M7 Docs MuLab Modules   


For a detailed description of MuSynth, MuDrum, MuPad, MuSampla, MultiSampla and MuVerb, MuEcho, click here.

Common Info

  • Every module that has automatable parameters also has an event input for receiving parameter automation events. Even if a certain module has nothing to do with events, for example the audio amplifier, it still has an event input to receive parameter automation events.
  • Every parameter of every MuTools module is renamable. This may be handy when you use the parameter on a MUX front panel, but also to make more explicit patches.
  • Note that the M7 sound system uses automatic mono/stereo signal management. Whenever an input is expecting a mono signal and you route a stereo signal to it, the stereo signal is locally (within the jack) converted to mono. And the other way around too of course.

Audio Generators


Generates a timbre using a digital waveform.

This oscillator works anti-aliased so even with high pitches you get a crystal clear sound You can draw your own waveforms by click-dragging in the waveform display. You can also import almost any wave file as a waveform via a right-click on the waveform display -> Open, or via drag-dropping a wave file from the OSX finder / Windows explorer. Note that the full imported wave file is regarded as a single cycle.

The oscillator needs note events so it knows at what pitch it should play. When used in the PolySynth, oscillators do not generate any sound until they received a first note-on event. So make sure to connect its event input. When used outside a PolySynth, oscillators default to playing a middle C (C4).

Pitch Modulation

To apply pitch modulation, make sure the Pitch Range parameter is non zero for the pitch range defines the maximum pitch modulation depth. For example when the incoming modulation signal is 100% and pitch range is 1200 cents then the modulation is 1200 cents.

Note that when doing audio-rate pitch modulation, there may be a shift in pitch perception. This is no bug, it is mathematically correct and it even depends on the modulator waveform shape. There are 2 solutions: Or you compensate the pitch shift by re-tuning the oscillator. Or use phase modulation (see below): Audio-rate phase modulation results in a steady pitch.

Phase Shift

The Phase Shift section lets you control the phase of the waveform.

There are 4 phase shift modes:

  • Off = No phase shift
  • Source Only = Only the source waveform itself is phase-shifted, no extra layer.
  • Add Layered = A second version of the waveform is phase-shifted and added to the original source.
  • Invert Layered = A second version of the waveform is phase-shifted, then inverted and then added to the original source. (In M6 and before this was known as AIPS)
When modulating the phase on audio-rate you'll get real phase modulation, which can produce very rich timbres like the Yamaha DX and Casio CZ series etc.

By using the "Invert Layered" phase shift mode on a sawtooth waveform and modulating the phase-shift parameter with an LFO, you can generate Block PWM, cfr the picture below where sawtooth 2 is the inverted and phase-shifted version of sawtooth 1.

Super Layers

Via the "Layers" button you can make the oscillator generate multiple layers of the same waveform. This way you can easily create super fat sounds and make chord sounds etc. The "Layers" button pops up the layer editor, which can be used in "Quick Edit" and "Deep Edit" modes. Oscillator layers setups can also be saved+recalled as presets.

By default the oscillator starts at a random start phase to get a more analog natural sound. If you want a more digital sound, you have the option to fix the start phase from 0 to 359 degrees. This is also editable via the "Layers" button.

Note that when playing sustained notes and meanwhile changing the layer setup, you won't immediately hear the changes. The new layer setup only becomes effective upon playing new notes.


The portamento section has 4 aspects: (hold mouse to see the tool tips)

  • Time = The time to glide from one pitch to another.
  • Legato Glide = When enabled portamento is only applied when two notes are played legato i.e. the second note starts before the first ends.
  • Poly Glide = When enabled the glide is applied to the last voice only, otherwise the glide is applied to all voices, which definitely is a different effect.
  • Curve = The pitch glide curve. For example linear, or fast exponential or slow exponential, or any other of the many curve options.


Multi-Form Oscillator

See this separate doc page: Multi-Form Oscillator


Noise Generator

Generates white noise.


Sample Player

Plays a sample taking the Start-Loop-End markers into account.

  • To load a sample, left-click on the sample selector field.
  • You can also drag-drop a sample file onto that field.
  • Double-click the sample display to edit the sample.
  • Once you've loaded a sample, you can use the previous/next sample buttons to step thru the samples on your system! So practical!
  • You can choose a start, loop and end marker and a loop mode.
  • Managing these markers is done via the audio editor's time bar, see the audio lab doc page for more details.
  • Note that you can also use markers that are in reversed order for reversed playback!
  • Also read the info on the oscillator module as it includes common info that also applies to this module.


