OSC 1

MODEL chooses the digital oscillator algorithm. PITCH moves the oscillator through its available coarse pitch range. TIMBRE controls a model-dependent parameter rather than one fixed synthesis function.

OSC 2

OSC 2 uses the same model concept and adds DETUNE. Use it for fine beating, intervals or more radical separation from OSC 1 before the mixer/operator stage.

Why TIMBRE changes meaning

For a pulse-based model it may behave like pulse width. For a phase-distortion or sync-style model it can move the characteristic bend, resonance or sync relationship. For wavetable and digital models it can scan, interpolate or alter the model's internal spectrum.

Model families

MIX

Balances the contribution of OSC 1 and OSC 2 before the rest of the voice. Centre positions combine both sources; move toward either side to feature one oscillator more strongly.

SUB

Adds the sub/transient generator. SHAPE selects its character. Available shapes are Square -1, Triangle -1, Pulse -1, Square -2, Triangle -2, Pulse -2, Click, Glitch, Blow, Metallic and Pop.

NOISE

Adds broadband noise to the oscillator mixture. Small amounts can increase filter motion and transient definition; larger amounts can make noise leads, percussion or wind-like textures.

SHAPE

SHAPE belongs to the Sub/auxiliary generator rather than OSC 1 or OSC 2. The -1 and -2 choices provide octave-related sub voices; Click, Glitch, Blow, Metallic and Pop provide more transient or noise-like auxiliary material.

OPERATOR

The Operator determines the relationship between the two digital oscillators. It is a major part of SWARA's hybrid voice rather than a simple crossfade option.

Four-pole low-pass filter

The filter is SWARA XT's resonant low-pass stage. It removes high-frequency energy as CUTOFF is lowered and becomes progressively more resonant as RES is raised.

CUTOFF

Sets the base cutoff frequency over the audible range. The control uses a musical/logarithmic mapping, so equal movements feel useful across bass, mid and high-frequency regions.

RES

Controls resonance around the cutoff frequency. High settings create pronounced peaks and can approach self-oscillating behaviour. The exact response also depends on Filter Quality and the signal entering the filter.

ENV

Sets the dedicated Envelope 1 contribution to cutoff. Positive values open the filter according to ENV 1. This path is separate from programmable modulation-matrix routing.

MOD

Sets the dedicated LFO 2 contribution to cutoff. It is also separate from the general modulation matrix, so a matrix cutoff route can work even when this dedicated MOD control is at zero.

Key tracking

Filter key tracking follows played note pitch so the filter can become brighter or darker across the keyboard. Use lower tracking for a fixed, bass-heavy cutoff and stronger tracking when the filter should follow musical pitch.

Filter Quality

Choose Filter Quality from the plugin's right-click menu. Switching quality while audio is playing is de-clicked; it is still best treated as a session/performance-quality choice rather than an expressive modulation destination.

Modulation matrix

The matrix can add signed cutoff and resonance modulation on top of the base filter controls. Negative modulation is valid and useful for inverted envelopes, offset sources and counter-moving LFO patches.

WAVE

Selects Triangle, Square, Sample/Hold, Ramp, Step Seq, Wave 1, Wave 2 or Wave 3. Triangle and Ramp suit continuous motion; Square, Sample/Hold and Step Seq create more deliberate stepped changes.

RETRIGGER

Selects Free phase, Retrigger, Env master or One-shot. Free phase runs independently; Retrigger restarts with new notes, while the envelope-related and one-shot modes provide repeatable note-linked motion.

RATE

Sets LFO speed in Free timing mode. The native LFO behaviour is intentionally direct: rate changes do not turn the waveform into a heavily smoothed modulation source.

FADE

Introduces the LFO progressively after a note begins, useful for delayed vibrato, filter movement or timbre animation.

TIMING

Selects Free or Sync. Free uses the internal RATE control; Sync locks the LFO to musical divisions supplied by the host.

DIVISION

In Sync mode select 1/32, 1/16, 1/8, 1/4, 1/2, 1/1, 2/1 or 4/1. These are discrete musical relationships rather than continuously smoothed rates.

Dedicated vs matrix routing

LFO 2 has a dedicated Filter MOD path, while both LFOs can also be used as modulation-matrix sources. These are separate contributions and can be combined.

Centered modulation

LFO sources are centered: they move both below and above their neutral point. A positive matrix amount therefore produces movement in both directions around the destination's current setting; a negative amount reverses the phase of that movement.

12 programmable slots

The matrix provides twelve source-to-destination routes. Three rows are shown at a time across four pages. Slot 12 is special: its programmed depth is scaled by the Mod Wheel.

Each row

Select a Source, set the signed Amount, then select a Destination. Amount ranges from negative through zero to positive, so a single source can move the destination in either direction.

Timbre destinations

Timbre 1 and Timbre 2 refer to the model-dependent TIMBRE controls of OSC 1 and OSC 2. They replace the older PWM 1 / PWM 2 wording because many oscillator models do not use pulse width at all.

No hardware CV entries

SWARA XT intentionally hides the four hardware CV source IDs and the two CV output destination IDs. The remaining source/destination names shown in the following reference page match the 1.1.1 plugin selectors.

Source polarity

Not every source has the same zero point. Centered sources such as LFOs, pitch bend and note-related modulation can move above and below a centre value. Envelopes and many performance sources are naturally unipolar.

Filter cutoff

Matrix cutoff modulation is added independently of the dedicated Filter ENV and MOD routes. This allows, for example, LFO 1 → Cutoff in the matrix while the dedicated LFO 2 MOD control remains at zero.

Resonance

Resonance accepts signed matrix modulation. Negative amounts reduce resonance relative to the base setting; positive amounts increase it within the safe supported range.

