Step 01 / 4
Tune the three bell tones #
Load Wavetable and apply the starting settings. Enable both main oscillators and Sub. Select Basics → Basic Shapes for each main oscillator, with Position 25%, the triangle region. Set both oscillator effect modes to None and keep both pans centered. Leave Filter 1 Off for this first step and Filter 2 Off throughout.
| Control | Oscillator 1 | Oscillator 2 |
|---|---|---|
| Wavetable | Basic Shapes | Basic Shapes |
| Position | 25% | 25% |
| Semitone | +16 st | +18 st |
| Detune | +30 ct | −15 ct |
| Gain | −21 dB | −24 dB |
| Effect mode | None | None |
Set Sub Gain −6.0 dB, Sub Tone 12%, and Sub Octave −2. Set global Transpose +12 st. These settings belong together: the sub ends up one octave below the played note, while the two main oscillators sit more than two octaves above it. Their unequal intervals create the bell character.
Set global Volume −7.0 dB, Poly 5, Unison None and Glide 0 ms. Keep global Time at 0% and Global Mod Amount at 100%.
Use this amplitude envelope:
| Amplitude control | Value |
|---|---|
| Attack | 1.00 ms |
| Decay | 4.30 s |
| Sustain | −38 dB |
| Release | 350 ms |
| Attack slope | 0% |
| Decay / Release slopes | 50% / 50% |
| Loop mode | None |
The fast attack gives a clear strike. The curved decay lets the bell fade while the key remains held; the quiet sustain leaves a faint residual tone. Set the three active MIDI modulation connections to Velocity → Amp 50, Pitch Bend → Pitch +2 st, and Mod Wheel → Osc 1 Position 15. Keep other matrix connections at zero. The mod wheel moves oscillator 1 toward a brighter waveform.
Step 02 / 4
Round the sound with a low-pass filter #
Enable Filter 1. Choose Lowpass, the 24 dB slope and PRD circuit. Set Frequency 1.65 kHz, Resonance 34%, and Drive 0.00 dB. Use Serial filter routing and keep Filter 2 Off. Leave filter modulation from envelopes, LFOs and note pitch at zero.
The filter rounds the triangle harmonics and emphasizes the region around the high bell tones. Its fixed cutoff makes higher notes softer as more of their spectrum moves above the cutoff.
Step 03 / 4
Surround the bell with a room #
Add Reverb after Wavetable.
| Reverb control | Value |
|---|---|
| Predelay | 8.00 ms |
| Size / Smoothing | 80.00 / Fast |
| Decay | 1.50 s |
| Stereo | 100.00 |
| Density | High |
| Dry/Wet | 44% |
| Input Lo Cut / Hi Cut | Off / Off |
| Reflect / Diffuse level | 0 dB / 0 dB |
| Early-reflection Spin | On |
| Spin rate / Amount | 0.30 Hz / 17.50 |
| Early-reflection Shape | 0.50 |
| Diffusion High | On, Shelf |
| High frequency / Gain | 4.50 kHz / 0.70 |
| Diffusion Low | Off |
| Diffusion / Scale | 60% / 40% |
| Chorus | On |
| Chorus rate / Amount | 0.02 Hz / 0.02 |
| Freeze | Off |
The early reflections connect the bell to the room. The high-frequency damping softens the reverberation, and the short room decay leaves the instrument's longer envelope clear.
Step 04 / 4
Add stereo motion and digital texture #
Place Auto Pan-Tremolo after Reverb. Select Panning, Amount 22%, Sine, Time Mode Rate, and Frequency 1.00 Hz. Choose Stereo Mode Phase, with Phase 180° and Offset 0°. Set Shape, Attack Time and Dynamic Modulation to zero; leave Invert, Harmonic and Vintage Off.
The small panning amount moves the bell and its room together without spreading them across the entire stereo field.
Add Redux last. Set Sample Rate 16.0 kHz, Bit Depth 12, and Dry/Wet 40%. Keep Jitter 0%, Shape 0%, DC Shift Off, and both Pre-Filter and Post-Filter Off.
The lower sample rate introduces additional high-frequency tones, while bit reduction roughens the quieter part of the decay. The dry blend retains the rounded bell underneath.
Use a light touch for quieter bells, or higher velocity for a stronger strike. Hold notes to reveal the long decay and quiet sustain. Chords combine the low fundamentals with the closely spaced high partials. Up to five notes can sound at once. Raise the mod wheel to brighten the first high oscillator.
Wavetable reference · Stock effects reference
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