YOI

A main voice with a sub beneath it. Pick −1 or −2 octaves, set the crossover, choose how far the sub follows.

Main oscillator morphs sawtooth to square, high-passed at the crossover. The sub morphs sine to triangle one or two octaves down, low-passed at that same crossover — 50–700 Hz, log taper. The sub skips the filter and the grit entirely; SUB FOLLOW (0–100%) feeds it the level the main voice got through that chain, so it moves with the top instead of sitting under it.

Low-pass or band-pass, 20 Hz to 2.5 kHz, with resonance and a mirror control.

State-variable filter morphing low-pass to band-pass, 20 Hz–2.5 kHz on a log taper. RESONANCE remaps to Q rather than setting it directly. MIRROR (0–100%) folds the inverted response back in. The downsampler sits immediately after the filter on purpose — that is what folds the resonant peak back down into vowel formants.

Up to 64 points with bendable segments. Sync from 1/64 to 32 bars, or free-run from 10 ms to 30 s. Five directions, plus acceleration and re-trigger.

Up to 64 points, every segment bendable, rendered to a 1025-entry table and read back with interpolation. The clock syncs to the host across 24 divisions from 1/64 to 32 bars, or free-runs 10 ms–30 s on a log taper. Five directions — forward, backward, ping-pong, sine, random — plus an acceleration stage (0.1× to 4× at each end, bipolar curve) and re-trigger. What it reads sets cutoff to CUTOFF lowered by AMOUNT × (1 − drawing), in octaves, up to 8 of them.

Sample & hold or downsampling, wavefolding at three points in the chain, and a clean-up stage for the mess that makes.

Sample & hold at 1.3–6 kHz, free-running or locked to the note, or plain downsampling. The wavefolder inserts at one of three points: pre-filter, pre-downsample or post-downsample — the more harmonics going in, the more bite comes out. Clean-up is a low-pass tracking a multiple of the moving cutoff, and a harmonic booster after it puts back what that took.

An OTT-style multiband compressor, a stereo widener, and a soft limiter on the way out. Output runs −48 to +6 dB.

A three-band OTT-style compressor, split Linkwitz–Riley at 150 Hz and 2.5 kHz, every band compressing upward and downward at once, with its time running 25 ms to 400 ms. After it, a dimension expander takes the mono voice out to stereo. Then output level, −48 to +6 dB, into a soft limiter.

Five macros — VOICE, THROAT, POWER, CONTROL and WIDTH. Each one moves several things at once, so you shape the sound instead of hunting for parameters.

Five macros, each remapping several parameters rather than ganging knobs to one value. VOICE morphs both oscillators together — main saw to square, sub sine to triangle — with makeup gain so the level holds. THROAT sets the sample & hold rate. POWER opens OTT depth to full by halfway, then pushes its upward ratio past that. CONTROL halves the clean-up filter’s multiple across its travel while raising filter drive on a curve. WIDTH drives the dimension expander. THROAT and RESONANCE also sit on an X/Y pad, which is where most of the vowel lives.

One voice, newest note wins. Glide in legato or always mode, pitch bend up to 24 semitones, and an amp envelope.

Monophonic with newest-note priority, so a held chord sounds the last key you pressed. Glide 0–2000 ms, either legato (only when notes overlap) or always. Pitch bend 0–24 semitones. Amp envelope runs 0.1 ms–5 s attack, 1 ms–5 s decay, 0–100% sustain and 1 ms–10 s release, all on log tapers.

16 factory presets and 8 factory drawings, with room for your own. Loading a drawing changes the drawing and nothing else.

16 factory presets, plus an Init to build from. 8 factory drawings — Mock-up, Wub, Rise, Pluck, Gate, Talk, Steps and Init — and your own saved beside them. Drawings are kept deliberately apart from presets: loading one swaps the shape and leaves the rest of the patch where it is, so you can audition movement against a sound you already like.