Multi-Sample Player

Plays a multi-sample. A multi-sample is a collection of key and/or velocity zones that each play a sample. For detailed info on editing multi-samples, click here.


  • Dropping a sample onto the Multi-Sample Editor will create a new full range zone for that sample.
  • Dropping a multiple samples onto the Multi-Sample Editor will create as many new zones as the number of dropped samples.
  • The maximum number of simultaneous layers for a single key is 12.
  • Also read the info on the oscillator module as it includes common info that also applies to the Multi-Sample Player.


Test Sine Generator

Generates a monophonic sine signal.



The PolySynth is a modular synth engine featuring 48 note polyphony. The PolySynth is essential when you want to build polyphonic synth patches. It also features a special Mono Mode for creating monophonic sounds.

For all details on the Poly Synth, click here.

Audio Processors


1P Lowpass

The One Pole Lowpass filter is a soft first order lowpass filter with a -6 dB/octave slope.

The pivot key for the key tracking is note number 60 = middle C. Note that if you want to use the key tracking, the filter needs note events so it can track the pitch.


Allpass Filter

Passes all incoming audio frequencies equally, but changes the phase relationship between the various frequencies.

As with all parameters you can double-click the parameter value to set it by text input. If you enter "0.5" it will be 0.5 seconds. If you enter "0.5 ms" it will be 0.5 milliseconds.



Amplifies and pans the incoming audio.


Audio Level Meter

Displays the audio level.


Audio Limiter

Limits the incoming audio using a logarithmic clipper.


Audio Inverter

Inverts the polarity of the incoming audio signal.


Audio Pos/Neg Splitter

This module splits the incoming audio so that the positive part is on output 1 and the negative part on output 2. This can be used, for example, to apply different distortions to positive and negative part.

Or you could hook up an Audio Inverter on audio 2, then mix that with out 1 of the Pos/Neg Splitter, then you have an unipolar positive audio signal that can be fed into the Ring Modulator. Several possible applications, and maybe you'll find even more!


Balancer 1->2

Routes the incoming audio to the outputs 1 and 2 based on the balance parameter. The curve parameter defines the crossfade curve. More on curves on the Curves doc page.


Balancer 2->1

Routes the incoming audio inputs 1 and 2 to the output based on the balance parameter. The curve parameter defines the crossfade curve. More on curves on the Curves doc page.


Bit Reducer

This module will degrade the used number of bits to encode the signal level. By degrading the number of bits you can get that vintage dirty sound from game consoles in the 70s and 80s.


Level Compressor

Compresses the dynamics of the incoming audio.

The compressor has 2 audio inputs. When both inputs are connected, then input 1 = the real audio signal, input 2 = the control audio signal (aka side-chain) which will drive the compressor. When only in 1 is connected real audio and control audio are the same.

Below the threshold the audio is untouched. Above the threshold the audio will be compressed. The softer the 'knee' the less explicit the compression will be.


Mixer Strip

Combines a volume slider, a pan control, a mute and a level meter.


Mono Echo (Long)

Echoes the incoming audio.


Mono Echo (Short)

Echoes the incoming audio.


Modular Feedback Delay

Delays the incoming audio and supports a feedback loop thru a MUX patch in which you can put any module you like:

When sync mode is on the delay time is expressed in MIDI Clocks, which is 1/24th of a beat. The table below shows some typical values:

MIDI ClocksMusical
11/96 = 1/64T
21/48 = 1/32T
41/24 = 1/16T
81/12 = 1/8T
161/6 = 1/4T
321/3 = 1/2T


Multi Mode Filter

Filters certain frequencies in the audio signal.

The pivot key for the key tracking is note number 60 = middle C. Note that if you want to use the key tracking, the filter needs note events so it can track the pitch.



The oscilloscope shows the audio waveform. Scroll the mouse-wheel over the display to zoom in/out on the waveform. Right-click its display to set the time range etc.

It also supports a special sync mode: When the event input is connected the oscilloscope will sync its display to the incoming note events, resulting in a stable waveform display for that note frequency. This is very handy to see how eg a filter is modifying a waveform.


Pure Delay

Delays the incoming audio. Maximum delay is 2 seconds, so in case the samplerate is 48000 Hz the maximum delay in frames is 96000. This delay module can be used to manually compensate the process delay of other plug-in modules in a sample-accurate way. It supports both mono and stereo modes.


