Synth

The synth panel is subtractive: oscillators into a mixer, into a filter, into effects. What makes it follow a performance rather than a keyboard is what drives each stage — the tracker's control signals, not fixed note-on parameters.

Oscillators and mixer

Two oscillator sections — a primary bank of sine, triangle, square, saw, and noise, plus a second oscillator with its own saw/square blend, detune, and octave — mix down to one signal per voice. Blend them to taste: the tracked pitch drives all of them together, so a saw-heavy blend and a sine-heavy blend track the same performance, just with a different color.

Filter

A state-variable or ladder filter shapes the mix. ENV > CUTOFF patches the tracked envelope into cutoff, so the filter opens with your dynamics instead of sitting static. KEY FOLLOW tracks cutoff to pitch, keeping the timbre consistent across the range instead of getting duller as you play higher.

Envelope

There is no attack/decay/sustain/release to tune. Amplitude follows the tracked input envelope directly — fast enough to speak on short, quiet notes, smoothed enough that it doesn't zipper. That is a deliberate tradeoff: the performer's dynamics are already an envelope; adding a second, independent one would fight the first.

Effects and presets

Chorus and delay sit after the filter. The preset dropdown recalls a full panel state; DRY/WET is deliberately not part of any preset; it is a performance control, meant to be ridden live rather than set once and forgotten.

Next: running Contour in a DAW.