Quick Reference
The Basic Patch
The "home base" for all learning sessions. Adapted from Anu Kirk's Definitive Guide to Evolver (p.7-8). This is a minimal, neutral patch that lets you isolate and hear the effect of any single parameter change.
Save this to Program 128 in Bank 1 (and a backup copy elsewhere).
Why This Matters
Without a known starting state, you can't isolate what you're learning. When you turn a knob and hear a change, you need to know that change came from that knob and not some other parameter interaction. The basic patch is your lab bench.
Source: Anu Kirk Guide p.7 -- "The Basic Patch"
Complete Parameter Dump
Every parameter on the Evolver front panel, organized by section. Values sourced from Anu Kirk's basic patch table (p.7-8) and verified against the DSI Manual parameter definitions (p.14-26).
Global Parameters
| Parameter | Value | Notes |
|---|---|---|
| Main Volume | 75 | Overall output level |
| Pot Mode | Relative | Recommended for learning -- changes are relative to stored values |
Source: Anu Kirk Guide p.7, DSI Manual p.13
Oscillator 1 (Analog, Left Channel)
| Parameter | Value | Notes |
|---|---|---|
| Frequency | C0 | Base pitch, lowest practical range. C3 = middle C |
| Fine | 0 | No detuning (range: -50 to +50 cents) |
| Shape | Saw | Sawtooth wave -- rich harmonics, good for hearing filter changes |
| Level | 50 | Half volume (range: 0-100) |
| Glide | 0 | No portamento (range: 0-100, or Finger 02-100, or Keybd Off) |
Oscillator 2 (Analog, Right Channel)
| Parameter | Value | Notes |
|---|---|---|
| Frequency | C0 | Same as Osc 1 |
| Fine | 0 | No detuning |
| Shape | Saw | Sawtooth wave |
| Level | 50 | Half volume |
| Glide | 0 | No portamento |
Analog Oscillator Shared Parameters
| Parameter | Value | Notes |
|---|---|---|
| Sync 2->1 | OFF | No hard sync (Osc 2 does not reset Osc 1) |
| Osc Slop | 0 | No random frequency drift (range: 0-5) |
Oscillator 3 (Digital, Left Channel)
| Parameter | Value | Notes |
|---|---|---|
| Frequency | C0 | Base pitch |
| Fine | 0 | No detuning |
| Shape | 1 | Sine wave (first waveshape in Prophet-VS set) |
| Level | 50 | Half volume |
| Glide | 0 | No portamento |
| FM 4->3 | 0 | No frequency modulation from Osc 4 (range: 0-100) |
| Ring Mod 4->3 | 0 | No ring modulation from Osc 4 (range: 0-100) |
| Shape Seq | OFF | No waveshape sequencing |
Oscillator 4 (Digital, Right Channel)
| Parameter | Value | Notes |
|---|---|---|
| Frequency | C0 | Base pitch |
| Fine | 0 | No detuning |
| Shape | 1 | Sine wave |
| Level | 50 | Half volume |
| Glide | 0 | No portamento |
| FM 3->4 | 0 | No frequency modulation from Osc 3 (range: 0-100) |
| Ring Mod 3->4 | 0 | No ring modulation from Osc 3 (range: 0-100) |
| Shape Seq | OFF | No waveshape sequencing |
Noise
| Parameter | Value | Notes |
|---|---|---|
| Volume | 0 | No noise mixed in (range: 0-100, feeds both channels equally) |
Lowpass Filter (Analog, L+R in tandem)
| Parameter | Value | Notes |
|---|---|---|
| Frequency | 164 | Wide open -- maximum cutoff, all harmonics pass through (range: 0-164) |
| Resonance | 0 | No resonance (range: 0-100, self-oscillates in 4-pole at high values) |
| 2/4 Pole | 2P | 2-pole mode (-12dB/oct). 4-pole is -24dB/oct and can self-oscillate |
| Env Amount | 0 | No filter envelope modulation (range: -99 to +99) |
| Velocity | 0 | No velocity sensitivity on filter envelope |
| Key Amount | 0 | No keyboard tracking on filter cutoff (72 = 1 semitone/note) |
| Audio Mod | 0 | No audio-rate modulation from analog osc (range: 0-100) |
| Split | 0 | L/R filters locked together (range: 0-100, raises L / lowers R) |
Filter Envelope (ENV 1)
| Parameter | Value | Notes |
|---|---|---|
| Attack | 0 | Instant attack (range: 0-110) |
| Decay | 0 | No decay (range: 0-110) |
| Sustain | 100 | Full sustain -- filter stays open while key held (range: 0-100) |
| Release | 0 | Instant release (range: 0-110) |