VCA destination

VCA modulation is a special multiplicative destination rather than a simple additive offset. This preserves the intended amplitude-control semantics of the voice.

Animated oscillator

Route LFO 1 → Timbre 1 with a small positive amount. Choose a wavetable, phase-distortion or vowel-like oscillator model and tune RATE slowly.

Velocity brightness

Route Velocity → Cutoff when available in the source selector. Keep the base cutoff low enough that harder notes have room to open the filter.

Inverted envelope

Route an envelope to Cutoff or Timbre with a negative matrix amount. This creates a downward movement without changing the envelope's own ADSR shape.

Counter-motion

Use one source twice: positive amount to Timbre 1 and negative amount to Timbre 2. The oscillators then move in opposing directions.

Dedicated + matrix filter movement

Use ENV 1 through the dedicated Filter ENV control for the main contour, then add LFO 1 → Cutoff in the matrix. LFO 2 can still be added independently with the Filter MOD control.

Resonant motion

Route a slow LFO to Resonance with a modest amount. Because resonance changes the feedback behaviour of the filter, smaller modulation depths are often more musical than full-range sweeps.

Pitch control

Pitch bend and note-related matrix sources are centered. Use them for expressive pitch or timbre relationships without treating them like unipolar envelopes.

Control-rate character

Square, stepped and random modulation is supposed to be stepped. Do not expect every matrix route to behave like an audio-rate modulation oscillator; the character is part of SWARA's digital control architecture.

Open SEQ/ARP

The SEQ/ARP control beside the Mod Matrix opens the pattern and arpeggiator controls. These features generate note movement inside SWARA's monophonic voice and can run freely or in relation to host timing.

MODE

Selects one of the three implemented modes: Step, Arp or Sequence. Arp orders held notes; Step and Sequence provide the corresponding step- and sequence-pattern playback behaviours.

TEMPO / CLOCK

TEMPO runs from 40 to 240 BPM in Free clock mode. Select Host to follow DAW timing; the Tempo control is then inactive because the host supplies the clock.

SWING

Offsets alternating timing positions to create a less rigid rhythmic feel. Extreme values can substantially change groove placement.

GATE

Sets note length from 5% to 100% of each step. Short values produce clipped sequences; longer values allow envelopes and glide to overlap more strongly.

ARP DIRECTION

Sets the order in which held notes are visited: Up, Down, Up/Down, Random or Played.

PATTERN / OCTAVES

PATTERN selects one of eight patterns (0-7). OCTAVES expands playback across one to four octaves.

DIVISION

Selects 1/1, 1/2, 1/2T, 1/4, 1/4T, 1/8, 1/8T, 1/16, 1/16T, 1/32, 1/32T or 1/64 for the rhythmic step division.

MASTER

Sets final instrument output level. Use it to match presets and to leave sufficient headroom when resonance, operators or modulation create large peaks.

GLIDE

Controls pitch slew between notes. Glide is especially expressive with overlapping notes and legato-style playing.

VOICE

Selects Retrigger or Legato behaviour for the monophonic voice. Retrigger gives each note a new articulated envelope attack; Legato preserves more continuity between overlapping notes.

MIDI

Selects Omni or a specific incoming MIDI channel. SWARA XT receives performance MIDI; it does not provide hardware MIDI-out modes, MIDI thru chains or SysEx dump features.

Preset browser

Use the central browser to load factory and user sounds. Arrow buttons step through programs. SAVE stores a user preset using the current SWARA preset location and naming workflow.

DAW state

Projects store the plugin state separately from the visible preset name. Save important projects before replacing versions, and confirm recall after moving between computers.

Filter Quality

Right-click the interface to choose High, Normal or Eco. Quality is a global processing preference rather than a modulation-matrix destination. High remains the default reference mode.

Interface options

The right-click menu also selects Skin (Pastel, Midnight Gold, Neon Cobalt, Jungle or Rossocorsa), Decoration (Legacy or PCB Trace) and GUI Size (Small, Medium or Large). Filter-quality changes are de-clicked while audio is running.

Windows

Install or copy the complete Swara XT.vst3 bundle to your normal VST3 location and place the Standalone application where you prefer. Rescan plugins in the DAW if SWARA XT does not appear immediately.

macOS

Use the signed/notarized installer supplied with the macOS release. The package installs the supported plugin formats and Standalone application. On first use, allow your DAW to rescan Audio Units/VST3 as required.

Linux

The official installer places the VST3 at ~/.vst3/Swara XT.vst3 and Standalone at ~/.local/bin/swara-xt. Keep the VST3 bundle directory intact.

Plugin scanning

If a host has cached an older version, close the host, replace the plugin, then perform a rescan. Do not copy only the executable out of a VST3 bundle.

MIDI input

SWARA XT responds to incoming notes and its supported performance/controller sources. Select Omni when you want to accept all channels or choose a specific MIDI channel in GLOBAL.

What SWARA XT does not use

There are no physical CV inputs, CV outputs, hardware filter-board connectors, MIDI-out operating modes or Shruthi-style SysEx patch/wavetable dump workflows. These hardware concepts are intentionally excluded from the plugin.

CPU management

If realtime CPU is high, first switch Filter Quality from High to Normal or Eco. Increase your DAW audio buffer if necessary. Return to High when the session has enough processing headroom.

Standalone

The Standalone build is useful for direct playing and sound design without a DAW. Select the intended audio and MIDI devices in the application's audio settings.

Fast sound-design guide

Interface skins

Choose Pastel, Midnight Gold, Neon Cobalt, Jungle or Rossocorsa from the right-click menu. The synthesis layout and stored musical state are unchanged by the selected skin.