Sounds
Synths you play
42 instrument engines, 7 free: analogue, FM, digital and the strange ones. Each one plays from notes, keys or MIDI through the same C ABI as the effects. Every sound starts with you playing it: nothing here writes music for you.
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01
Analogue
Oscillators, filters and envelopes the classic way: monos, polys, basses, brass and pads.
- Synths
- 24
- Four streams, one river, and its shadow.
Braidel
A four-voice paraphonic keyboard voice: braided oscillators through one warm low-pass, with a dark, wobbling echo behind it. - Six fires answer across the mountains.
Brazier
A modern six-voice analogue poly: saw and pulse per voice, a resonant low-pass after a clean high-pass, and a wide stereo chorus. - Two darts of colour, quick as a snap.
Bristle
A bright, buzzy two-voice synth with snappy percussive envelopes and a biting two-pole filter that screams when the resonance goes up. - Lean in, and the sky opens.
Duskfall
A grand, expressive eight-voice poly: two detuned layers per voice, high-pass into low-pass, slow swelling filter and pressure that opens the tone as you lean in. - Every chord, a field turns gold.
Fanfara
A bold eight-voice brass poly: two wide-detuned saws per voice through an open, fizzy two-pole low-pass for stabs and big chords. - Hammer, anvil, sparks: fat and punchy
Forgewren
A fat three-oscillator mono for bass and lead: punchy exponential envelopes, a warm four-pole low-pass that thins its lows as the resonance climbs, and a little drift. - Every channel routed to one ringing basin
Gridwork
A semi-modular style mono: three oscillators, noise and a resonant four-pole low-pass for leads, basses and odd effects. - Eight silk voices raised to the dawn
Herald
A silky eight-voice poly: saw and pulse per voice, smooth envelopes and a warm four-pole low-pass that self-oscillates cleanly. - Five warm voices, breathing fire into the dusk
Hobstone
A warm five-voice analogue poly: two detuned oscillators per voice, a creamy four-pole low-pass and exponential envelopes for pads, brass and keys. - Open it up and it howls
Howlmere
A raw, snarling mono: a high-pass into a driven two-pole low-pass whose resonance howls and distorts as you open it. - One heavy stroke, struck in gold.
Ingotry
A solid two-oscillator mono: saw and square into a resonant four-pole low-pass with snappy envelopes, for tight basses and clean leads. - A wandering knot that crackles when pushed
Knotwork
A wild, unstable mono for drones and effects: wandering oscillators, noise and a squelchy low-pass that breaks into distortion before it sings. - Soft pulses, each doubled by its chorus
Lullwick
A soft-edged six-voice poly: a pulse-led oscillator, a smooth low-pass that tracks the keyboard and a slightly faster stereo chorus for keys and leads. - One flock, shimmering wide into two
Nimbel
A clean one-oscillator poly wrapped in a wide, shimmering stereo chorus: the chorus is the sound, for pads, chords and gentle keys. - Eight fountains, from quick splash to swell
Parada
A lavish eight-voice poly: two detuned oscillators per voice, a liquid switchable low-pass and envelopes with a huge range, from plucks to slow swells. - Two glossy trails, growling when pushed
Polisk
A polished, modern three-oscillator mono with two low-pass filters side by side for a wide, glossy lead that still growls when pushed. - Every stone sings at once.
Psalmery
A fully polyphonic, organ-like voice: every key sounds, with a buzzy resonant band in parallel with a smooth master low-pass, for strings and choirs. - Two falls, and the ground shakes.
Rillstorm
A heavy two-oscillator mono with a sub, saturation that keeps the bottom end under high resonance, and a second voice for two-note lines. - A warm family, swaying in harmony
Russetine
A warm, friendly six-voice poly: one oscillator and a sub per voice, a musical four-pole low-pass and a lush ensemble chorus. - Dew bouncing on a morning web
Sproutkin
A simple, bouncy one-oscillator mono with a sub: saw and pulse into a smooth four-pole low-pass, made for basslines and chirpy leads. - Two fans of light, one big stab
Squallo
A punchy six-voice poly with a moving pulse width, a sub and a compressed stereo chorus, for big rave stabs, organs and basses. - Mud that swells, wobbles and bursts
Squidgeon
A squelchy one-oscillator bass voice: an envelope-swept four-pole low-pass with gritty resonance, slides between notes and an accent that bites on hard hits. - Every stab a puff of steam
Vapora
A lively six-voice poly for stabs and plucks: saw and sub through a resonant low-pass, a free-running wobble and a warm stereo chorus. - Velvet folds part, warm light falls
Velluto
A velvety six-voice poly with a two-pole state-variable filter that keeps its bass at any resonance, shape-blending oscillators and stereo chorus.
