Specifications

SUBTRACTOR SYNTHESIZER
101
! Please note that the descriptions of the waveforms sound or timbre
is merely meant to provide a basic guideline, and shouldn’t be
taken too literally. Given the myriad ways you can modulate and
distort a waveform in Subtractor, you can produce extremely differ-
ent results from any given waveform.
Setting Oscillator 1 Frequency - Octave/
Semitone/Cent
By clicking the corresponding up/down buttons you can tune, i.e. change the
frequency of Oscillator 1 in three ways:
| Waveform | Description
Sawtooth This waveform contains all harmonics and produces a bright and
rich sound. The Sawtooth is perhaps the most “general purpose”
of all the available waveforms.
Square A square wave only contains odd number harmonics, which pro-
duces a distinct, hollow sound.
Triangle The Triangle waveform generates only a few harmonics, spaced
at odd harmonic numbers. This produces a flute-like sound, with a
slightly hollow character.
Sine The sine wave is the simplest possible waveform, with no harmon-
ics (overtones). The sine wave produces a neutral, soft timbre.
5 This waveform emphasizes the higher harmonics, a bit like a saw-
tooth wave, only slightly less bright-sounding.
6 This waveform features a rich, complex harmonic structure, suit-
able for emulating the sound of an acoustic piano.
7 This waveform generates a glassy, smooth timbre. Good for elec-
tric piano-type sounds.
8 This waveform is suitable for keyboard-type sounds such as harp-
sichord or clavinet.
9 This waveform is suitable for electric bass-type sounds.
10 This is a good waveform for deep, sub-bass sounds.
11 This produces a waveform with strong formants, suitable for
voice-like sounds.
12 This waveform produces a metallic timbre, suitable for a variety of
sounds.
13 This produces a waveform suitable for organ-type sounds.
14 This waveform is also good for organ-type sounds. Has a brighter
sound compared to waveform 13.
15 This waveform is suitable for bowed string sounds, like violin or
cello.
16 Similar to 15, but with a slightly different character.
17 Another waveform suitable for string-type sounds.
18 This waveform is rich in harmonics and suitable for steel string
guitar-type sounds.
19 This waveform is suitable for brass-type sounds.
20 This waveform is suitable for muted brass-type sounds.
21 This waveform is suitable for saxophone-like sounds.
22 A waveform suitable for brass and trumpet-type sounds.
23 This waveform is good for emulating mallet instruments such as
marimba.
24 Similar to 23, but with a slightly different character.
25 This waveform is suitable for guitar-type sounds.
26 This is a good waveform for plucked string sounds, like harp.
27 Another waveform suitable for mallet-type sounds (see 23-24),
but has a brighter quality, good for vibraphone-type sounds.
28 Similar to 27, but with a slightly different character.
29 This waveform has complex, enharmonic overtones, suitable for
metallic bell-type sounds.
30 Similar to 29, but with a slightly different character. By using FM
(see page 104) and setting the Osc Mix to Osc 1, this and the fol-
lowing two waveforms can produce noise.
31 Similar to 30, but with a slightly different character.
32 Similar to 30, but with a slightly different character.
| Waveform | Description