An atlas of waveform generation techniques

Braids is a voltage-controlled monophonic digital sound source.

Sound source… like an oscillator? Not really.

Most of the timbres it generates are so complex that approaching them with a classic analog modular setup would require a full case of oscillators, filters, VCAs, waveshapers and ring-modulators – that’s why we call it a macro-oscillator – intricate digital synthesis algorithms wrapped in oscillator’s clothes.

2 Knobs to Rule Them All

Each algorithm is controlled by two continuously variable parameters, TIMBRE and COLOR, both of them voltage controllable.

Instead of being directly assigned to the intricate details of the synthesis algorithm, they work as meta-parameters going through all the sweet spots.

Very often, these parameters simultaneously affect several dimensions of timbre, creating very complex movements which would be hard to generate with a traditional setup.

-12V:15mA *
(*) data refers to units manufactured in september 2015 or later

Synthesis models

The classics

  • CS-80 style sawtooth with a notch.
  • Continuously variable morphing between triangle, sawtooth, square and pulse, with character control.
  • Square/sawtooth with pulse width control.
  • Triangle to sine morphing, with wavefolder.

Direct digital synthesis

  • Band-limited dual pulse train, with detuning.
  • Dual square or sawtooth oscillator with hard sync.
  • Triple saw, square, triangle or sine.
  • Stack of three ring-modulated sine waves.
  • Swarm of seven sawtooth waves.
  • Comb-filtered sawtooth wave
  • Circuit-bent sawtooth generator with sample rate reduction and bit toggling.
  • Direct synthesis of filtered waveforms, casio CZ style.
  • Low-fi or hi-fi vowel/formant synthesis.
  • Harmonic oscillator.
  • FM with various feedback paths.

Physical and percussive models

  • Plucked string (Karplus Strong).
  • Bowed string.
  • Reed and flute.
  • Bell and metallic drum.
  • 808 bass drum, cymbal noise and snare drum.


  • 256 waveforms, organized as 21 wavetables or as a 16x16 XY map.
  • 4-note chord synthesis.

Noise sources

  • Noise processed by a tuned multimode filter.
  • Noise processed by a dual BP filter.
  • Clocked digital noise.
  • Cloud of sinusoidal grains.
  • Particle synthesis.

Additional settings

These settings are accessible through a menu, and are not CV controllable.

  • Bit-depth (from 4 to 16 bits) and sample rate (from 4kHz to 96kHz).
  • Quantizer on the CV-input with a large selection of scales.
  • Analog VCO-style linear detuning of higher frequencies.
  • Analog VCO-style pitch drifting.
  • Waveform quirks, unique to each module built.
  • Built-in AD envelope, assignable to the oscillator frequency, the COLOR and TIMBRE parameters, and to the amplitude.
  • META mode enabling CV-controlled model selection with the FM input.


  • All inputs: 100k impedance, DC to 4kHz.
  • 12-bit CV capture.
  • 96kHz, 16-bit audio processing (some algorithms are 2x or 4x oversampled).