CamMod
Map camera motion to MIDI CC.
AvailableInstrument
OSC Mini
A compact subtractive synth for learning the signal path.
About
OSC Mini is the classic signal path - oscillator into a resonant filter into an amplitude envelope - with nothing bolted on. No unison stack, no macro page, no eight-slot modulation matrix to get lost in. That's the point: it's small enough that you can learn the whole instrument in an afternoon and then actually know something, which is more than most of us can say about the synths we own.
It's also the teaching example. OSC Mini's DSP, parameter schema, presets and interface are the same files the quickstart walks you through, which means the tutorial isn't a toy version of a real plugin - it is this plugin. If you clone it and change the filter to a state-variable design, you have made your own synth, and it will build as a VST3 the same afternoon.
Musically it lands where a single sawtooth and a good filter always land: basses that sit under things, plucks with the envelope pulled short, and long dumb pads that are better than they have any right to be. Push the resonance past about 12 and it will start to sing on its own, which is either a feature or a warning depending on your monitoring.
Signal graph.
ExperimentalA drawing of the signal flow. Dashed cables carry modulation, not audio.
How it works.
The path is oscillator into a biquad low-pass into an ADSR into a gain stage, in that order, one voice at a time. The oscillator produces a band-limited waveform at the note frequency, offset by Octave and Detune. That signal runs through a second-order biquad low-pass, whose corner frequency is set by Cutoff and pushed around by Env Amt. The amplitude envelope then shapes level over the life of the note, and Master Gain scales what leaves.
The envelope is doing double duty: the same ADSR that controls loudness also modulates the filter cutoff by Env Amt. That's a deliberate simplification - real synths give the filter its own envelope, and if you want that, the clone-and-edit path below is about twenty lines of work. Sharing one envelope is why OSC Mini has eleven parameters instead of eighteen, and why the whole thing fits on one screen.
Two honest limitations. It is monophonic - new notes steal the voice, so legato playing retriggers rather than layers. And the filter is a single biquad, so it rolls off at 12 dB per octave and self-oscillates in the whistling-resonance way rather than the warm-analog way. Neither is a bug we plan to hide; both are on the list for OSC-1.
Part of these racks.
A rack is a fixed rig: several modules already wired together, playable as one instrument. This module is one of the pieces.
- Chord machine
OSC Mini runs through a slap delay and room reverb as one playable instrument.
Start the built-in chord loop to hear the complete chain.
3 modules · osc-mini → delay-stage → reverb-stage
- Linestep rack
Linestep writes a melodic pattern and OSC Mini plays it as one subtractive voice.
Opens on a Linestep melody driving a single OSC Mini voice.
2 modules · linestep → osc-mini