TF Lowpass Filter

24 dB/oct lowpass filter with support for high resonance. Sounds different, more "vintage synth" than the Multi Mode Filter.

The pivot key for the key tracking is note number 60 = middle C. Note that if you want to use the key tracking, the filter needs note events so it can track the pitch.


Ring Modulator

Multiplies the audio inputs 1 and 2.


Samplerate Reducer

This module will degrade the samplerate to encode the signal over time. By degrading the samplerate you can get that vintage dirty sound from game consoles in the 70s and 80s.


Stereo Combinor

Audio input 1 will become the left side of the stereo signal, audio input 2 the right side.

Note that the M7 sound system uses automatic mono/stereo signal management. If you route a stereo signal to one of the inputs, it's first converted to mono.


Stereo Splitter

Splits the left and right sides of the incoming audio into mono outputs 1 and 2.

Note that the M7 sound system uses automatic mono/stereo signal management. In case you would route a mono signal to the Stereo Splitter then it's interpreted as a stereo signal and so the mono input will appear at both outputs.


Tanh Distortion

Applies a TanH math function on the incoming audio, resulting in interesting distortion effects.



Normally audio signals vary within the -100% to +100% range and so it's a bipolar signal. This module will make a the audio signal vary within the 0% to 100% range and thus make it a unipolar signal. This is done by applying the formula out = (in + 100%) / 2. So if the in signal = -100% it becomes 0%. If input is +50% it becomes +75%. No clipping is applied in case the input signal is outside the -100% to +100% range. If you want to ensure that an audio signal is within the -100% to +100% range you can use an Audio Limiter module with Threshold to 0 dB, Intensity to 100% and Out Gain to 0 dB.

Event Generators


Audio Envelope Follower

The Audio Envelope Follower tracks the incoming audio and generates an output modulation signal from it depending on the Attack and Release settings. The Attack and Release parameters define how fast the modulation envelope reacts on the incoming audio stream. At the same time it also outputs a note-on event whenever the envelope goes beyond the threshold level, and a note-off whenever the envelope goes below the threshold level:

Note: Try to avoid the case where the Audio Envelope Follower's attack and release times are zero while RMS window is off, cause that means that each sample will create a new event and envelope point which is not ok. So or leave the RMS window on, or set attack or release to at least 25ms.


Parameter Event Generator

The Parameter Event Generator generates a new parameter event whenever the (modulated) parameter value changes, taking the defined resolution into account. The higher the resolution the more possible values and the more accurate the ouput but also the more events are generated which will have an impact on CPU consumption. The impact on CPU consumption also depends on what type of module and parameter you're targetting.

It's recommended to first connect this module's event output to the target module's event input before choosing which parameter to select, for it's that connection that makes it possible for this Parameter Event Generator to know what parameters you want to choose from.


MIDI Controller Generator

The MIDI Controller Generator generates a new MIDI controller event whenever the (modulated) parameter value changes, taking the 128 step MIDI resolution into account.


Note Event Pad

The Note Event Pad module generates a note event as long as it is clicked. It's like a single drum pad. Also useful to (re)trigger effect patches that need a key trigger. It can be integrated into a MUX front panel and it is recordable.


Parameter Value Randomizer

Upon receiving a note-on, this module randomizes the selected parameters within a defined range. It's recommended to first connect the module to the target module you want to randomize so that this module knows about the target parameters. This module can also randomize any VST plug-in.


Piano Keyboard

The Piano Keyboard module simply generates note events as you play them on the keyboard.

Important note wrt recording the keyboard: By default the resulting track will target this keyboard module specificly so that the played back notes sound exactly the same as how you recorded them. But in the special case that this keyboard module's event input is directly and exclusively routed from the event input of the main module/rack it belongs too, then that main module/rack will be the target module, which is more comfortable. For in this special case it is sure that the played back notes arrive unaltered at the keyboard module and so everything will still sound the same as during recording. In all other cases it is not sure that the playbacked notes would arrive unaltered at the keyboard module (eg there could be a key transposer in between), and so that's why that specific keyboard module must be targetted directly then.

The above is just background info, you don't need to think about it when making music, the app will automatically make the correct choice.


Pitch Bend Generator

The Pitch Bend Generator generates a new Pitch Bend event whenever the (modulated) parameter value changes, taking a 1000 step resolution per polarity into account, thus 2001 possible values in total.


