# Vital Visual Findings

Owner-authorized image reanalysis, 2026-09-20. This is an accumulating record of
images actually inspected, not a list generated from captions. Stable IDs resolve
to originals, rendered images, source documents and hashes in manifest.json.
M/C identify PDF pages; V identifies Vogel diagrams; F/T identify the two EDMProd
articles. PDF pages include surrounding explanation as well as figures.

Each entry retains visible evidence, its connection-level meaning, practical use
and limits. These are usable documented constructions, not new native-render
observations or promises of perceptual similarity. Numerical knob positions in a
screenshot are examples, not optimized settings. General principles must not be
reduced to rules for the six development sounds.

## User Manual

### M05
The Voice screenshot visibly separates OSC1->Filter1, OSC2->Filter2, OSC3->Effects,
and Sample->Effects; the two filters have distinct illuminated source buttons.
This is a multi-branch instrument, not a required serial chain. Use separate
branches when tonal components require different shaping, or bypass processing
for a component whose identity should remain intact. The prose also permits
oscillator/sample FM and RM dependencies; signal routing and modulation routing
are different graphs.

### M06
The ten numbered oscillator controls include independent power, audible level,
pan, pitch, destination, resource, unison, starting phase and two morph stages.
Pitch has semitone and cent controls plus a separate transpose-snap grid. Retain
these distinct variables in construction state instead of absorbing all changes
into a table. Snap constrains pitch choices; it is not finer tuning.

### M07
The routing menu explicitly includes Filter1, Filter2, both, Effects, Direct Out.
Direct Out bypasses effects as well as filters. The adjacent waveform diagram
distinguishes the frame slider, view-mode switch and editor. A 3D table display
shows available frames, not an autonomous time trajectory. Assign motion through
modulation. A bypassed filter need not silence its assigned source.

### M08
The unison/phase strip separates count, detune amount, starting phase and phase
randomization. Its explanation explicitly notes that zero detune does not make
multiple voices equivalent to one when their phases differ. Use deterministic
starting phase for a stable attack when appropriate, and randomization where
variation is part of the instrument. Detune percentage acts with the Advanced
range; do not interpret it alone as cents. Editor video links remain source
navigation, not videos watched in this review.

### M09
The two adjacent morph controls are shown as Smear and FM OSC2. Spectral shaping
and oscillator-to-oscillator modulation can coexist and have independent amounts.
The page lists spectral modes, including harmonic/inharmonic movement, amplitude
randomization, filtering, phase dispersion and time skew. Retain each as a tool,
not just a generic "complex wavetable" action. Verbal descriptions here are
qualitative; the screenshot itself does not establish the DSP equation of Smear
or Time Skew. Existing source-grounded explanations remain available.

### M10
The right morph list includes Sync, Formant, Quantize, Bend, Squeeze, Pulse, FM and
RM. The sampler diagram separately exposes level, pitch, destination and playback
switches. An audio source can therefore be a carrier, modulator, transient or
texture. The page's wording that FM "plays ... at the frequency of another" is
not a complete modulation model: retain carrier pitch, source pitch and amount
as separate controls, consistent with the existing source-backed FM notes.

### M11
Sampler transpose/snap and routing use the same visible organization as oscillator
controls, but the explanation states that sample pitch changes playback speed.
Thus a pitched transient can change length; keytracked and fixed-speed playback
are separate construction choices. Use this dependency when deciding whether a
recorded onset should retain duration across notes. No granular/time-stretch
engine is shown or promised by this sampler UI.

### M12
The four sampler icons expose note tracking, random starting position, looping
and alternating playback direction. They are not interchangeable with a sample's
level envelope. A one-shot onset needs a meaningful repeatable start; a sustained
texture may benefit from looping/random start. Retain the actual sample and its
playback settings in an exported instrument, not just a successful render.

