toggle.

CLOCK

Contextual to Exciter

Toggle button (SYNC) enabling sample-accurate tempo latching.

COLOR_COL

Contextual to Exciter

A mapped rotary knob selecting the spectral tilt. Values: WHT, PNK, RED, BLU, VIO. See (https://en.wikipedia.org/wiki/Colors_of_noise) for details.

D

DAG

Direct Acyclic Graph. This is the graph in the middle of the main page, where nodes interact.

DENSITY_DENS

See Rate.

DETUNE

Contextual to Oscillator

See Pitch.

DLY_or_DELAY_STRUM

Contextual to Part Global

DELAY mode generates multiple voices from a single note, with staggered onset times — a strum or echo-like effect created using actual voices rather than a delay line. * TIME (Timing) : Stagger interval between successive voices. * VOICES (Density) : The number of voices in the strum. * DRIFT (Pitch) : Pitch drift added for each successive voice, to simulate human-style strumming detuning.

DRIFT

Contextual to Exciter

Type of Source. This operates strictly in the sub-audio domain, providing slow, wandering modulation over seconds or minutes.

DRIVE

Contextual to VCA

Not activated.

DUO

Contextual to Part Global

Duophonic mode. Two notes at a time. GLIDE (Portamento) doesn't affect the signal.

DUST

Contextual to Exciter

Sparse, randomly timed discrete impulses or clicks. Rather than a wash of noise, it sounds like a Geiger counter, static electricity, or the crackle of a worn vinyl record. See Shape.

E

ENGINE MODE

Contextual to Part Global

Voice mode selection panel.

ENVELOPE

A canvas-based interactive ADSR representation drawing mathematical curves. To move the handles, click, hold down, and drag.

• A (Attack) Handle: tactile drag handle at the peak X/Y junction.

  • Logic: Drags horizontally to adjust Attack time.

• D (Decay) Handle: tactile drag handle at the fall junction.

  • Logic: Restricted to horizontal drag only.

• S (Sustain) Handle: tactile drag handle in the middle of the plateau.

  • Logic: Restricted to vertical drag only (adjusts amplitude level).

• R (Release) Handle: tactile drag handle at the floor junction.

  • Logic: Restricted to horizontal drag only.

Curve Type Buttons [C]: Three tiny click-cycle buttons stationed between the ADSR nodes enabling the selection of the curve shape. This lets you pair, say, a snappy exponential attack with a gentle logarithmic release.

• Values: - (Linear), L (Logarithmic/concave), E (Exponential/convex), S (Sigmoid/S-curve).

EVOLUTION

Macro depth of the LFO. Depth of the drift layer (filtered chaos).

EXCITER_EXC

Node. The exciter taps a shared noise engine and shapes it.

F

FILTER_FLT

The filter's user interface completely does away with traditional control buttons in favor of an interactive canvas that displays the amplitude response (an interactive filter curve visualizer) and plots a polyline in real time. - Character string : A 4-way radio button strip across the top. - Values: LP (Low-pass), BP (Band-pass), HP (High-pass), NCH (Notch). - Cutoff / Resonance Handle: Drag and hold the little box on the line. Dragging horizontally (X-axis) adjusts Cutoff. Dragging vertically (Y-axis, inverted) adjusts Resonance. - Slope Badge: A click-cycle handle box in the top-right corner of the canvas to select the filter slope. - Logic: Clicking cycles through steepness cascades: 6, 12, 18, 24 dB/octave - Bottom line : A text row at the bottom displays integer-calculated estimates (e.g., "CUT 1.2kHz", "RES 45%", "24 dB/oct"). - "CUT 1.2kHz" sets the specific frequency where the filter begins to do its job. - "RES 45%" is the resonance value. - "24 dB/oct" describes how aggressively the filter removes sound beyond the cutoff point. "24 dB/oct" means that for every octave you go above or under the 1.2 kHz cutoff, the volume of those higher or lower frequencies is reduced by 24 decibels.

FM_DEPTH

Contextual to Oscillator

FREQUENCY

Contextual to Filter

Cutoff frequency. Logarithmic scale from 20Hz to 20.0k.

Contextual to LFO

See Rate.

G

GAIN_dB

Spans from -inf to -60.0dB up to +6.0dB.

GLIDE

Contextual to Part Global

Have no effect on the MONO, DUO and CHRD voices. Effective with LGT (Legato).

H

HP

Contextual to Filter

High-pass. Allows frequencies above the cutoff point to pass through, while aggressively cutting the frequencies below it.