Sequence Player

The Sequence Player plays a sequence. You can choose one of the sequences in your project. To edit the sequence double-click it or click the edit button at the right.

Start/Stop Modes

The Start Mode defines when the sequence is (re)started:

  • On Start Playing = On the first note on the sequence starts playing, then when new note ons are received while the sequence is already playing then the sequence is not restarted.
  • On Every Note On = Each received note on will restart the sequence.

The Stop Mode defines when the sequence stops playing:

  • On Same Note On = The sequence will stop if a note on is received on the same key as the last key.
  • On Last Note Off = The sequence will stop when all notes are released.
  • Never = The sequence is never stopped.

Sync Modes

There are 2 start modes:

  • Start = Start from sequence start.
  • Sync = Start from within the sequence, synced to the 'master' play position.
Then there are 3 sync timing options
  • Instant = The sync action is done immediately.
  • Next Beat = The sync action is done upon the next beat.
  • Next Loop = The sync action is done upon the next step sequence loop.
All together this results in the 6 options listed in the Sync Mode field.

Auto Transpose

The Auto Transpose defines whether the sequence should be transposed by the input key. The base key is C3 = note nr 60, so when the Sequence Player receives a D3 it will transpose the sequence 2 semitones up.

Drag-dropping a MIDI or MuSequence file onto the sequence field will load that file into the sequence.


Step Sequencer

The Step Sequencer module is a very creative tool to experiment with and generate all kinds of sequences like drum patterns, melodic riffs, chord progressions etc. It features 12 lanes of 32 steps. Each lane can be a single note, a (strummed) chord, or even a micro sequence on its own.

When playing the Step Sequencer via MIDI the step sequence is automatically transposed so you can play melodies of sequences, a great way to generate new musical ideas. At the same time the Step Sequencer also features multiple patterns, each with its own loop, and state of the art sync modes that allow realtime switching between patterns and come up with original dynamic sequences.

The Step Sequencer also features Modulation Groups which let you group certain steps and vary (and automate!) the pitch, velocity and length of the grouped steps on the fly!

More specs of the M7 Step Sequencer:

  • Each step can be easily toggled on/off, transposed, etc.
  • Supports multiple MIDI channels hence multi-timbral sequences.
  • Unlimited number of pattern, each with its own lane setup, loop length and step length.
  • Seamless pattern switching, recordable.
  • Includes 4 lanes for sequencing MIDI Controller/Aftertouch/Pitchbend. Pitchbend features an auto-glide function.
  • Arpeggiator mode with the same creative power and flexibility.
  • Can be driven by another step sequencer, which can be driven by another one... Unlimited creativity.


  • There are 2 panes: The note pane and the controller pane. The note pane has 12 lanes. The controller pane has 4 lanes.
  • Double-click a lane header to set it up. A note lane can be setup to up to 5 notes, thus also supporting strummed chords or micro sequences!
  • The definition of the lanes is per pattern. So each pattern can have a different lane setup. Note that there is a pattern context function "Copy Lane Setup To All Patterns" in case you want to have the same lane setup in all patterns.
  • [Alt]+click on a lane header monitors that lane.
  • Both the note and controller pane have several tab buttons that define which step values are being edited.
  • Click a step to (de)active it.
  • Step values can be changed using the scroll wheel, or click-dragging a step value vertically.
  • Horizontal drag (de)activates multiple steps in that lane.
  • You can create, select, duplicate, copy-paste, open, save patterns via the pattern selector and options button.
  • Each pattern has its own loop and "Steps/Beat" setup. The loop points can be moved by drag-dropping the loop start/end indicators.
  • [Alt]-drag loop start/end will move the entire loop.
  • Patterns can be selected via MIDI by the lowest notes: Note nr 0 selects pattern 0, note nr 1 selects pattern 1, ... That way you can play patterns on the fly, even multiplex them on the fly, all using the selected sync mode.
  • Note that real-time pattern switching is not available when the step sequencer is inside a PolySynth. When playing new notes they will play the current selected pattern until that voice has ended.
  • You can use the Step Sequencer outside a PolySynth or inside a PolySynth. It results in different behavior. When used outside a PolySynth the notes generated by the Step Sequencer will each generate new voices in the synth that follows (unless that's a mono synth of course), but when used inside a PolySynth then the notes generated by the Step Sequencer will be used within a single voice.
  • When using the step sequencer inside a PolySynth the play LEDs will show the position of the first active voice. So when playing a note (voice) and then hitting a second note you'll see the LEDs for the first voice. If you then release the first note and it ends (Main Envelope has finished) then the LEDs will show the position of that second voice which has become the first active voice now.
  • Each step can be set to one of 5 Modifier Groups A - E. Each Modifier Group has an automatable parameter for modifying the pitch, velocity and length of the respective steps.
  • Auto Transpose is not available when Arpeggiator mode is on because then the input notes are used to make the arpeggio.
  • Pressing [Insert] or [Delete] while hovering the mouse over the step LEDs will insert/delete a step in all lanes.
  • Pressing [Insert] or [Delete] while hovering the mouse over a lane step will insert/delete a step in that lane.
  • The options button at the top, in the general module control bar, also contains a "Edit Properties" function where you can set important properties for this step sequencer module. Note that these properties are for the step sequencer module and thus common to all patterns of this step sequencer.
  • When inserting a new step sequencer module and there exists a "New.MuStepSequencer" preset file in the user or factory library, that preset file is automatically opened as default setup.
  • The maximum value for Length and Offset values is the pattern's loop length. The knob for these values uses a non-linear scale so that the most frequently used values have enough editing space, while still reserving space for the whole value range up to the maximum, which is the pattern's loop length.
  • The 100% step length value is shown as the 50% display value. The values above 100% up to the maximum are shown in a proportianal way.