VCA (Amplifier)
| Parameter | Value | Notes |
|---|---|---|
| Level | 0 | No base level -- sound only when envelope is active (range: 0-100) |
| Env Amount | 100 | Full envelope control of amplitude (range: 0-100) |
| Velocity | 0 | No velocity sensitivity on VCA envelope |
| Output Pan | St1 | Full stereo (L fully left, R fully right). Options: St1, St2, St3, Mono, rSt1, rSt2, rSt3 |
| Volume | 100 | Voice volume at maximum (range: 0-100) |
VCA Envelope (ENV 2)
| Parameter | Value | Notes |
|---|---|---|
| Attack | 0 | Instant attack (range: 0-110) |
| Decay | 0 | No decay (range: 0-110) |
| Sustain | 100 | Full sustain -- sound holds at full level while key pressed (range: 0-100) |
| Release | 0 | Instant release (range: 0-110) |
Highpass Filter (Digital)
| Parameter | Value | Notes |
|---|---|---|
| Frequency | 0 | No high-pass filtering (range: 0-99) |
Tuned Feedback
| Parameter | Value | Notes |
|---|---|---|
| Frequency | 0 | C0, lowest feedback pitch (range: 0-48, steps in semitones C0-C4) |
| Level | 0 | No feedback (range: 0-100, oscillates at high levels) |
| Grunge | OFF | No nasty feedback character |
Distortion
| Parameter | Value | Notes |
|---|---|---|
| Amount | 0 | No distortion (range: 0-99). Note: noise gate activates at any non-zero value |
Output Hack
| Parameter | Value | Notes |
|---|---|---|
| Amount | 0 | No bit-crushing (range: 0-14) |
Delay (All 3 Taps)
| Parameter | Value | Notes |
|---|---|---|
| Time 1 | 0 | No delay on tap 1 (range: 0-150, or sync values) |
| Level 1 | 0 | Tap 1 silent |
| Time 2 | 0 | No delay on tap 2 |
| Level 2 | 0 | Tap 2 silent |
| Time 3 | 0 | No delay on tap 3 |
| Level 3 | 0 | Tap 3 silent |
| Feedback 1 | 0 | No delay self-feedback (range: 0-100) |
| Feedback 2 | 0 | No delay-to-filter feedback (range: 0-100) |
Envelope 3 (Mod Envelope)
| Parameter | Value | Notes |
|---|---|---|
| Destination | OFF | No modulation target |
| Amount | 0 | No modulation amount (range: -99 to +99) |
| Velocity | 0 | No velocity sensitivity |
| Delay | 0 | No pre-attack delay (range: 0-100) |
| Attack | 0 | Instant attack (range: 0-110) |
| Decay | 0 | No decay (range: 0-110) |
| Sustain | 0 | Zero sustain (range: 0-100) |
| Release | 0 | Instant release (range: 0-110) |
LFO 1 (Low Frequency Oscillator)
| Parameter | Value | Notes |
|---|---|---|
| Frequency | 0 | Slowest rate (range: 0-150, or sync values) |
| Shape | Tri | Triangle wave (options: Tri, RevSaw, Saw, Square, Random) |
| Amount | 0 | No modulation (range: 0-100) |
| Destination | OFF | No modulation target |
| Key Sync | OFF | LFO free-runs (does not restart on key press) |
LFO 2
| Parameter | Value | Notes |
|---|---|---|
| Frequency | 0 | Slowest rate |
| Shape | Tri | Triangle wave |
| Amount | 0 | No modulation |
| Destination | OFF | No modulation target |
| Key Sync | OFF | Free-running |
LFO 3
| Parameter | Value | Notes |
|---|---|---|
| Frequency | 0 | Slowest rate |
| Shape | Tri | Triangle wave |
| Amount | 0 | No modulation |
| Destination | OFF | No modulation target |
| Key Sync | OFF | Free-running |
LFO 4
| Parameter | Value | Notes |
|---|---|---|
| Frequency | 0 | Slowest rate |
| Shape | Tri | Triangle wave |
| Amount | 0 | No modulation |
| Destination | OFF | No modulation target |
| Key Sync | OFF | Free-running |
Modulation Slot 1
| Parameter | Value | Notes |
|---|---|---|
| Source | OFF | No modulation source |
| Amount | 0 | No modulation amount (range: -99 to +99) |
| Destination | OFF | No modulation target |
Modulation Slot 2
| Parameter | Value | Notes |
|---|---|---|
| Source | OFF | No modulation source |
| Amount | 0 | No modulation amount |
| Destination | OFF | No modulation target |
Modulation Slot 3
| Parameter | Value | Notes |
|---|---|---|
| Source | OFF | No modulation source |
| Amount | 0 | No modulation amount |
| Destination | OFF | No modulation target |
