Sweet Berta

Noise alone through a near-self-oscillating ladder tracking the keys 1:1: a pitched, whistling wind. The mod wheel adds slow gusts to the cutoff. Macros: Whistle, Swell, Rate. Macro 8, Master, is the output level.

The oscillators off and the ladder's resonance at full, so the filter itself rings as a sine at the cutoff, tracking the keys 1:1 from middle C: the ladder filter as an oscillator. A trace of noise starts it ringing. Macros: Swell, Release, Vibrato. Macro 8, Master, is the output level.

The long, booming drum-machine kick: the ladder ringing on its own as a sine, its pitch thrown up by the envelope and sliding down into the note. It tracks the keys, so play it as a bass line too, from C2 to C3; hold nothing, every hit rings out by itself. Macros: Boom (length), Punch (the pitch throw), Drive (Pumice's saturation). Macro 8, Master, is the output level.

A short, tight kick with a hard front: a triangle an octave down whose pitch drops an octave on every hit, a click of noise on top, saturated for bite and squeezed by a compressor. The four-on-the-floor kick; play C2 to C3 on every beat. Macros: Body, Click, Decay, Bite. Macro 8, Master, is the output level.

A distorted, hard-dance kick: a triangle and a square falling an octave and a half, through a cranked amp, so the body turns into a square, gritty thump. Play it on every beat at C2 to C3; the amp's tone on a macro takes it from warm to harsh. Macros: Gain, Tone, Decay. Macro 8, Master, is the output level.

A soft, round kick with no click: pink noise and a low triangle through a nearly closed ladder, a quick dip in pitch, all thump and no snap. For lo-fi, hip-hop and quiet beats; play it a little behind the beat at C2 to C3. Macros: Body, Air, Decay. Macro 8, Master, is the output level.

The warehouse-techno kick: a punchy kick played dry, with a dark hall behind it thickened and filtered down to a low, rolling rumble that fills the gap to the next hit. Patched in parallel through the Case: Main Out goes straight to Master In, and Euro Out, the voice before the Volume, through a wet hall and a dark amp beside it. Play straight quarter notes at C2 to C3. Macros: Rumble, Length, Punch. Macro 8, Master, is the output level.

A bright, cracking snare: white noise through an open ladder over a triangle body that blips down in pitch, in a small room. The backbeat snare; play it at C3, harder for more crack. Macros: Snap, Body, Room. Macro 8, Master, is the output level.

The tight drum-machine snare: two triangles a fourth apart for the shell, tuned a little down on each hit, under a short burst of noise rolled off by a 12 dB ladder. Dry and close; play it at C3, or up the keys to tune the shell. Macros: Snappy, Shell, Decay. Macro 8, Master, is the output level.

The huge '80s ballad snare: a fat noise-and-body hit squashed by a compressor into a bright, long plate. One hit on two and four fills the room; play it at C3 and leave space. Macros: Size, Squash, Tone. Macro 8, Master, is the output level.

A hand clap from noise alone: a band of white noise around 1.3 kHz, smeared into a flam of hands by a very short echo, in a small room. Play it at C3 with the snare, or alone on the backbeat. Macros: Hands, Room, Tone. Macro 8, Master, is the output level.

A short, woody rimshot: a square and a triangle a tritone apart, pinged through a resonant ladder for a few milliseconds. Play it on the off-beats around C3 to C5; higher keys tune it up toward a clave. Macros: Wood, Ring, Room. Macro 8, Master, is the output level.

+ENV OUT into both oscillators' PITCH IN drops the pitch 15 semitones as the envelope decays, with a little noise: a synth tom. Play it low. Macros: Decay, Noise, Bright. Macro 8, Master, is the output level.

A closed hi-hat: white noise and two clashing pulse waves, one frequency-modulating the other, through the high-pass filter and a bright ladder, a tick of a few milliseconds. Play sixteenths at C3; the Decay macro opens it toward a half-open hat. Macros: Decay, Tone. Macro 8, Master, is the output level.

An open hi-hat that sizzles out over a third of a second: noise and a little metal through the high-pass filter, bright and thin, in a small room. Play it on the off-beat at C3, a closed hat around it. Macros: Length, Tone, Room. Macro 8, Master, is the output level.

A metallic, ringing hat: two pulse waves at a clashing interval, the first frequency-modulating the second into a cloud of inharmonic partials, high-passed to a shimmer with a little noise. Play it at C3 to C4; each key tunes the metal. Macros: Clang, Length, Tone. Macro 8, Master, is the output level.

A shaker: high-passed noise that swells in over 25 ms and falls away just as quickly, so it shuffles instead of ticking. Play steady sixteenths at C3, holding none of them; a quick roll of two keys sounds like a shake back and forth. Macros: Swell, Tone. Macro 8, Master, is the output level.

A set of tuned toms down the keyboard: the ladder ringing as a sine, its pitch dipping into the note on each hit, with a stick of noise in a small room. Play fills from C2 to C4; every key is a tom in tune. Macros: Dip, Length, Room. Macro 8, Master, is the output level.

The disco electronic tom: a triangle with a hint of square that swoops down two octaves on every hit, through a spring and a short echo. Play it in rolls and fills down the keyboard from C4 to C2. Macros: Swoop, Echo, Spring. Macro 8, Master, is the output level.

A hand drum: a triangle with a slap of noise, its pitch dipping into the note, through a resonant ladder that tracks the keys, pitched for congas around C3 and bongos an octave up. Play two or three keys a few semitones apart as the open and muted heads. Macros: Slap, Length. Macro 8, Master, is the output level.

A drum-machine cowbell: two squares a sharp fifth apart, band-passed between a high pass and a resonant 12 dB ladder, with a fast clank and a short ring. Play it around C4 to C5 on the off-beats. Macros: Ring, Tone. Macro 8, Master, is the output level.

A laser blast: a saw that dives three octaves in a fifth of a second, through a resonant ladder that closes behind it, bouncing between the speakers. Play it anywhere; higher keys are thinner shots, and fast repeats are a firefight. Macros: Dive, Bite, Echo. Macro 8, Master, is the output level.

The ladder's own zap: ringing on its own, its cutoff flung six octaves up by the envelope and dropping back in a tenth of a second, a bright 'pew' into a spring. Short presses on high keys are blips; low ones are a deep 'thoom'. Macros: Zap, Spring. Macro 8, Master, is the output level.

A build-up for the bar before the drop: two saws and white noise climb an octave together over about ten seconds while the ladder opens, the echoes and the hall growing behind them. Hold one note through the build and let go on the downbeat; a higher note starts higher. Macros: Rise, Noise, Space. Macro 8, Master, is the output level.