pentemelodica

pentemelodica · sources

Five-voice polyphonic analog-style synth. A POLY input (the polyPitchGate chord bus from MIDI LANE / POLYSEQZ / a chord sequencer) drives five band-limited VCO voices — lane i → voice i — each with TUNE (±36 st) / FINE (±100 ¢) / exponential FM / through-phase PM / pulse width and a continuous tri→saw→square WAVE morph. Each voice has its own gated amplitude envelope, but the A/D/S/R is SHARED across all five voices (one device-level ADSR; aligned with CUBE / WAVECEL / DX7); the gate edge comes from that voice's poly lane, and a released voice holds the played pitch through its release tail. The five post-envelope voices sum through a stereo mixer (per-voice LEVEL + equal-power PAN) and an embedded multimode filter — a continuous LP→BP→HP→Notch MODE dial on a TPT state-variable filter (CUTOFF / RESONANCE) with a WET/DRY bypass — to the stereo OUT_L / OUT_R pair. Each voice is also tapped pre-mixer (post-envelope) to a VOICE1..VOICE5 mono output, and each voice has its own audio-rate FM jack (fm1..fm5) that feeds both its FM and PM depths. 48 panel params (5 voices × 8 + 4 shared ADSR + 4 filter). DSP is own-code: a clean-room polyBLEP band-limited oscillator, a Cytomic/Zavalishin TPT state-variable filter, and a linear-ADSR envelope — not a port of any copyleft source (permissive only).

A complete five-voice polyphonic analog-style synth in one card. A poly chord bus drives five independent VCO voices (lane i → voice i, a fixed 1:1 mapping with no allocator), each a band-limited oscillator with a continuous triangle→saw→square WAVE morph, coarse Tune + Fine detune, exponential FM and through-phase PM (from that voice's own FM jack), and a pulse-width control. The five voices share ONE amplitude ADSR (the gate edge comes from each poly lane), get summed through a per-voice level + pan stereo mixer, then pass through an embedded multimode filter (LP→BP→HP→Notch MODE dial, Cutoff/Resonance, Wet/Dry) to the stereo OUT. Each voice is also tapped pre-mixer to its own VOICE output for separate processing. To play chords you must feed the POLY input from a real poly source — patch MIDI LANE (in poly mode) or POLYSEQZ (or a SEQUENCER set to chord steps) into POLY; a single mono note source only lights one voice.

the faceplate

6 inputs · 7 outputs · 8 params

about this module

Hover a control, or open the patch panel and hover a jack.

inputs

id	cable	what it does
`poly`	polyPitchGate	The 5-lane poly pitch/gate chord bus that plays the voices: lane i drives voice i (fixed mapping). Patch a real poly source here — MIDI LANE in poly mode, POLYSEQZ, or SEQUENCER with chord steps — so each held note opens a voice's shared ADSR; a mono pitch source only plays voice 1. poly pitch+gate bus; 10-channel poly bus (5 pitch + 5 gate lanes)
`fm1`	audio	Voice 1's audio-rate modulator jack: it feeds both that voice's exponential FM and its phase modulation, with the depths set by voice 1's FM and PM faders — so one patched modulator gives either or both flavours. audio signal
`fm2`	audio	Voice 2's audio-rate FM/PM modulator jack (depths set by voice 2's FM/PM faders). audio signal
`fm3`	audio	Voice 3's audio-rate FM/PM modulator jack (depths set by voice 3's FM/PM faders). audio signal
`fm4`	audio	Voice 4's audio-rate FM/PM modulator jack (depths set by voice 4's FM/PM faders). audio signal
`fm5`	audio	Voice 5's audio-rate FM/PM modulator jack (depths set by voice 5's FM/PM faders). audio signal

outputs

id	cable	what it does
`out_l`	audio	Left channel of the stereo mix: all five voices, post-ADSR, through the per-voice level/pan mixer and the embedded filter, at master level. (Pairs with out_r as the main stereo output.) audio signal; L/R stereo pair with out_r
`out_r`	audio	Right channel of the stereo mix (the partner of out_l, carrying the per-voice pan spread). audio signal; L/R stereo pair with out_l
`voice1`	audio	Voice 1's individual signal, tapped post-ADSR but BEFORE the mixer's level/pan and the shared filter — patch it to send just this voice to its own VCA/filter/FX. audio signal
`voice2`	audio	Voice 2's pre-mixer mono tap (post-ADSR, before level/pan/filter). audio signal
`voice3`	audio	Voice 3's pre-mixer mono tap (post-ADSR, before level/pan/filter). audio signal
`voice4`	audio	Voice 4's pre-mixer mono tap (post-ADSR, before level/pan/filter). audio signal
`voice5`	audio	Voice 5's pre-mixer mono tap (post-ADSR, before level/pan/filter). audio signal

params

id	label	range	default	curve
`attack`	A	0.001..5s	0.001	log
`decay`	D	0.001..5s	0.1	log
`sustain`	S	0..1	1	linear
`release`	R	0.001..5s	0.005	log
`cutoff`	Cutoff	20..20000Hz	1000	log
`resonance`	Reso	0..0.99	0.2	linear
`mode`	Mode	0..1	0	linear
`wetdry`	Wet	0..1	1	linear