02
FM and digital
Glass, bells, keys and the bright edge of digital synthesis.
- Synths
- 9
- A sea cave that sings the tide in vowels.
Cantilla
Sings vowels by frequency modulation: formants locked in place as the pitch glides, a two-axis vowel pad, throat, breath, vibrato and ensemble. Vowels only: no words, lyrics or likeness of any voice. - Layered stone, one notch of light
Inlay
A rich digital voice built from layered tones and a choice of digital filters, here a resonant low-pass after a notch, for strings, pads and evolving keys. - Clean rings that only darken as they fade
Quillwren
A clean workstation-style keys voice: an additive tone with a non-resonant low-pass that only darkens, never whistles, so the motion comes from the tone itself. - Glass bells, struck bright and gone
Sequina
A bright three-operator FM voice: a sharp, glassy attack that decays fast, for electric pianos, bells and slap basses. - Soft sand, folded sharp by every note
Sinuate
A crisp digital voice with no filter at all: the tone itself is bent from a pure sine towards a buzzing edge by its own envelope, for bright basses, keys and brass. - A thousand fireflies fall into step.
Swarmora
Coupled oscillators that pull into tune: a detuned swarm of sines per note that pull draws into one pitched tone and chaos breaks into rough motion. - Six lanterns, strung and restrung with light.
Tangelle
Six sine operators in a fully patchable feedback network that weaves between two topologies, held at the edge of chaos by a loop governor. - Polished bubbles, each with its octave
Varnisha
A bright, polished digital voice: stacked oscillators an octave apart into a clean resonant low-pass, for sparkling pads and keys. - A slow wanderer and its echoes
Wanderwave
An evolving digital pad: tones that morph slowly under a tempo-locked stepping filter, with chorus and a dotted echo, for moving textures.
03
Virtual analogue
Analogue shapes with digital reach: stacked saws, sync leads and many filter modes.
- Synths
- 3
- Armour that opens, and bites.
Chitinel
A powerful virtual analogue voice: saturation between the filter stages keeps the bass under high resonance, with a second band-pass filter in parallel. - Every note kicks the wheels harder.
Crankshaft
A punchy virtual analogue lead: a hard-synced oscillator swept by its own envelope, a bright resonant low-pass and a short glide. - Seven beams around one, sweeping as one
Sawtide
A huge stacked-saw voice: seven detuned saws spread around a centre saw, a resonant low-pass and stereo chorus, for anthemic leads and pads.
04
Hybrid and lo-fi
Digital tones through analogue-style filters, grit, air and voices that do not sit still.
- Synths
- 6
- The cave breathes out a choir.
Cavitas
A breathy, eerie pad voice: a vowel-like tone with air in it, closed down by a smooth low-pass, like an old sampler playing a choir. - Glass that rings, then rings again.
Crystelle
A glassy digital pad voice: a breathy, bell-like partial layer over a resonant digital low-pass, with chorus and a soft echo trail. - Clean light in, warm light out.
Fibrel
A clean, modern hybrid poly: pristine digital oscillators into a warm analogue-style low-pass with drive, for bright pads and leads. - A click on every note, then the grain
Hessian
A punchy hybrid voice: a short, clicky transient on every note over a grainy digital tone and a warm low-pass, for plucks and stabs. - Rough-edged towns, smoothed by warm dust
Sackcloth
A gritty hybrid voice: rough, aliased-sounding digital tones smoothed by a warm analogue-style low-pass, for characterful keys and basses. - Restless crabs chattering under the moon
Scurrow
A restless hybrid voice: a phase-modulated digital tone into a chirpy, unstable two-pole filter that gets vocal and aggressive but never quite sings on its own.
No synths match those filters. Clear filters