Absynth 5

Three independent sources, one evolving patch

ABSYNTH 5 organizes sound into channels A, B and C. Each begins with an oscillator, followed by two configurable processing slots; their outputs meet in a master channel with additional processing and a final effect. Oscillator modes include waveform-based synthesis, samples, granular playback and external audio, allowing a patch to combine fundamentally different source types.

Movement is part of the architecture

Detailed breakpoint envelopes, three LFOs and performance macros can reshape the sound over long or rhythmically organized trajectories. The Wave window edits waveforms and their harmonic content, while the Effect window provides both sound processing and spatial placement. This favors evolving pads, textured transitions and unusual playable instruments, but the same architecture can produce compact tonal patches.

Two ways to work

Build a patch by activating one channel at a time, choosing its source and adding processing, or begin with the Browser and use Mutator to borrow characteristics from a filtered set of other sounds. The Perform window then consolidates useful controls for playing and automation without exposing every underlying parameter.

Source: Manual, “Patch Window,” pp. 36–40; “Oscillator Module,” pp. 49–52; “Envelope Window,” pp. 113–117; “Mutator,” pp. 166–171.

Patch and oscillator panels

Activate a module by clicking its left border. The top Oscillator slot must be active before its channel's other processors are available. Its Synthesis menu selects Single, Double, FM, Ringmod, Fractalize, Sync Granular, Sample, Granular or Audio In. Main contains the selected source's controls; Mod exposes the modulation oscillator where applicable. Choose the source before editing because available parameters change with the mode.

The Uni panel stacks voices in supported waveform modes. Num Voices sets the stack, Trans sets detuning between voices and Rand Trans introduces random variation. Unison is unavailable in Sync Granular, Sample, Granular and Audio In. Channel slots below the oscillator can hold Filter, Modulator or Waveshaper modules. Use Channel Level sliders to balance sources before adding master processing.

Master and effects

The master chain runs left to right. Its Mono/Poly setting determines whether processing receives combined signals or treats them separately; this can substantially change how nonlinear processing responds to chords. In the Effect window, choose one effect at a time. The Input Mixer controls feeds from A, B, C and the master; Input Lowpass/Highpass restrict the processed bandwidth. Wet and Dry set the output blend. Surround controls position the effect's components where the output configuration supports them.

Wave and envelope editing

The Wave window offers Waveform, Spectrum and Morph pages for time-domain shape, harmonic content and merging two waves. New Wave creates an editable copy rather than modifying the selected source waveform.

In Envelope, select a target from the list or use New Envelope. Move breakpoints to shape time and level; Abs/BP Time edits absolute or relative timing, Amplitude sets the point's level, and Slope/Step chooses curved transitions or jumps. An envelope's maximum is governed by the target value set in the Patch window, so check that value if modulation never opens the sound far enough.

LFOs, performance and mutation

Each LFO has waveform, Rate, Phase, Mono/Poly and optional Sample&Hold controls. Assign destinations, channels and modulation depths; invert selected routes for opposing movement. Perform contains polyphony, output level, tempo, tuning and macro assignments, plus Master Envelope controls for broad contour changes.

In Mutator, the mini-patch chooses what may change. Mutation Amount moves toward sounds in the Browser results; Randomization Amount adds deviation. Retry generates another result from the preceding state, and Mutation History recalls alternatives. Save a successful mutation as a sound; its finetuning controls are browsing/editing aids, not automatable performance macros.

Source: Manual, “Patch Window,” pp. 36–52; “Effect Window,” pp. 82–85; “Wave Window,” pp. 104–106; “Envelope Window,” pp. 113–117; “LFO Window,” pp. 133–137; “Perform Window,” pp. 139–142; “Mutator,” pp. 166–171.