controls

control	what it does
A	Shared amplitude-envelope attack time (0.001–5 s, log): how fast each voice fades in when its poly lane's gate opens. One ADSR feeds all five voices.
Cutoff	Embedded filter cutoff frequency (20 Hz–20 kHz, log) applied to the summed five-voice mix.
D	Shared amplitude-envelope decay time (0.001–5 s, log): the fall from the attack peak down to the sustain level.
Mode	Embedded filter MODE dial (0..1): continuously morphs the SVF response low-pass → band-pass → high-pass → notch. The notch end is the true SVF identity (lp + hp = x − k·bp), so it nulls at the cutoff whatever the resonance; below it the level at cutoff rises with RESONANCE as 1/k.
Pentemelodica voices {n}	The five-voice picture in the faceplate's hero slot: one lane per voice, each drawing a single cycle of that voice's own morphed waveform from the same band-limited oscillator the audio uses, with its coarse and fine offset, its mixer level and its pan position beside it. It is a picture of the PATCH, not a trace of the output — this module makes no sound until a poly source gates it, so a live scope would be a flat line most of the time you are looking at it. Click a lane to read that voice's exact resolved tuning underneath; the selection is yours alone (it is not saved with the rack and no collaborator sees it), and it changes no sound. It is the one place all five voices are visible at once, which matters because the eight-band faceplate shows only one voice strip at a time.
R	Shared amplitude-envelope release time (0.001–5 s, log): how long each voice takes to fade out after its gate closes.
Reso	Embedded filter resonance (0–0.99): emphasis at the cutoff, up to near self-oscillation.
S	Shared amplitude-envelope sustain level (0..1): the held level while a note's gate stays open.
V1 fine	Voice 1 fine tune in cents (-100 to +100) — for subtle detune/beating against the other voices.
V1 fm	Voice 1 exponential-FM depth (-1..+1) from its FM 1 jack — adds inharmonic/clangy modulation.
V1 level	Voice 1 mixer level (0..1) into the stereo bus.
V1 pan	Voice 1 stereo pan (-1 = left … +1 = right), equal-power, placing the voice in the OUT image.
V1 pm	Voice 1 phase-modulation depth (-1..+1) from its FM 1 jack — the DX-style PM flavour of the same modulator.
V1 pw	Voice 1 pulse width (0.05–0.95) — shapes the square end of the WAVE morph (50% is a true square).
V1 tune	Voice 1 coarse tune in semitones (-36 to +36) — set per voice for unison, octaves, or chord-spread detuning.
V1 wave	Voice 1 waveform morph (0..1): continuously blends triangle → saw → square; the per-voice scope shows the resulting shape.
V2 fine	Voice 2 fine tune in cents (-100 to +100).
V2 fm	Voice 2 exponential-FM depth (-1..+1) from its FM 2 jack.
V2 level	Voice 2 mixer level (0..1) into the stereo bus.
V2 pan	Voice 2 stereo pan (-1 left … +1 right).
V2 pm	Voice 2 phase-modulation depth (-1..+1) from its FM 2 jack.
V2 pw	Voice 2 pulse width (0.05–0.95).
V2 tune	Voice 2 coarse tune in semitones (-36 to +36).
V2 wave	Voice 2 waveform morph (triangle → saw → square).
V3 fine	Voice 3 fine tune in cents (-100 to +100).
V3 fm	Voice 3 exponential-FM depth (-1..+1) from its FM 3 jack.
V3 level	Voice 3 mixer level (0..1) into the stereo bus.
V3 pan	Voice 3 stereo pan (-1 left … +1 right).
V3 pm	Voice 3 phase-modulation depth (-1..+1) from its FM 3 jack.
V3 pw	Voice 3 pulse width (0.05–0.95).
V3 tune	Voice 3 coarse tune in semitones (-36 to +36).
V3 wave	Voice 3 waveform morph (triangle → saw → square).
V4 fine	Voice 4 fine tune in cents (-100 to +100).
V4 fm	Voice 4 exponential-FM depth (-1..+1) from its FM 4 jack.
V4 level	Voice 4 mixer level (0..1) into the stereo bus.
V4 pan	Voice 4 stereo pan (-1 left … +1 right).
V4 pm	Voice 4 phase-modulation depth (-1..+1) from its FM 4 jack.
V4 pw	Voice 4 pulse width (0.05–0.95).
V4 tune	Voice 4 coarse tune in semitones (-36 to +36).
V4 wave	Voice 4 waveform morph (triangle → saw → square).
V5 fine	Voice 5 fine tune in cents (-100 to +100).
V5 fm	Voice 5 exponential-FM depth (-1..+1) from its FM 5 jack.
V5 level	Voice 5 mixer level (0..1) into the stereo bus.
V5 pan	Voice 5 stereo pan (-1 left … +1 right).
V5 pm	Voice 5 phase-modulation depth (-1..+1) from its FM 5 jack.
V5 pw	Voice 5 pulse width (0.05–0.95).
V5 tune	Voice 5 coarse tune in semitones (-36 to +36).
V5 wave	Voice 5 waveform morph (triangle → saw → square).
Wet	Embedded filter wet/dry mix (0 = dry/bypassed … 1 = fully filtered).

source

pentemelodica.ts on GitHub.