Session 6

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 06: Detuning, Oscillator Slop & Stereo Layering

20 min|beginner|patch

Session 06: Detuning, Oscillator Slop & Stereo Layering

Objective: Use detuning, oscillator slop, and analog-digital layering to create fat, wide, organic sounds without any modulation or effects.

If you only have 5 minutes

Load the basic patch, set Osc 1 Fine to +3, Osc 2 Fine to -3, and Osc Slop to 3. Play a chord. That thick, alive sound is detuning plus analog drift.

Warm-Up (2 min)

Load your sync lead patch from Session 05. Play a few notes to hear that aggressive, envelope-swept timbre. Today is the opposite approach -- subtle, organic techniques that add warmth and width. Load the basic patch.

Setup

From the basic patch:

Set Osc 3 Level to 0 and Osc 4 Level to 0 (start with just the analog oscillators)
Both oscillators at Saw, Frequency C0, Level 50

Exercises

Exercise 1: Fine Detuning (5 min)

Detuning means setting oscillators to slightly different pitches so they beat against each other, creating thickness and movement.

Play a sustained note and listen -- you should hear two sawtooth waves in stereo, clean and static
Set Osc 1 Fine to +3 -- you should hear a slow, gentle beating as the oscillators drift in and out of phase
Set Osc 2 Fine to -3 -- you should hear the beating become richer, with a wider chorus-like quality (total detuning is now 6 cents)
Try Osc 1 Fine to +7, Osc 2 Fine to -7 -- you should hear a more obvious, aggressive detuning. This amount was popular in rave and trance sounds (Anu Kirk p.11)
Try extreme values: Osc 1 Fine to +25, Osc 2 Fine to -25 -- you should hear almost two separate pitches. This is too much for most musical uses
Return to Osc 1 Fine = +3, Osc 2 Fine = -3 -- this sweet spot adds thickness without obvious pitch conflict

"Small values (+/- 2-3 cents) are useful for fattening up sounds or creating a kind of chorusing effect known as detuning" -- Anu Kirk p.11

Exercise 2: Oscillator Slop (5 min)

Oscillator Slop simulates the pitch instability of vintage analog synthesizers. It makes the oscillators randomly drift in and out of tune.

Set both Fine values back to 0
Set Osc Slop to 0 -- play a note. You should hear a clean, stable tone
Set Osc Slop to 1 -- play and hold a note for 10 seconds. You should hear very subtle, barely noticeable pitch drift
Set Osc Slop to 3 -- you should hear a pleasant, organic quality. The oscillators wander slightly, creating natural movement
Set Osc Slop to 5 (maximum) -- you should hear more obvious drift, like a slightly out-of-tune vintage synth

"It is useful if you want to add some unpredictability or a vintage quality to your sounds. It is subtle, but tasty." -- Anu Kirk p.17

Try combining detuning and slop: set Osc 1 Fine to +2, Osc 2 Fine to -2, Osc Slop to 3. You should hear a rich, alive tone that moves naturally.

Exercise 3: Octave Layering (3 min)

Tuning oscillators to different octaves creates big, stacked sounds:

Set Osc 1 Frequency to C0, Osc 2 Frequency to C-1 (one octave lower) -- you should hear a much fuller sound with sub-bass weight from Osc 2
Try Osc 2 Frequency at C1 (one octave higher) -- you should hear brightness added on the right side
Try Osc 1 at C0, Osc 2 at C-2 (two octaves lower) -- you should hear a massive low-end foundation

"You can set a single oscillator down an octave or two and use it as a sub-oscillator, which is common in some classic synthesizer architectures" -- Anu Kirk p.10

Exercise 4: Add Digital Oscillators for Hybrid Width (5 min)

Now bring in the digital oscillators to create a hybrid layered sound:

Set Osc 1 Frequency to C0, Osc 2 Frequency to C0, both Shape Saw
Set Osc 1 Fine to +3, Osc 2 Fine to -3
Set Osc Slop to 3
Set Osc 3 Level to 30, Osc 4 Level to 30 (bring digital back at lower volume)
Set Osc 3 Shape to 1 (sine wave), Osc 4 Shape to 1 -- you should hear a subtle warmth added underneath the analog brightness
Try Osc 3 Shape to 4, Osc 4 Shape to 4 -- you should hear more harmonic complexity blended in
Adjust digital levels: try 15 for subtle support, 50 for equal presence -- find a balance where the analog warmth and digital detail complement each other

Save this patch as your "Fat Detuned" patch.

Exploration (optional, hyperfocus days)

Try setting Osc 1 and 2 to different waveshapes (e.g., Osc 1 = Saw, Osc 2 = P-48) with detuning -- different shapes create more complex beating patterns
Use the Output Pan setting: try St2 or St3 for narrower stereo -- compare the width difference
Add a slow LFO to Osc 1 Fine (LFO 1 Dest = O1F, Amount = 3, Freq = 8) for a subtle chorus effect using frequency modulation instead of detuning

Output Checklist

Fat detuned patch saved with analog + digital layering
Can hear the difference between detuning, slop, and no processing
Understand how octave layering creates fuller sounds
Session logged in Obsidian daily note

Key Takeaways

Small detuning (+/- 2-3 cents on Fine) creates chorus-like thickness without any effects processing
Oscillator Slop (1-5) adds organic, vintage-style pitch drift that makes sounds feel alive
The Evolver's stereo architecture (analog L + analog R + digital L + digital R) gives you four independent layers to create wide, complex sounds

Next Session Preview

Next time you enter the digital oscillator world -- 96 different waveshapes from the Prophet-VS lineage, each with its own harmonic character. You will find your favorites among these more complex timbres.