HOVER HELP BAR

The UI features a persistent one-line hint strip under the piano roll. Hovering over any control sets a contextual string (e.g., "Hover a control for help.").

K

KNOBS

Knobs are rendered as 300-degree arcs (from 7 o'clock to 5 o'clock) with a 60-degree dead zone at the bottom. To use a knob, click, hold and drag up and and down.

L

LEVEL_LVL

Contextual to Exciter

Continuous knob for output level (LVL).

Contextual to Oscillator

See Output.

LFO

Graph node. A multi-scale low-frequency oscillator—a “temporal synthesis engine” that generates three layers of modulation (meso, micro, macro) from a single shared phase, with organic chaotic drift and per-key synchronization. It shares the oscillator’s phase mechanism while adding an output with multiple levels of depth.

Because you cannot hear an LFO directly as audio, it is used exclusively as a control signal. Its purpose is to rhythmically modulate (automatically adjust) other parameters within a synthesizer over time. Think of an LFO as an "invisible hand" that continuously turns a specific knob back and forth for you at a steady, predictable pace.

LGT_LEGATO

Contextual to Part Global

Monophonic voice mode. GLIDE TIME (Portamento) affects the legato between notes.

LP

Contextual to Filter

Low-pass. Allows frequencies below the cutoff point to pass through untouched, while rolling off or cutting frequencies above that point.

M

MAIN

Contextual to Mixer

Output gain.

MAPPED ROTARIES

Instead of dropdown menus, discrete enumerations (like noise color in exciter node) are selected via "mapped encoder knobs", where turning the knob snaps between string-labelled text values.

MIXER_MIX

Graph node. Usually auto-injected by the DAG compiler when edges converge, rather than placed manually.

- OUTPUT / MAIN : Master gain

- MUTE / STATE : Silence the mix output

- [IN 1] : Input gain

- [CH 1] : Channel of the signal

• Auto-injection. When you wire two oscillators into one filter input, the compiler places a mix er in front of the filter and routes the three sources through it. The patch's post-compilation edge list (what the front panel draws) will show the injected mixer even though you didn't add it. You can add 6 inputs maximum.

MODULATION

Contextual to Oscillator

Knob FM DEPTH. FM Depth dictates the intensity of the frequency modulation being applied to an oscillator.

MONO

Contextual to Part Global

Monophonic voice mode. GLIDE (Portamento) knob doesn't affect the signal.

MUTE

Contextual to VCA

See State.

Contextual to Mixer

Silence the mix output.

N

NCH

Contextual to Filter

Notch. The exact opposite of a band pass filter. It drastically cuts a specific, narrow band of frequencies while allowing the lows and highs on either side to pass perfectly fine.

NOTE

C0 through B, where 1 internal step = 0.5 semitones.

O

OSCILLATOR_OSC

Graph node. The primary tone generator with six waveforms, linear FM, pulse-width control, per-read detune, and intrinsic pitch glide.

OUTPUT

Contextual to Oscillator

Output amplitude level spanning -inf to +6.0dB.

Contextual to Mixer

Output gain.

P

PAN

Graph node. Panner. Interpolates from L100 to C (center deadzone) to R100. A panner (short for panoramic potentiometer) is a control that dictates the spatial positioning of a sound within the stereo field.

PART_GLOBAL

Voice allocating engine. This panel manages how note data is distributed to voices. * How to access this panel ? Click on the "Voice P1" button at the top right corner of the graph panel or click anywhere on the dark background around the graph. * Engine Modes : MONO, LGT (Legato), POLY, UNI (Unison), DUO, CHRD (Chord), DLY (Delay strum) and ARP (Arpeggiator)

PITCH

Contextual to Oscillator

In the GDVP engine, Pitch is handled as a high-resolution, 14-bit Control Voltage (CV) parameter that dictates the exact fundamental frequency of your sound. This translates to an incredibly smooth, analog-like tuning and modulation experience.

POLARITY_BIPOLR

Contextual to Exciter

Bipolar swings the output around zero rather than unipolar. Toggle button (BIPOLR) switching between unipolar and bipolar output.

POLY

Contextual to Part Global

Polyphonic voice mode. Play up to 128 notes simultaneously. The default for most patches.

POSITION

Contextual to Panner

Define stereo placement from L (left) to R (right) with a center (c).

Q

QUANT

Sample & hold quantized, random wevaform. A noise quantized following some musical grid. See Shape.

R

RATE

Contextual to Exciter

A continuous knob setting the speed/density. Logic: Relabels to [ DENSITY ] (DENS) automatically if Source is set to DUST; otherwise displays [ RATE ]. In the sub-audio range : approx. 0.05Hz to 40Hz.