### M13
The filter diagram labels three different sliders: cutoff, resonance and response
blend, plus source toggles, drive, mix and keytracking. The mix explanation notes
phase-dependent response changes when dry and filtered paths combine. This gives
more than a brightness control: continuous response morphing and parallel dry
content can create distinct shapes. UI input buttons and oscillator destinations
must describe the same routing, not contradictory independent settings.

### M14
This text page connects resonance/self-oscillation with note keytracking and
describes 12/24 dB, notch and band/peak/notch variants. The useful construction is
an explicitly pitch-related resonant component, not merely a darker source.
Preserve the form of tracking (positive/negative), filter family and drive because
they govern register transfer and nonlinear character. The printed example
frequencies are illustrative; they are not recovered settings for our references.

### M15
Formant controls replace ordinary cutoff/resonance labels with X/Y, transpose,
peak and spread. Comb and phaser sections introduce notch patterns and polarity.
Use model-specific controls rather than applying one low-pass parameter template
to every family. The text loosely calls a phaser a comb with fewer notches; retain
the practical relationship but not equivalence: delay-comb and all-pass phaser
paths are distinct mechanisms in the existing source knowledge.

### M16
Source tiles, destination rings and cyan modulation arcs show how to discover and
inspect a connection. Hover audition during a drag is not a committed mapping;
release establishes it. Multiple source rings can feed one destination. For live
work, retain the committed source/destination/depth state and use visible motion
as feedback, without mistaking one UI arc for a full audio/control recording.

### M01
The contents page locates Voice, Modulation, Matrix, all nine Effects, Global and
Advanced sections. It is a retrieval map, not a priority ranking. Keep the whole
map accessible; page counts in the printed contents and PDF page numbers differ.

### M02
The author explicitly distinguishes practical experience from theorized internal
algorithms. Preserve that provenance while using the operational instructions.
It does not justify rejecting untested features or requiring a preliminary test
for every control.

### M03
The four tabs and preset header illustrate that a patch includes more than the
Voice page. Preset browsing/saving is separate from wavetable resource selection.
Use the correct state level when retaining a complete construction versus one
reusable ingredient; a resource alone does not preserve routing and modulation.

### M04
The annotated control strip includes knobs, sliders and numeric/percentage/text
fields. Exact value entry and default reset support reproducible live edits;
mouse displacement alone is not a reliable parameter record. The menu separates
Open External Preset, Save and Export, so edits can remain in research copies.

### M17
The envelope image has delay/attack/hold/decay/sustain/release and curve handles.
The context options distinguish Remove from Bypass and bipolar from stereo
modulation. Preserve a connection when auditioning its absence by bypassing it.
ENV1 is a voice-lifetime/amplitude dependency; the text's suggestion that another
level modulation simply "unmaps" it must not replace the existing source-backed
ENV1 lifetime finding.

### M18
The LFO diagram labels shape, grid, paintbrush, phase slider, mode, frequency and
secondary timing controls. These are independent of an ADSR's time parameters.
An arbitrary drawn contour can drive timbre or amplitude, but its playback mode
and note release determine how the contour behaves as an instrument.

### M19
Open points define the LFO contour; intermediate handles define segment curvature.
The source explains point editing, brush patterns and trigger/sync. Keep the curve
and its playback semantics separately: copying a shape is not copying the timing
behavior. The start slider's role changes with mode.

### M20
Envelope, Sustain Envelope, Loop Point and Loop Hold differ in start/hold/loop
regions; keytracking is a rate option alongside free/tempo rates. Smooth can be
switched to Fade In through its label menu, while Delay postpones onset and Stereo
offsets channel phases. This supports attack-to-sustain evolution and delayed
motion without a phrase-length sample. Consult V42 for the full mode/menu map.

### M21
The random panel has a style selector, rate, visual trace and separate Sync/Stereo
switches. Perlin, Sample & Hold and Sine Interpolate are alternatives for the
trajectory, not three names for note-random offsets. Use smooth drift for gradual
variation and stepped motion where discrete events belong in the sound; neither
is automatically a defect.

