Step 01 / 4
Shape the pulse-wave body #
The signal flow is Wavetable → Chorus-Ensemble → EQ Eight → Delay. Load Wavetable and apply the starting settings, with both main oscillators on and the Sub off. Choose Basics → Pulse PW for both oscillators.
| Control | Oscillator 1 | Oscillator 2 |
|---|---|---|
| Position | 33% | 36% |
| Transpose | 0 st | 0 st |
| Detune | 0 ct | −7 ct |
| Gain | −6 dB | −9 dB |
| Pan | Center | Center |
| Oscillator effect | Modern: Warp 0%, Fold 0% | None |
Set global Transpose −12 st, Poly 6, Classic Unison, 3 unison voices, Amount 4%, Glide 0 ms and device Volume −11 dB. The two pulse positions distribute harmonics differently; fine detuning and light unison introduce slow beating without a large pitch spread.
Enable Filter 1 as a 24 dB low-pass, PRD circuit, 1.36 kHz, Resonance 0%, Drive 0 dB. Keep Filter 2 off and filter routing Serial.
| Envelope control | Amp | Env 2 |
|---|---|---|
| Attack | 1.95 s | 1.71 s |
| Decay | 2.10 s | 2.37 s |
| Sustain | 0 dB | 14% |
| Release | 2.40 s | 2.10 s |
| Attack slope | 0% | 0% |
| Decay / release slope | 50% / 50% | 50% / 50% |
| Loop mode | None | None |
For Env 2, use Initial 0%, Peak 100% and Final 0%. In Matrix, set Env 2 → Flt 1 Freq: 25. In MIDI, set Key → Flt 1 Freq: 100, Vel → Amp: 50, and PB → Pitch: 2 st. Key tracks the played note, Vel controls amplitude from velocity, and PB supplies pitch bend. Set every other modulation connection to zero. Leave global modulation amount at 100% and Time at 0%.
The amplitude envelope makes held notes bloom. The filter opens during the swell, then settles toward a softer sustained tone. Higher notes receive more filter opening, and stronger velocity raises the instrument output. Short notes end before the full swell develops.
Step 02 / 4
Add slow chorus movement #
Follow Wavetable with Chorus-Ensemble in Chorus mode. Set Rate 0.65 Hz, Amount 65%, Delay Time 7 ms, 2 delay taps, Width 100% and Dry/Wet 30%. Keep Feedback, Warmth, Shape and Offset at zero, high-pass off, and Output at 0 dB.
The delayed voices move around the sustained pulse tone, widening it and adding gentle pitch motion while the dry body remains prominent.
Step 03 / 4
Balance the lower harmonics #
Follow the chorus with EQ Eight in Stereo mode, with Oversampling off. Enable bands 1–4 and disable bands 5–8.
| Band | Type | Frequency | Gain | Q |
|---|---|---|---|---|
| 1 | Low shelf | 75 Hz | −5 dB | 0.71 |
| 2 | Bell | 160 Hz | +2 dB | 0.80 |
| 3 | Bell | 392 Hz | +4.5 dB | 4.00 |
| 4 | Bell | 523 Hz | −2.5 dB | 4.00 |
Use Scale 100%, Adaptive Q On, and Output 0 dB. The low shelf restrains the deepest notes; the broad 160 Hz lift adds body. The narrower middle bands emphasize one region and soften another. These EQ frequencies stay fixed as notes change, giving different registers slightly different coloration.
Step 04 / 4
Add a short, filtered stereo tail #
Finish with Delay. Turn Link off, use unsynced time controls, and set Left 300 ms, Right 325 ms, Feedback 12% and Dry/Wet 14%. Enable its filter at 900 Hz, Width 5.00. Use Fade smoothing, with Ping Pong and Freeze off. Set both LFO modulation amounts to zero.
The unequal delay times spread the echoes across the stereo field. Low feedback keeps the repeats brief, while the filter makes them softer than the direct pulse tone.
Hold notes to let the filter and amplitude swells develop. Short touches produce softer tones; overlapping notes let the releases and stereo echoes blend.
Audio & settings ↓