Start/Stop Modes

Same as the Start/Stop Modes of the Sequence Player module.

Sync Modes

Same as the Sync Modes of the Sequence Player module.

Arpeggiator Mode

In arpeggiator mode, the step sequencer notes are replaced by the incoming notes. The replacement is done like this:

  • C4 is replaced by the 1st input note.
  • C#4 is replaced by the 2nd input note.
  • D4 is replaced by the 3rd input note.
  • ...
  • C3 is replaced by the 1st input note, but then 1 octave down.
  • D5 is replaced by the 3rd input note, but then 1 octave up.
If there are less input notes than used notes in the step sequence, the input notes are re-used using the 'modulo' function. For example if the step sequence uses C4, C#4, D4 and D#4 in some rhythmic pattern, thus targetting the first 4 input notes, but you only play 2 notes to the step sequencer, then D4 will be replaced by the first input note again and D#4 will be replaced by the 2nd input note again. This all happens on the fly.

Event Processors


Drum Note Processor

Incoming notes are dispatched to 1 of the 12 drum pads and outputted to 1 of the 12 event outputs. Playing the drum pads also generates the relevant notes.


Event Delay

Delays the incoming events between the minimum and maximum delay times.

The random varies around the actual delay time. The amount of variation is defined by the Random parameter. The maximum variation (100%) is the smallest of these 2: (Max Delay Time - Actual Delay Time) and (Actual Delay Time - Min Delay Time)


Event Monitor

Bypasses and displays the incoming events. The [Delete] key clears the display.


Event Recorder

When switched on, the event recorder records the incoming events into a new sequence. The event recorder is synced to the main record button in the transport panel. So when the event recorder is enabled and you start recording, all incoming events are recorded and when stopping recording, a new sequence is created. When switching the event recorder off while recording, you can temporarily mute recording the incoming events, but recording mode stands by until the main record button in the transport panel is hit again. Only when the main record button in the transport panel is switched off, then the event recording is finished and a new sequence is created. The target module of the new recording is the first module after the event recorder itself because that way when playing back the recorded sequence it will sound the same as before.

A typical example: Insert an arpeggiator in rack slot 1, an event recorder in slot 2 and a synth in slot 3. Now switch off the event recorder so it's only bypassing events. Setup the arp as you want. Now when you want to record the arp in a real sequence, switch on the event recorder, hit record in the transport and record as long as you want, then stop recording. A new sequence part with the rendered arp is added to the composition.


MIDI Channel Remapper

Using this module, each of the 16 MIDI channels can be remapped to another one.


MIDI Channel Splitter

Events are dispatched to one of the 16 outputs based on their MIDI channel.


Monophonic Note Tracker

Processes the incoming notes in such a way that only a single note is outputted, keeping track of any simultaneous notes and outputting new relevant note on/off events when you add/release notes. Can be used to create mono-type sounds, even for VSTs. Note: There is another way to create monophonic sounds: By limiting the Polyphony of the PolySynth to 1. For more details, click here.


