Step 01 / 10
Start with Operator #
Load the plain Operator instrument. Start with oscillator A on Sine, Coarse 1, Fine 0, Level 0 dB, and B/C/D levels at −∞ dB. Operator's output Volume is −18 dB, Spread 0%, Transpose 0 st, and Tone 70%. Switch Filter, LFO and Pitch Env Off.
Use the initial amplitude envelopes: A has Attack 0 ms, Decay 1.00 s, Sustain 0 dB, Release 400 ms. B/C/D have Attack 0 ms, Decay 400 ms, Sustain −24 dB, Release 400 ms. Their initial velocity amounts are 50%. If your user-saved default differs, the starting-state table lists every initial parameter.
At this stage, the sound is a plain sine note.
Hear step 1:
Next: Layer the four oscillators →Step 02 / 10
Layer the four oscillators #
Click Operator's lower-right global section to reveal its algorithms. Choose algorithm 11, the far-right diagram showing A, B, C, and D side by side, all feeding the output. This is parallel additive layering. A different algorithm will cause frequency modulation and produce a different sound.
Enable all four oscillators. Click each oscillator's colored A/B/C/D area to edit its central panel. Choose the waveform from the Wave menu.
| Oscillator | Wave menu | Abbreviation in panel | Coarse | Fine | Level |
|---|---|---|---|---|---|
| A | Saw 4 | Sw4 | 2 | 0 | −5.0 dB |
| B | Sine | Sin | 4 | 0 | −1.0 dB |
| C | Saw 3 | Sw3 | 3 | 0 | −7.0 dB |
| D | Saw 8 | Sw8 | 1 | 0 | −18 dB |
For each oscillator, set Fixed Off, frequency quantization On, oscillator retrigger On, phase 0%, Feedback 0%, frequency-to-velocity 0, level-to-velocity 0%, and level-to-key 0%. Keep its pitch-envelope destination enabled. Fine is Operator's ratio fine control; it is not a conventional cents knob.
A establishes the strong even-harmonic body. B reinforces the fourth harmonic. C supplies the third harmonic and additional upper components. D supplies a quieter fundamental and fills out the spectrum.
Hear step 2:
Next: Shape the amplitude envelopes →Step 03 / 10
Shape the amplitude envelopes #
Repeat this table for A, B, C, and D. Editing A alone does not update B–D.
| Envelope control | Final value |
|---|---|
| Attack | 145 ms |
| Initial | −∞ dB |
| Peak | 0.0 dB |
| Decay | 1.10 s |
| Sustain | −10 dB |
| Release | 350 ms |
| Loop mode | None |
| Repeat | Off |
| Time < Vel | 0% |
| Level < Vel / Vel | 0% |
| Level < Key / Key | 0% |
| Release < Vel | 0% |
The attack makes the note swell, while the nonzero sustain keeps the body alive during the hold. The release allows a short fade after note-off.
Hear step 3:
Next: Add the downward pitch movement →Step 04 / 10
Add the downward pitch movement #
Enable Pitch Env in Operator's right-hand column, then click that section to display its envelope.
| Pitch-envelope control | Final value |
|---|---|
| Amount | 100% |
| Initial / Peak | +2 st / +2 st |
| Attack | 0.00 ms |
| Decay | 1.10 s |
| Sustain / End | 0 st / 0 st |
| Release | 899 ms (approximately 900 ms) |
| Attack slope | 0% |
| Decay slope | 0% |
| Release slope | 100% |
| Loop mode / Repeat | None / Off |
| Time < Vel | 0% |
| Destination A | A, B, C and D enabled; amount 100% |
| Destination B | Off |
The pitch-envelope curve handles are visible in the graph. Select the decay segment and set its slope to 0%; do not leave the initial 100% decay slope. The small two-semitone movement looks almost flat at the graph's full vertical scale.
Hold a G4 note. The tone starts two semitones above the played note, then falls to G4 over 1.10 seconds.