Modulation Slot 4
| Parameter | Value | Notes |
|---|---|---|
| Source | OFF | No modulation source |
| Amount | 0 | No modulation amount |
| Destination | OFF | No modulation target |
MIDI Controllers
| Parameter | Value | Notes |
|---|---|---|
| Velocity Destination | OFF | No velocity routing |
| Velocity Amount | 0 | No velocity modulation |
| Mod Wheel Amount | 0 | No mod wheel modulation |
| Mod Wheel Destination | OFF | No mod wheel target |
| Pressure Amount | 0 | No aftertouch modulation |
| Pressure Destination | OFF | No aftertouch target |
| Breath Amount | 0 | No breath control modulation |
| Breath Destination | OFF | No breath target |
| Foot Controller Amount | 0 | No foot pedal modulation |
| Foot Controller Destination | OFF | No foot pedal target |
Sequencer (All 4 Tracks)
| Parameter | Value | Notes |
|---|---|---|
| Seq 1 Destination | OFF | No sequencer modulation target |
| Seq 2 Destination | OFF | No sequencer modulation target |
| Seq 3 Destination | OFF | No sequencer modulation target |
| Seq 4 Destination | OFF | No sequencer modulation target |
| All Step Values (1-16) | 0 | All 64 steps (4 tracks x 16 steps) set to 0 |
External Input
| Parameter | Value | Notes |
|---|---|---|
| Volume | 0 | No external audio (range: 0-100) |
| Mode | St | Stereo mode (options: Stereo, Mono Left, Mono Right, L Control + R Audio) |
| Input Hack | 0 | No input bit-crushing (range: 0-14) |
| Input Peak Amount | 0 | No peak hold modulation |
| Input Peak Destination | OFF | No peak hold target |
| Env Follow Amount | 0 | No envelope follower modulation |
| Env Follow Destination | OFF | No envelope follower target |
Miscellaneous Parameters
| Parameter | Value | Notes |
|---|---|---|
| Env Shape | Exp | Exponential envelopes (more natural than Linear) |
| Key Off/Transpose | -24 | Keyboard transposed down 2 octaves for best range |
| Pitch Wheel Range | 0 | No pitch bend |
| BPM | 120 | Default tempo |
| Clock Divide | 8n | Eighth note division |
| Trigger Select | Seq or Key | Envelopes triggered by sequencer or keyboard |
| Key Mode | Poly Low Note | Low note priority (Poly for poly chain compatibility) |
Source: Anu Kirk Guide p.7-8, DSI Manual p.14-26
What It Sounds Like
A plain, bright, sustained tone. Both analog oscillators playing sawtooth waves in stereo with the filter wide open and no modulation. Boring on purpose -- it's a canvas, not a painting.
Quick Test
After programming, play middle C. You should hear a bright, buzzy, sustained sawtooth tone in stereo. If you hear anything else -- modulation, filtering, echo, distortion -- something is still set wrong.
Parameter Count Summary
| Section | Parameters |
|---|---|
| Global | 2 |
| Oscillators 1-4 | 26 |
| Analog Shared (Sync, Slop) | 2 |
| Noise | 1 |
| Lowpass Filter | 8 |
| Filter Envelope (ENV 1) | 4 |
| VCA | 5 |
| VCA Envelope (ENV 2) | 4 |
| Highpass Filter | 1 |
| Tuned Feedback | 3 |
| Distortion | 1 |
| Output Hack | 1 |
| Delay (3 taps) | 8 |
| Envelope 3 | 8 |
| LFOs 1-4 | 20 |
| Mod Slots 1-4 | 12 |
| MIDI Controllers | 10 |
| Sequencer | 68 (4 destinations + 64 steps) |
| External Input | 7 |
| Misc Parameters | 7 |
| Total | ~198 |
Session 04: Pulse Width Modulation -- Strings & Horn
Session 04: Pulse Width Modulation -- Strings & Horn
Objective: Create two classic analog synth sounds -- PWM strings and a synth horn -- using pulse width modulation, your first taste of how modulation brings static sounds to life.
Load the basic patch, set Osc 3+4 Level to 0, set Osc 1 Shape to P-52, LFO 1 to Tri / Freq 42 / Amount 30 / Dest O1P. Play a note. That swirling sound is PWM.
Warm-Up (2 min)
Load your basic patch. Set Osc 3 and 4 Level to 0. Set Osc 1 Shape to P-50. Hold a note and manually turn the Shape knob slowly from P-01 to P-99. You should hear the timbre sweep from thin to full to thin again. That is what we are about to automate with an LFO.