Note Dispatcher

This module dispatches the incoming notes (events) to one of the outputs depending on the mode:

  • Random: Whenever a note-on is received, a random output is selected.
  • Round Robin: Whenever a note-on is received, the next output is selected. And when a note-on with Special Key is received, the output is reset to the first one.
  • Keyed: Whenever a note-on with Special Key is received, the next output is selected.
  • Key Range: The note-ons in the key range from Special Key to Special Key + Num Outs define the output.
    Concrete example: If Special Key is C1 and you have 5 outputs then

       C1 selects out 1
       C#1 selects out 2
       D1 selects out 3
       D#1 selects out 4
       E1 selects out 5

    All other notes continue to the selected output.


Note Key Ranger

Will make sure that the incoming notes are inside the defined range. There are two strategies:

  • Round Robin: Output key = Min Key + (Input Key modulo (Max Key + 1 - Min Key)). For example if the key range is C3-C4 all C keys will become C3, all F keys will become F3 etc.
  • Proportional: Output key = Min Key + ((Input Key/127) * (Max Key - Min Key)). The result is rounded to the nearest note. For example if the key range is C3-C4 then C5 will become 60 + ((84/127) * 12) = rounded to 68 = G#3.


Note Key Splitter

Dispatches the incoming events to 1 of the 12 outputs based on the note key, i.e. C notes go to output 1, G# notes to output 9 etc.

This module can be very useful to create drum patches where each of the 12 keys triggers another sound. And there may be more creative uses for this module!

All other non-note events are routed to output 1.


Note Key/Vel Filter

This module only bypasses the notes that are inside the defined key and velocity range. All other notes are blocked. By combining a couple of these modules you can create keyboard splits and/or velocity dependent synth layers, for example.


Note Mapper

Maps the incomming notes to 1 or more out notes. Can be used to apply note scaling or to generate chords.

This module only maps the 12 keys of a single octave, the C3 octave. Then all keys of all other octaves also use the same relative key mapping but taking their own octave into account. For example if you map the C3 key to a major chord, then C2 will play a C2 major, C4 will play a C4 major and so on.

The "Key Transpose" transposes the output notes for the selected key. That makes it easy to select a chord and quickly try it out on different keys.


  • The whole Note Mapper setup can also be saved as a preset file. This is handy to create preset chord combinations, for example.
  • The copy-paste keyboard shortcuts also copy-paste the selected chord.
  • You can drag-drop a MuChord file on the input keyboard to apply that chord to that input key.
  • Even when you have chosen/dropped a MuChord file from outside the library, the previous/next chord buttons will select the previous/next chord in that relevant folder(s).


Note Modifier

Modifies the key and velocity of the incoming note events.

Modulation Generators


ADSR Envelope

Generates a Attack-Decay-Sustain-Release modulation envelope.

Note that the ADSR won't do much if you don't feed it with note events, as the ADSR curve is triggered by a 'Note On' event!

If the ADSR is unsufficient for what you want to do, then replace it by a Multi-Point Envelope, see below.



Generates a low frequency modulation signal.


  • Frequency/Rate: controls how fast the waveshape is running.
  • Start Phase: controls the start phase of the waveshape. It can also be set to Random.
  • Amplitude: controls the height of the waveshape, and thus also the intensity of modulation on the connected modules.
  • Start Fade: controls fading the amplitude in/out when the LFO starts, eg when a note-on is received.
  • End Fade: controls fading the amplitude in/out when the LFO received a note-off.

Both the Start Fade and the End Fade can do a fade-in or a fade-out. When the fade parameter value starts with < then it's doing a fade-in, when the fade parameter starts with > then it's doing a fade-out. The End Fade will always continue fading from where the Start Fade ended. So if you release the note in the middle of the start fade, then the end fade will start its fade-in or fade-out at 50% of the amplitude. There is one special case: When Start Fade is an immediate fade out (> 0 ms = "Inactive"), then the End Fade is the only applied fade and it will start the waveshape with the start phase and do its fade-in from 0% or its fade-out from 100% of the defined amplitude.

The LFO waveshape is fully editable and can be saved/reloaded via MuWaveShape preset files. Double-clicking the waveshape display opens the waveshape editor.

A wave shape envelope is expressed in frames, but the time positions in a wave shape envelope are simply relative to the loop end point. It is the loop end point that defines the full cycle. So setting the loop end to eg 360 frames makes it easier for editing as then it matches the 0 - 360 degrees of a waveform. But you're free to set it as you want. For this reason there is the context function "Resize Shape". Note that the wave shape length has no effect on the final quality, the final quality is always perfect. That's because the wave shape is vectorial using 64 bit floating point values.