### M22
The panel's Stereo option describes separate random L/R trajectories; the nearby
eight note-control tiles serve another role. Random-generator synchronization
and per-note Random are not interchangeable. Retain the reset/history choice
when a construction depends on repeatable attacks or evolving phrases.

### M23
Note, Velocity, Lift, Oct Note, Pressure, Slide, Stereo and note-Random each have
different domains. Four macros can combine multiple destination changes; pitch
and mod wheels are also sources. Use Note for register dependence, Velocity for
strike dependence and Lift for release dependence, not a shared global time
curve. External controller availability is a performance requirement, not a fact
recoverable from the screenshot alone.

### M24
The example matrix simultaneously maps LFOs to oscillator level/pan and sample
transpose/level, two random generators to EQ cutoff, Velocity to level, and one
macro to detune and phase randomness. This is a concrete multi-control graph,
not a single moving table. The selected remap belongs to one connection; bypass
and source identity must survive copying a useful construction.

### M25
The nonmonotonic remap graphic contains ramps, a bump and steps. Morph and Remap
are described as distinct transformations that both affect the connection.
Remapping can distribute a common source differently across destinations or
shape a velocity/register response. Its horizontal coordinate is source value,
not automatically elapsed time; repeated source values revisit the same output.

### M26
The remap editor retains point/curve/grid/brush operations familiar from the LFO
editor. Reuse contour editing ergonomics without confusing a transfer function
with an oscillator. Sharp segments can be intentional thresholds or sequences;
their audible effect depends on source motion and destination.

### M27
The effect list is reorderable and processes top-to-bottom. The chorus diagram
includes voice count, rate, two delay times, depth, feedback, filtered return and
mix. A chorus is a shaped time-varying path, not simply a pan spread. Preserve
its placement relative to distortion, dynamics and reverb.

### M28
Chorus delay groups and feedback interact with the return filter and dry/wet mix.
The adjacent compression explanation distinguishes lifting lower-level signal
from reducing peaks. Use these separately for texture and dynamic density.
Feedback polarity is an available tonal variable, not a general guarantee of
less buildup or greater stability.

### M29
The compressor diagram contains interactive threshold/ratio rectangles as well
as attack/release and band output gains. Those graph regions are controls, not
just meters. Keep lower/upper behavior and per-band gains in the construction;
changing the three output gains alone is not learning the compressor.

### M30
Compressor attack/release governs response to signal level, not a note-triggered
ADSR. Its mix supports blending the processed branch. The delay diagram exposes
time, mode, feedback, return filter and mix. Thus dynamic envelope shaping and
repeat generation must remain distinct explanations of a long or softened sound.

### M31
The two delay visuals distinguish Ping Pong and Mid Ping Pong and display channel
repeat placement. Preserve both timing controls and channel mode when explaining
inter-note echoes. A single "delay amount" loses rhythm and stereo behavior;
negative feedback is polarity, not a universal cleanup operation.

### M32
The distortion panel pairs an input/output transfer graph with drive and a
separate pre/post filter graph. Drive moves the signal through the nonlinear
transfer function. Source/envelope level therefore changes tone as well as loudness;
an output gain adjustment cannot undo that interaction. The plotted arctangent
is an illustrative curve, not asserted as every Vital distortion algorithm.

### M33
The type list retains clipping, folding, bit crushing and downsampling as distinct
choices, with a filter that can precede or follow them. Use pre-filtering to alter
what generates nonlinear products, and post-filtering to shape the resulting
spectrum. The source's shorthand equating bit crush and downsample should not
erase amplitude-quantization versus temporal-reduction as separate mechanisms.