Contextual to LFO

A continuous knob setting the speed/density. Renders in centi-Hz, spanning 0.05Hz to 40.00Hz.

RYTHM

Meso depth of the LFO.

S

SATURATE

Contextual to VCA

Not activated.

S&H

Sample and hold

SHAPE_SHPE

Contextual to Exciter

A continuous knob modifying the source. Logic: Relabels to [ AMP ] (for DUST), [ STEPS ] (for QUANT), [ SLEW ] (for DRIFT), or [ SHAPE ] (default).

SLEW

Contextual to Exciter

See Shape.

Contextual to LFO

Rate inertia. Higher values cause the velocity itself to change gradually rather than in jerks.

SLOPE

Contextual to Filter

A cascade slope engine is a flexible filter architecture that routes an audio signal through multiple consecutive filtering stages (referred to as "poles") in series.

• Principle of Operation

Every individual pole within the cascade attenuates the frequency spectrum by a fixed rate of 6 dB per octave. By stacking these stages, the engine increases the steepness of the filter's roll-off curve.

• 1-Pole (6 dB/oct): Provides a gentle, gradual attenuation.

• 2-Pole (12 dB/oct): Provides a moderate slope, commonly used for bright, natural-sounding patches.

• 3-Pole (18 dB/oct): Provides a pronounced, steep slope.

• 4-Pole (24 dB/oct): Provides a highly aggressive slope, standard for deep bass and focused lead synthesis.

SOURCE_SRC

Contextual to Exciter

A mapped rotary knob selecting the randomness family. Values: AUDIO, DUST, S&H, QUANT, DRIFT.

SPREAD - SPRD

Contextual to Exciter

At zero spread, identical noise is sent to both speakers (pure mono). As Spread increases, the left and right channels generate mathematically independent noise streams. - Sonic Effect: Creates a massive, enveloping "wash" of sound. It is ideal for widening cymbal and hi-hat synthesis or generating immersive, airy wind textures.

STATE

Contextual to VCA

Forces audible silence (executes but emits zero).

Contextual to Mixer

Silence the mix output.

STEPS

Contextual to Exciter

See Shape.

SYNC

Contextual to Exciter

See Clock.

T

TACTILE DRAG

See Knobs.

TEXT ENTRY

Uses a modal input capturing text input, featuring a blinking cursor. It strictly filters out non-filesystem-safe characters (e.g., /, \, :, *, ?, <, >, |).

TEXTURE

Micro depth of the LFO.

TIMBRE

Contextual to Oscillator

Width knob. Adjusts the pulse width of the Pulse shapes.

TIME

In ms/s. Logarithmic scale from 1ms to 10.0s.

TOGGLE

Toggles execute exactly on the click edge frame within an evaluated hitbox. Exemple of toggle : BIPOLR (Exciter) or SYNC (Exciter)

U

UNI_UNISON

Contextual to Part Global

Voice mode. Takes some or all available voices and stacks them onto a single keypress. The voices are often slightly detuned from one another to create a massive, thick, and wide sound. * VOICES (DENSITY) : increases the number of voices per key. * SPREAD (DETUNE) : increases the pitch difference between each voices.

V

VCA

Graph node. The voltage-controlled amplifier: the level/gate stage of a voice.

VOICE

In synthesizer terminology, a voice is the complete, independent hardware or software signal path required to generate and shape a single musical note at a given time. The GDVP is set at 128 voices during compilation (which means that the user cannot set the maximum number of voices themselves).

W

WAVEFORM

Contextual to Oscillator

Six waveforms : sine (SIN), square (SQR), triangle (TRI), sawtooth (SAW), pulse (PLS) and noise (NOS). - Pulse needs the timbre value to be above 0 to work. A pulse wave is essentially a square wave where the symetrical shape has been pushed off-center (the "on" and "off" times are unequal). As the pulse becomes narrower, the sound shifts from a hollow tone to a very thin, nasal, and pinched character. - A noise waveform is a completely aperiodic, chaotic signal. Instead of generating a single pitched musical note, noise simultaneously blasts thousands of random frequencies. It sounds like a rushing waterfall, analog television static, or hissing wind. - This particular noise waveform is chromatic. This means that sound is not just random noise. It is random noise generated around a pitch.

Contextual to LFO

Six waveforms : sine (SIN), square (SQR), triangle (TRI), sawtooth (SAW), sample & hold (S&H) and noise (NOS).

WIDTH

Contextual to Oscillator

See Timbre.