The LFO also is syncable to the tempo, if you want. When Tempo Sync is enabled, then the frequency parameter is expressed in Cpb = Cycles Per Beat. To set an exact value double-click the parameter value or right-click and choose "Edit Value". Then you can enter "2" to set it to 2 Cpb. You can also input "1.5 bpc" (Beats per cycle) which will automatically do the conversion calculation to Cpb. (= 0.66667 Cpb) You can also input "1/4", "3/8" etc which will automatically be converted to the correct Cpb value.

More info tips:

  • Right-clicking the waveshape display shows the context menu for this waveshape.
  • Clicking the left/right buttons blow waveform display steps forward thru the preset waveshapes in the factory and user library (MuWaveShape sub-folder). If you have just changed one these library folders, close+reopen the editor to refresh the list of preset waveforms to step thru.
  • Remember that for doing fine adjustements of parameter values, hold [Ctrl], cfr the User Interface doc page.
  • Each time the LFO receives a note on event, it restarts the waveform cycle.
  • By putting an LFO outside the PolySynth and using its signal inside the PolySynth, you can create a global LFO that is common to all voices.


Multi-Point Envelope

The Multi-Point Envelope can generate very complex modulation signals. You can add as many points in the modulation envelope as you want. For all details about the how to shape the envelope, click here.

To define a section that must be looped, right-click the points that must be the start and end points of the loop and choose "Set Loop Start" + "Set Loop End". And when you have a looped section you have these options for what must happen on note-off:

  • Keep looping: The note-off has no influence, the loop keeps looping.
  • Finish Looping: The current loop will be played until loop end, then the Multi-Point Envelope continues the section beyond the loop, as if there was no loop.
  • Stop Looping: The loop is immediately stopped, and the Multi-Point Envelope continues the section beyond the loop.

The Multi-Point Envelope has 4 speed parameters:

  • Global Speed: Controls the global speed for the whole modulation envelope.
  • Attack Speed: Controls the speed from the start until loop start.
  • Loop Speed: Controls the speed from loop start until loop end.
  • Release Speed: Controls the speed from loop end until end.


  • To create a 'sustain' section like in an ADSR, put a loop on a single point.
  • The 'Finish Looping' mode should not be combined with curve types that do not start on 0% and end on 100%.
  • If the Multi-Point Envelope is not connected to an event source it will start playing automatically, else it needs a note event trigger.
  • When inserting a new MPE module and there exists a "New.Mudulator" preset file in the user or factory library, that preset file is automatically opened as default setup.


Wobble Generator

Generates a randomly changing modulation signal. Changes are within the bounds you indicate. This module can be used to add an 'analog feel' to your patches, for example by routing a bit of wobble to the oscillator pitch modulation input. (make sure the oscillator pitch modulation depth is non zero, cfr the oscillator info)

More in detail: The 2 "Freq" parameters define the amount of time needed to travel from one top to another. When a new top is reached a new random time (between min and max) is set to reach the next top. And so on. Alt Offset means that the offset will alternate between positive and negative with each new wobble. So for example, if Amplitude is 0% and Offset is 100% and Alternating is on, then this results in a positive top of 100% followed by a negative top of -100% followed by a positive top of 100% and so on. The curve defines how the value slides from a previous top to the next one. So when you want a steady amplitude but a random timing, set Amplitude to 0% and Offset to 100% (or some other value) and enable Alt Offset.


Constant Modulator

Generates a constant modulation signal. This can be handy for example to map a meta-parameter to a modulation signal. Therefore map the meta-parameter to the Value parameter. Then when you tweak the meta-parameter, the modulation output will change accordingly.

Modulation Processors


Modulation Mapper

With the Modulation Value Mapper, you can transform the incoming modulation values so that the output modulation values are smaller/larger and/or have inversed polarity:

In the above picture example, we've set the Offset to 0 % and the Maximum to -50%.
This way the level of the input signal is reduced to 50% AND inversed.

First the curve is applied, then the offset and amplitude.


Modulation Monitor

Displays the modulation signal level.


Modulation Sample & Hold

Samples and holds the input value upon every note-on.
The Transition Time and Transition Curve properties control the transition between values.
This makes it possible to apply smoother values transitions which sometimes is necessary for nicely modulating certain parameters without clicking/artifacts.



