Build a sound.
One connection at a time.
Connect sound sources, processors, and control signals to build an instrument or effect. These examples explain what to connect—and what each connection does.
Port names and available modules may differ between ZOIA and MPC Mod-Synth. Follow the signal’s purpose and use the matching input in your editor.
Know your signals
| Signal | Purpose | Typical connection |
|---|---|---|
| Audio | Carries the sound | Oscillator → Filter → VCA → Output |
| Pitch / CV | Controls pitch or a parameter | MIDI Note → Oscillator Frequency |
| Gate | Stays high while a key is held | MIDI Gate → ADSR Gate |
| Trigger / Clock | Starts an event or advances a step | Clock → Sequencer |
| Modulation / CV | Changes a parameter over time | LFO → Filter Cutoff |
A playable synthesizer
A note controls pitch; a gate starts the envelope. The ADSR opens and closes the VCA.
Try this: Start with a sawtooth oscillator, low filter resonance, short attack, medium sustain, and some release. Set the VCA’s base level to zero so the envelope controls the full volume.
A slowly evolving drone
A continuous tone changes colour and volume through two independent LFOs.
Try this: Use small modulation amounts and a nonzero VCA base level. Different LFO speeds make the movement less repetitive. Add a second oscillator at an octave or fifth for a fuller drone.
A guitar-controlled filter
The envelope follower tracks picking intensity. Stronger attacks open the filter: an auto-wah effect.
Try this: Begin with a fairly low cutoff. Increase the envelope follower connection strength gradually. Its rise and fall settings determine how quickly the filter responds.
A sequencer voice
A clock advances the steps. The sequencer sends pitch values and gate pulses to a synth voice.
Try this: This diagram assumes pitch and gate outputs are available. If the sequencer has no gate output, connect the clock to the ADSR as well. That triggers an attack on every step. Use a pulse or square-wave clock source.
More useful connections
| Source → Destination | Result | Starting tip |
|---|---|---|
| LFO → Oscillator Frequency | Vibrato or pitch movement | Use a very small amount. |
| ADSR → Filter Cutoff | Bright attack, followed by a darker tone | Try a moderate amount. |
| LFO → Pulse Width / Duty Cycle | Moving, hollow square-wave tones | Enable PWM on the oscillator. |
| MIDI CC In → Filter Cutoff | Hardware control of the filter | Match the controller’s CC and channel. |
| MIDI CC In → ADSR Attack | Sharp attacks or slow swells | Keep the range useful for playing. |
| LFO → Pan | Sound moves left and right | Use a slow rate. |
| Sample & Hold → Filter Cutoff | Stepped, random tone changes | Feed a random source into Sample & Hold and trigger it with a clock. |
| Oscillator → Another Oscillator’s FM Input | Metallic or bell-like sounds | Start with very little modulation. |
| Guitar → Pitch Detector → Oscillator Frequency | Guitar controls synth pitch | Play clean, single notes. Use an envelope follower and VCA to follow picking volume. |
Three practical rules
- Audio carries sound; CV controls parameters. Connect MIDI pitch to oscillator frequency, rather than its audio input.
- Gate triggers the ADSR; the ADSR controls the VCA. Gate directly into a VCA usually produces abrupt on/off volume.
- The base value and modulation combine. Start with small amounts, especially for pitch, resonance, and volume.
These diagrams explain signal routing. Browser audio previews may approximate hardware behaviour or omit some modules.