Hear step 4:
Next: Set the filter and global controls →Step 05 / 10
Set the filter and global controls #
| Control | Final value |
|---|---|
| Filter | On; Lowpass; Clean circuit; 24 dB/oct |
| Frequency / Resonance | 6.20 kHz / 0.0% |
| Filter Drive | 0.00 dB |
| Filter envelope amount | 0% |
| Filter < Key / Filter < Vel | 0% / 0% |
| Filter LFO modulation | Off |
| Shaper | Off |
| LFO | Off |
| Spread | 8% |
| Tone | 70% |
| Transpose / Time / Time < Key | 0 st / 0% / 0% |
| Output Volume | +2.5 dB |
| Panorama / Pan < Key / Pan < Rnd | Center / 0 / 0 |
| Voices | 6 |
| Global Rtg | Off |
| Interpolation / Antialias | On / On |
| Glide | Off; inactive time 50.0 ms |
| Pitch-bend range | +5 st |
Leave the global velocity, key, aftertouch and mod-wheel modulation amounts at zero. This keeps the patch at a consistent level across velocities.
Hear step 5:
Next: Add Chorus-Ensemble →Step 06 / 10
Add Chorus-Ensemble #
Place Chorus-Ensemble immediately after Operator.
| Control | Final value |
|---|---|
| Mode | Ensemble |
| Rate | 0.65 Hz |
| Amount | 22% |
| Width | 100% |
| Feedback | 0.0%; inversion Off |
| High-pass | Off |
| Warmth | 0.0% |
| Output | 0.0 dB |
| Dry/Wet | 20% |
Use Ensemble mode for moving stereo layers. Leave inactive Chorus/Vibrato controls at the values in the complete settings.
Hear step 6:
Next: Add the stereo echoes →Step 07 / 10
Add the stereo echoes #
Place Delay after Chorus-Ensemble.
| Control | Final value |
|---|---|
| Left / Right mode | Time / Time — both Sync switches Off |
| Link | On |
| Left / Right time | 939 ms / 939 ms |
| Feedback | 32% |
| Ping Pong | On |
| Smoothing | Repitch |
| Filter | Off |
| Freeze | Off |
| LFO > Delay / LFO > Filter | 0% / 0% |
| Dry/Wet | 22% |
Set both sides to 939 ms for widely spaced echoes. Keep the filter Off so the repeats retain the bright tone.
The 32% feedback lets the echoes fade while preserving a spacious stereo trail.
Hear step 7:
Next: Add the diffuse reverb →Step 08 / 10
Add the diffuse reverb #
Place Reverb after Delay.
| Reverb section | Final settings |
|---|---|
| Input Filter | Lo Cut Off; Hi Cut Off |
| Predelay | 12.0 ms |
| Early Reflections | Spin On; Rate 0.30 Hz; Amount 17.50; Shape 0.50 |
| Size | 120.00; smoothing Fast |
| Decay | 8.50 s |
| Diffusion / Scale | 85% / 65% |
| Density | High |
| Stereo | 100.00 |
| Diffusion High | On; Shelf; 6.00 kHz; multiplier 0.85 |
| Diffusion Low | Off |
| Chorus | On; Rate 0.30 Hz; Amount 0.36 |
| Reflect / Diffuse levels | −6.0 dB / +2.0 dB |
| Freeze | Off; Flat and Cut On but inactive while Freeze is Off |
| Dry/Wet | 68% |
The Diffusion High value 0.85 and Chorus Amount 0.36 are the unitless values shown by Reverb, not percentages. Keep the input cuts disabled: their initial settings otherwise remove too much of the bright source.
Hear step 8:
Next: Set the final width and gain →Step 09 / 10
Set the final width and gain #
Add Utility after Reverb. Set Input = Stereo, Width = 85%, Gain = +0.50 dB, and Balance = Center. Keep both phase-invert switches, Mono, Bass Mono, Mute and DC filter Off.
The width adjustment focuses the stereo field slightly. The gain sets the final output level. Set the Width control to the displayed 85% value.
The complete signal order is now:
Operator → Chorus-Ensemble → Delay → Reverb → Utility
Hear step 9:
Next: Explore the finished sound →Step 10 / 10
Explore the finished sound #
Play the finished instrument and let the echoes and reverb fade. Short notes emphasize the swell and falling pitch; longer notes settle into the sustained tone. Try other notes to explore how the harmonic layers change across the keyboard.
Hear step 10:
Audio & settings ↓