Setup
From the basic patch:
- Set Osc 3 Level to
0and Osc 4 Level to0 - Set Osc 1 Shape to
P-52 - Set Osc 2 Shape to
P-48
Exercises
Exercise 1: PWM Strings (8 min)
This is the classic analog string sound. Enter these values exactly as specified:
LFO 1 (press LFO 1 switch):
- Set Shape to
Tri(triangle -- smoothest modulation) - Set Frequency to
42 - Set Amount to
30 - Set Destination to
O1P(Osc 1 Pulse Width)
LFO 2 (press LFO 2 switch):
5. Set Shape to Tri
6. Set Frequency to 32 (slightly different speed from LFO 1 -- this is key)
7. Set Amount to 23
8. Set Destination to O2P (Osc 2 Pulse Width)
VCA Envelope (ENV 2):
9. Set Attack to 61 (slow fade in for string character)
10. Set Release to 34 (gentle fade out)
Now play a sustained note in the middle of the keyboard. Hold it for at least 10 seconds. You should hear the sound swirl and breathe -- the two LFOs at slightly different speeds create an ever-shifting, organic texture that never quite repeats.
"A classic analog string sound comes from modulating the pulse width" -- Anu Kirk p.13
Why it works: Each LFO sweeps the pulse width of its oscillator. Because the two LFOs run at different speeds (42 vs 32), the two oscillators are always slightly out of phase, creating rich movement.
See Anu Kirk p.13-14 ("Exercise 2: PWM Strings")
Exercise 2: Add Depth with a Third LFO (3 min)
Keep the strings patch. Add a slow underlying modulation layer:
LFO 3 (press LFO 3 switch):
- Set Shape to
Tri - Set Frequency to
5(very slow) - Set Amount to
14(subtle) - Set Destination to
OAP(Osc ALL Pulse Width)
Play and hold a note again. You should hear an even more alive quality -- a slow, broad sweep underneath the faster modulation, like a section of string players where no two instruments bow identically.
"The key to making the string sound rich is to make the variation of the pulse widths irregular, but not too extreme" -- Anu Kirk p.15
See Anu Kirk p.15 (third LFO addition)
Exercise 3: Mod Wheel Filter Control (2 min)
Make the mod wheel useful for live control:
- Set Mod Wheel Destination to
FiL(Filter Frequency) - Set Mod Wheel Amount to
-78
Hold a note. Push the mod wheel up. You should hear the filter close, darkening the sound. Pull it back down -- brightness returns. You now have real-time tonal control over your strings.
Save this patch to an empty location (e.g., Bank 1, Program 125). Name it "PWM Strings".
See Anu Kirk p.14 (mod wheel assignment)
Exercise 4: Synth Horn (5 min)
Load the basic patch again. Set Osc 3 and 4 Level to 0. Now enter:
- Set Osc 1 Shape to
P-01 - Set Osc 2 Shape to
P-03 - Set Output Pan to
St1(full stereo)
ENV 3 (the mod envelope):
4. Set Attack to 26
5. Set Decay to 78
6. Set Sustain to 7
7. Set Release to 83
8. Set Amount to 61
9. Set Destination to OAP (Osc ALL Pulse Width)
Play some staccato notes. You should hear a "bwaaah" attack -- the envelope sweeps the pulse width from narrow to wide and back, giving each note a shaped timbral contour. Instead of continuous LFO modulation, you get a single shaped sweep per note.
Same technique (pulse width modulation), different modulation source (envelope instead of LFO), completely different character.
Try adjusting ENV 3 values:
- Higher Attack (
50) -- you should hear a slower swell - Lower Decay (
40) -- you should hear a snappier response - Higher Amount (
80) -- you should hear a more dramatic sweep
Save if you find a setting you like.
See Anu Kirk p.15-16 ("Exercise 3: PWM Horn")
Exploration (optional, hyperfocus days)
- Try substituting very slow, synced sawtooth LFOs (Shape =
Saw, Frequency =5) for the triangle LFOs in your strings patch -- you should hear subtle rhythmic throbbing instead of smooth swirling - Experiment with extreme LFO amounts (60+) on both oscillators -- the sound should get wild and unstable
- Try the horn with different waveshapes for Osc 1 and 2 (Saw or Tri instead of pulse) -- ENV 3 modulating all pulse width will have no effect on non-pulse shapes, which teaches you about modulation routing
Output Checklist
- PWM Strings patch saved with 3 LFOs and mod wheel filter control
- Understand the difference between LFO modulation and envelope modulation of pulse width
- Heard how mismatched LFO speeds create organic textures
- Session logged in Obsidian daily note
Key Takeaways
- PWM (Pulse Width Modulation) creates movement by continuously changing the harmonic content of pulse waves
- Using multiple LFOs at different speeds creates organic, non-repeating textures
- The same modulation target (pulse width) produces completely different results depending on the modulation source (LFO = continuous movement, envelope = shaped contour per note)
Next Session Preview
Next time you will explore hard sync -- where Osc 2 forces Osc 1 to restart its waveform, creating aggressive, harmonically rich timbres. This is the signature Dave Smith / Prophet-5 sound.