The Shape nodes sit between a source and its effects. Most of them run per note, so each key gets its own filter sweep and its own fade.
Filter
The classic subtractive filter: low-pass 12 and 24 dB, band-pass, high-pass and notch, with a 24 dB ladder in the tradition of the great analog synths. Resonance sings at the top of its travel and Drive adds grit as it pushes into the filter. Keytrack keeps it equally bright up and down the keyboard, and Mix blends in the dry sound.
Cable an Envelope into Cutoff for plucks and swells. The curve in the popup is the filter’s real response and moves with its modulation while you play.
Amp
Sets each note’s loudness, with its own attack, decay, sustain and release, so a simple patch needs nothing else. Short attack and release for plucks, long ones for pads. Cable your own Envelope into Gain and the built-in one steps aside, or switch the envelope off with the small envelope icon in the header for a plain gain.
Each Amp is where one sound’s notes come together. Its Solo button lets you hear that sound alone.
Mixer
Eight inputs with level, pan, mute and solo, mixed into one. Mix several sources before a shared filter or effect, or balance layers. Each strip is named after the source that feeds it.
Pan
Places the sound in the stereo field and sets how wide it is. Spread adds width with a short delay (Haas) or with diffusion. Use Width and Spread on pads and keep basses narrow; Bass mono keeps the low end centred while the top stays wide.
Every sound ends at the Output, which has a page of its own: Output and voices.
Next: Output and voices