Audio To Modulation & Modulation To Audio Converters

By default modulations, like an LFO to pitch to create vibrato, are done on a low frequency rate, typically in the 0.1 - 30.0 Hz range. Doing faster and/or more complex modulations can result in sonic artifacts and inefficient CPU use (a warning alert pops up in that case) as the standard modulation system is not designed for high frequency modulations. However using the Audio To Modulation Converter and Modulation To Audio Converter modules, modulations can also be done on audio rate. Almost all parameters effectively support audiorate modulation with only a few exceptions. (eg ADSR Attack/Release Speed, LFO Frequency) Being able to do audiorate modulations has several advantages:

  • More sonic options as you can route audio to modulation and vice versa.
  • This allows for unlimited FM, PM, AM, filter FM, scan wavetables at audio rate, etc...
  • All audio processor modules (filters, delays, ...) can also be used to process audiorate modulation signals.


  • Note that audio rate modulation uses more CPU.
  • Audio-rate modulation of VST parameters is not recommended, unless it's sure that the VST can handle such intense situation, which will be rather exceptional.


Event To Modulation Converters

The Note/Controller/Aftertouch/PitchBend To Modulation Converters convert the incoming events into a modulation signal.

The Note To Modulation Converter has a Low and High Key which define the note key range. Notes lower than low key will generate the minimum value, notes higher than high key will generate the maximum value. If you don't want that notes outside the defined key range cause a modulation value update, insert a Note Filter module before the Note To Modulation Converter.



Audio Input

Where the audio comes into MUX Modular. By adding audio input modules, this MUX also gets more audio input jacks!

The "Project Audio Input" is specific for the project modular area.


Audio Output

Where the audio goes out MUX Modular. By adding audio output modules, this MUX also gets more audio output jacks!

The "Project Audio Output" is specific for the project modular area.
The "PolySynth Audio Output" is specific for the PolySynth.


Event Input

Where the events comes into MUX Modular. By adding event input modules, this MUX also gets more event input jacks!

Note that MUX Modular needs at least 1 event input jack in order to receive parameter automation events.

The "Project Event Input" is specific for the project modular area.
The "PolySynth Event Input" is specific for the PolySynth.


Event Output

Where the events go out MUX Modular. By adding event output modules, this MUX also gets more event output jacks!

The "Project Event Output" is specific for the project modular area.


Modulation Input

Where the modulation comes into MUX Modular. By adding modulation input modules, this MUX also gets more modulation input jacks!

Tip: You can use a modulation input in the PolySynth to input a global LFO modulation signal which will be applied to all voices at the same time!

The "Project Modulation Input" is specific for the project modular area.
The "PolySynth Modulation Input" is specific for the PolySynth.


Modulation Output

Where the modulation go out MUX Modular. By adding modulation output modules, this MUX also gets more modulation output jacks!

The "Project Modulation Output" is specific for the project modular area.



Audio File Recorder

The Audio File Recorder module simply records the incoming audio signal into a audio file which is named like this audio recorder with a YYYYMMDD-HHMMSS timestamp appended.

To actually record, make sure the audio recorder is enabled (aka armed), and click the main record button in the transport panel. (or press the proper shortcut).

Double-click the Audio File Recorder to edit its settings:

  • Arm button: Switch on to actually get ready for recording.
  • Monitor switch: 3 options: Off, Monitor When Enabled, Monitor Always. Monitoring means that the input signal is streaming thru to the output.
  • Record From: The input source.
  • Chans: Defines whether the recorded file must be mono or stereo.


  • When Record From is set to Direct Audio Input, you can directly select one of the audio device inputs. This is a handy shortcut way to avoid having to use an Audio Input module.
  • Recorded files are not automatically put on a track. If you want audio track recording, see this doc page: Recording.
  • When an audio recorder is linked to a track (cfr Audio Track Recording), then these context functions are not available: Rename, Deletes, Replace, Choose Color. Because the linked track is in control over that audio recorder.
  • The Audio File Recorder module is only available in the Project Modular Area, not (yet) in the deeper MUX modular areas.



Racks are described in detail here.



The incoming signal simply goes to output 1, but part of the signal also goes to output 2.


Patch Point

Is a generic plug-in that simply bypasses the incoming signals.
Can be used as a target module from which you can then dispatch the audio/events to one or many other target modules.

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