Located after the noise module, the three resonators will produce sounds when excited by the noise signal. The resonators react to the pitch you play. Each of the three resonators contains an oscillator matrix and a comb filter.
Use the oscillator matrix for pure decaying sines or analog-style sounds.
Use the comb filter to create acoustic resonances. The comb filter’s cutoff frequency always follows the pitch of the resonator.
Move the yellow dot to morph between different analog-style waveforms.
The Y axis allows the sound to evolve from a pure sine to more complex and harmonically rich waveforms.
Scanning through the X axis will crossfade between triangle, square and sawtooth waveforms and produce variations in harmonic content.
The oscillator matrix offers two modulation panels, allowing you to modulate both X and Y positions of the yellow dot. Learn how to use them in the section about modulation panels.
The Matrix resonance does not refer to the resonance of a filter, but instead refers to the amount of time for the Matrix Oscillators volume to reach silence after being excited by the noise signal.
This parameter is the equivalent of the ‘release’ stage in a classic ADSR envelope.
The slider allows you to blend between the signal from the Matrix oscillators with the Comb filter signal.
This knob allows you to add acoustic resonances to your signal. Think of it as if your sound would excite a physical object with its own characteristic resonances, that continues to vibrate after being excited.
Turning the knob clockwise will add even harmonics, while turning it counter-clockwise will add odd harmonics.
Similarly to the matrix resonance, the higher the value, the longer it takes for the comb filter signal to decay.