Alias-free wavetable warping you can still modulate

Hear It

Straight out of the engine — factory presets, no external effects.

A Wavetable With Three Axes

Twenty-seven tables, each morphing across eight frames — and morph is only the first axis. Warp reshapes the wave again on top of it: sync, phase bend, ring, folding, formant shift, saturation, quantization and more, eleven in all.

Both axes are modulation destinations, so an envelope can walk the morph while an LFO works the warp. The third axis is pitch: every frame, at every warp amount, is stored band-limited three times per octave, and the note you play picks the version it reads. That is why the whole surface stays clean.

Folding That Does Not Alias

Live wavefolding aliases; a precomputed wave cannot follow a knob. Voltaic refuses the choice: each warp is baked at four amounts, band-limited down the pitch axis at build time, and interpolated at runtime. The oscillator is never handed a harmonic above Nyquist, so there is nothing to fold back — and the warp still moves under an envelope, an LFO, aftertouch or the mod wheel.

Three warps that live on broadband grit — bit reduction, rate decimation and hard drive — deliberately stay runtime shapers, because band-limiting would remove exactly what makes them sound like themselves.

Modal Resonators, Twice

Pick MODAL as a wave and the oscillator becomes a bank of tuned resonators — deep, string, tine, wood, bell or glass, with decay, brightness, mallet hardness and strike position on top. Struck rather than played, it covers the percussive and plucked material subtractive synthesis is worst at.

The same bank is also a filter, so any other oscillator — or the noise source — can ring through a body instead of a curve.

Eighteen Filters

The textbook set: lowpass, bandpass and highpass in 2- and 4-pole forms, plus a notch. Then three modelled circuits, each as lowpass, bandpass and highpass — a Moog-style transistor ladder, an Oberheim-style SEM with its own notch, and a 303. The modal bank makes eighteen.

Cutoff and resonance each take their own envelope, and both are LFO destinations.

Three Oscillators, And What They Do To Each Other

All three oscillators take any wave type — nothing is reserved for the sub. Each one stacks up to seven detuned voices with its own detune and blend, which is twenty-one voices a note if you ask all three for it.

The third oscillator also feeds the other two: normal, ring modulation, AM and phase modulation as four independent switches with independent depths, so they mix. The phase modulation is through-zero, so negative modulation reverses the carrier rather than folding at zero.

Modulation

Four envelopes and two LFOs into sixteen destinations — pitch, cutoff, amplitude, resonance, and the pulse width, morph, warp and unison spread of each oscillator individually. Morph and warp travel between an A and a B knob rather than over a fixed range; set B below A and the parameter falls as the envelope rises.

Velocity, aftertouch and the mod wheel each get their own routing page, and all of it is polyphonic. Aftertouch alone reaches ten destinations — leaning on a key damps a struck resonator the way a hand on a string does.

Arpeggiator, Sequencer And Effects

An arpeggiator and a step sequencer share a page: per-step editing, swing, time division and range, running from their own clock or the host's tempo.

After the filter come a phaser, a delay and a reverb — enough to finish a sound without leaving the app.