- Sound design
- Algorithms

# Algorithms

The way your Woovebox combines the oscillators is determined by the algorithm selected ('**ALGo**'/'**Syn ALGo**'/**3** on the '**GLob**' page).

The following seventeen algorithms are available;

- '
**Subt**'; subtractive synthesis (aka "virtual analog"). The two oscillators are summed. This algorithm emulates the sound of classic analog synths from the 60s, 70s and early 80s. - '
**FM1**'; frequency modulation 1. Oscillator 1 is frequency modulated by oscillator 2. This algorithm emulates the sound of classic Yamaha FM synths and chips from the 80s. - '
**FM2**'; frequency modulation 2. Oscillator 1 is frequency modulated by oscillator 2. Oscillator 2 (modulator) is added to the result. With the modulator mixed in present as the fundamental, this allows for enhanced harmonics by modifying the tuning of oscillator 1. - '
**FM3**'; frequency modulation 3. Oscillator 1 is frequency modulated by oscillator 2, after which the result is multiplied by standalone oscillator 1. - '
**FM.nS**'; frequency modulation 1 with noise. Oscillator 1 is frequency modulated by oscillator 2. AEG1 controls both Oscillator 1 and 2, while AEG2 controls noise. - '
**FM.SC**'; frequency modulated sign-conditional combine. Oscillator 1 is frequency modulated by oscillator 2, if the result is positive, oscillator 2's absolute amplitude is subtracted, else oscillator 2's absolute amplitude is added. - '
**FMEO**'; frequency modulated exclusive bitwise OR. Oscillator 1 and 2 are exclusively OR'ed, after which the result is frequency modulated by oscillator 2. - '
**Eor**'; exclusive bitwise OR. Oscillator 1 and 2 are exclusively OR'ed - '
**RMod**'; ring modulation. Oscillator 1 is multiplied by Oscillator 2, aka "ring modulation". - '
**AM1**'; amplitude modulation 1. Oscillator 1 is amplitude modulated by oscillator 2's unsigned amplitude. - '
**AM2**'; amplitude modulation 2. Oscillator 1 is amplitude modulated by oscillator 2's absolute amplitude. - '
**SCon**'; sign-conditional combine. If oscillator 1 is positive, oscillator 2's absolute amplitude is subtracted, else oscillator 2's absolute amplitude is added. - '
**HSyn**'; hard sync. as soon as oscillator 2 starts a new cycle, oscillator 1 is also forced to start a new cycle. - '
**RMNs**'; ring modulation with noise. Oscillator 1 is multiplied by Oscillator 2 (aka "ring modulation") and noise is added. AEG1 controls both Oscillator 1 and 2, while AEG2 controls noise. - '
**T.W.En**'; thresholded wave ending. Oscillator 1 is muted ("ended") if Oscillator 2's waveform amplitude (before ALFO/AEG) exceeds Oscillator 2's volume as determined by AEG/ALFO. As soon as oscillator 1 starts a new cycle, oscillator 2 is also forced to start a new cycle. - '
**T.S.FL'**; thresholded sign flipping. Oscillator 1's phase is inverted 180 degrees (sign flipped) if Oscillator 2's waveform amplitude (before ALFO/AEG) exceeds Oscillator 2's volume as determined by AEG/ALFO. As soon as oscillator 1 starts a new cycle, oscillator 2 is also forced to start a new cycle and the phase (sign) reverts to normal behavior. - '
**Warp**'; time and pitch warping. Oscillator 1 pitch settings afford independent control of the sound's pitch, while oscillator two's pitch settings affords independent control over a sound's playthrough time. Oscillator 2's level (**2**/**bs**/**LEvl**on the Osc2 page) controls cycle length.

Using these algorithms a vast array of timbres and percussive elements can be created.

Note that for the FM algorithms, the amplitude and pitch LFOs (one per oscillator) can be used to achieve complex "2 + 2" four operator FM synthesis timbres. FM2's algorithm differs

For all FM algorithms except FM2 and FMSC , the modulator's output is made proportional to the frequency of the carrier. For FM2 and FMSC, the modulator's output is directly added to the frequency of the carrier without scaling.

###### You may also be interested in...

- Using time and pitch warp (under Real-time pitch and time warping)
*If the 'Warp' algorithm is active, oscillator 2's amplitude controls cycle length.* - C64 (under Chiptune)
- Envelope generators (under Sound design)
*A negative number yields an exponential (power of two) response instead of a linear response.* - 2. LEvL oscillator output level (under Osc1 and Osc2 oscillator page)
- 3. S.Src Signal Source (under Dynamics)
*Audi (audio); the audio as produced by this track, is used as the signal.*