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 18: Complex Modulation -- Stacking Sources
30 min|advanced|patch
Session 18: Complex Modulation -- Stacking Sources
Objective: Combine multiple modulation sources -- LFOs, envelopes, sequencer, and controllers -- to create sounds that evolve over time with deep, layered complexity.
If you only have 5 minutes
Load the basic patch. Set LFO 1 to filter (Tri, Freq 25, Amt 40, Dest FiL), LFO 2 to LFO 1 amount (Tri, Freq 5, Amt 30, Dest LF1A). Play a note. The filter sweep itself is now sweeping -- modulation of modulation.
Warm-Up (3 min)
Load your expressive performance patch from Session 17. Play some notes with varying velocity, aftertouch, and mod wheel. You have been using single modulation sources targeting single destinations. Today you will stack and cross-connect them for sounds that evolve in unpredictable, organic ways. Load the basic patch.
Setup
From the basic patch:
- Set Osc 1 Shape to
Saw, Level to45, Fine to+2 - Set Osc 2 Shape to
Saw, Level to45, Fine to-2 - Set Osc 3 Level to
25, Shape to15 - Set Osc 4 Level to
25, Shape to15 - Set Osc Slop to
2 - Set LPF Frequency to
50, Resonance to35, 4-Pole ON - Set Key Amount to
72 - Set ENV 1: Attack =
20, Decay =60, Sustain =40, Release =35, Env Amount =70 - Set ENV 2 (VCA): Attack =
30, Decay =0, Sustain =100, Release =45
This gives us a warm, hybrid pad with some filter envelope movement as a foundation.
Exercises
Exercise 1: Modulation of Modulation (8 min)
The most powerful technique is using one modulation source to control the depth of another:
- Set LFO 1: Shape =
Tri, Frequency =25, Amount =40, Destination =FiL(Filter Frequency) - Play a sustained note -- you should hear the filter sweep back and forth at a steady rate and depth
- Now set LFO 2: Shape =
Tri, Frequency =5(very slow), Amount =30, Destination =LF1A(LFO 1 Amount) - Play a sustained note and hold for 20+ seconds -- you should hear the filter sweep depth change over time. Sometimes the filter barely moves, sometimes it sweeps widely. LFO 2 is modulating how much LFO 1 affects the filter
- Add LFO 3: Shape =
Random, Frequency =12, Amount =15, Destination =LF1F(LFO 1 Frequency) - Play and hold again -- now even the speed of the filter sweep changes randomly. The result should feel organic and unpredictable, like the sound is breathing and shifting on its own
This is three layers of modulation: LFO 1 moves the filter, LFO 2 controls how much it moves, LFO 3 controls how fast it moves.
Exercise 2: Envelope Controlling LFO (5 min)
Use ENV 3 to create modulation that changes over the course of a note:
- Keep LFOs from Exercise 1
- Set ENV 3: Destination =
LF1A(LFO 1 Amount), Amount =60, Attack =0, Decay =80, Sustain =10, Release =40 - Play a note -- you should hear the filter sweep start wide (bright initial movement) and gradually narrow (settle down) as ENV 3 decays. The sound evolves from active to calm within each note
- Try reversing: set ENV 3 Amount to
-60-- now the sound starts calm and the filter sweep builds in intensity as the note sustains
Exercise 3: Sequencer as Modulation Layer (7 min)
Add the sequencer as another modulation source for rhythmic variation:
- Program Seq 1 steps 1-16 with varied values:
20, 80, 40, 90, 10, 70, 50, 60, 30, 85, 15, 75, 45, 95, 25, 55 - Set Mod Slot 1: Source =
Seq1(Sequencer Track 1), Amount =25, Destination =FiL(Filter Frequency) - Press START/STOP to start the sequencer
- Play a sustained note -- you should hear a rhythmic filter pattern from the sequencer layered ON TOP of the LFO sweep from Exercise 1. The two modulation sources add together at the filter destination
- Set Mod Slot 2: Source =
Seq1, Amount =10, Destination =RES(Resonance) -- now the sequencer also subtly varies the resonance, making some steps more "quacky" than others - Add velocity sensitivity: Filter Velocity =
40-- harder playing opens the filter more, adding yet another layer of variation
This creates a sound where every note is shaped by velocity, LFO movement varies over time via other LFOs, and the sequencer adds rhythmic timbral pattern. No two moments sound exactly the same.
Exercise 4: Build the Evolving Texture Patch (8 min)
Pull everything together into a final complex modulation patch:
- Verify the hybrid oscillator setup from the Setup section is still active
- LFO 1: Shape =
Tri, Frequency =20, Amount =35, Destination =FiL-- filter sweep - LFO 2: Shape =
Tri, Frequency =4(very slow), Amount =25, Destination =LF1A-- sweep depth modulation - LFO 3: Shape =
RevSaw, Frequency =8, Amount =10, Destination =SpL(Filter Split) -- slow stereo movement - LFO 4: Shape =
Tri, Frequency =45, Amount =5, Destination =OAF(All Osc Frequency) -- subtle vibrato - ENV 3: Destination =
LF1A, Amount =40, Attack =0, Decay =90, Sustain =15, Release =50-- envelope shapes the filter sweep intensity per note - Mod Slot 1: Source =
Noi(Noise), Amount =8, Destination =FiL-- subtle grit on the filter - Mod Slot 2: Source =
MWl(Mod Wheel), Amount =-40, Destination =FiL-- mod wheel darkens - Pressure Destination =
LF4A(LFO 4 Amount), Pressure Amount =30-- aftertouch adds vibrato depth - Filter Velocity =
45, VCA Velocity =25
Play this patch. Hold notes for 30+ seconds. You should hear:
- The filter sweep evolving in depth and character over time
- Subtle stereo movement from the split modulation
- Gentle vibrato that deepens with aftertouch
- Rhythmic grit from the noise modulation
- Dynamic response to velocity
- Mod wheel control for live darkening
Save this patch as your "Evolving Texture" patch.
Exploration (optional, hyperfocus days)
- Add the sequencer: program Seq 1 with random-ish values, set Seq 1 Destination to FiL, start the sequencer. The rhythmic pattern adds another layer to the already complex modulation
- Try cross-modulating LFOs: LFO 2 Dest = LF3F (LFO 3 Frequency). Now the stereo split speed is itself modulated. Chaos in a good way
- Reduce everything to one modulation layer at a time to understand each layer's contribution. Then add them back one by one
Output Checklist
- Evolving texture patch saved with multiple stacked modulation layers
- Understand modulation-of-modulation (LFO controlling another LFO's depth or rate)
- Can combine LFOs, envelopes, sequencer, and controllers for complex evolving sounds
- Session logged in Obsidian daily note
Key Takeaways
- Modulation of modulation is the key to organic, evolving sounds -- one LFO controlling another's depth or speed creates movement that never exactly repeats
- Multiple modulation sources targeting the same destination add together, creating compound movement that is richer than any single source
- The Evolver's modulation architecture (4 LFOs + 3 envelopes + 4 mod slots + 4 sequencer tracks + controllers) provides enough routing for deeply complex, self-evolving patches
Next Session Preview
You have now completed the foundational modules (1-5). You understand oscillators (analog and digital), filters, envelopes, and modulation. Next you will enter the effects world -- delay, feedback, and distortion -- where the Evolver's post-processing transforms raw synthesis into finished sounds.