### M34
The EQ image separates LOW/BAND/HIGH selection, response-style icons, gain,
cutoff and resonance. The controls change with style; a disabled gain control
is not a failed write. EQ and the FX filter operate in the effects path, unlike
the per-voice filters. Use moving EQ for localized spectral evolution and a voice
filter where each note requires its own trajectory.

### M35
The flanger diagram shows two overlaid channel responses, center, depth, rate,
feedback, offset and mix. Its notches are a coherent delay-interference pattern,
not a collection of unrelated EQ cuts. Retain L/R offset and dry/wet interaction
when applying it to moving coloration.

### M36
The phaser diagram adds a notch-count slider to rate, center, depth, feedback and
stereo offset. Unlike a flanger's delay-based spacing, the phaser explanation
describes all-pass phase changes mixed with dry signal. Use the corresponding
mechanism and stage count; visually similar notches do not imply identical time
response or interchangeable settings.

### M37
The phaser's rate can be frozen while retaining its filtering/mix. The reverb
panel separately presents input cuts, low/high tonal controls, chorus, delay,
size and time. These give stationary coloration, moving coloration and space
different controls; do not classify every width difference as reverb.

### M38
The explanation connects reverb predelay to separation from the dry onset, size
to the spatial network, time to decay, and chorus to tail modulation. Distinguish
input-band restriction from frequency-dependent decay. The old text calls some
controls "post reverb EQ"; the newer Vogel/source notes identify feedback EQ,
which changes the tail through time, not only a final static output spectrum.

### M39
Global Voices is note polyphony, not oscillator unison count. Glide includes
curve, Always Glide, Octave Scale and Legato; Spread has an alternate Rotate
mode in the described UI. Notes with different overlap/distance can therefore
change articulation and motion. Retain this performance state rather than
retuning a waveform to compensate for an incorrect note transition.

### M40
Advanced oscillator settings become active with the corresponding oscillator
and multi-voice unison. Note Track, Hi-Res Wavetable, stack, detune range, blend,
stereo and three spread controls are separately exposed. Grey controls can mean
unmet prerequisites, not unavailable synthesis. The waveform and enabled morph
stages determine whether spread produces a difference.

### M41
Stack options include octave/chord and harmonic arrangements. Table Spread varies
frame positions between voices; Spect Spread varies the spectral morph; Dist
Spread varies the wave morph. This permits an ensemble of related but nonidentical
timbres from one oscillator, not just identical copies with pitch offsets.
Use one spread or several when the reference needs internal diversity.

### M42
The Advanced screenshot displays a time waveform and a frequency spectrum,
alongside oversampling and display units. A spectrum snapshot is not a spectrogram
or full temporal history. Oversampling and Hi-Res Wavetable are separate quality
controls. The manual's broad sufficiency claim for 2x is not a universal bound
for nonlinear/high-frequency material.

### M43
The final page retains note priority, tuning files, global cents and transposition.
These belong to the instrument/performance interpretation layer. It is text-only
and offers no extra UI diagram. Preserve named modes rather than adopting the
page's loose "Round Robin: Similar to Highest" as an exact algorithm.

## Community Documentation

### C01
The cover uses a complete multi-oscillator patch with both filters and several
modulator assignments. It introduces the full instrument surface, not a minimal
wavetable-only workflow. The patch is an illustration, not reference truth.

### C02
This is a community-authored document with support/credit links, not official
binary documentation. Preserve the source provenance without devaluing its
practical controls. No contact or contribution request was performed.

### C03
The contents include preset handling, oscillator/sample/filter controls,
envelopes, LFOs, matrix and editor. Some sections later contain placeholders;
their absence is a documentation gap, not missing functionality in Vital.

### C04
The version/system text is dated to Vital 1.0.7 in 2021. Keep date and platform
context when using installation examples; do not change our environment to match
them. This page contains no synthesis diagram.

### C05
The Windows installer screenshot separates standalone, VST and VST3 components.
It is an installation example, not evidence about our installed Mac host or a
reason to reinstall. Retained as operational context.

### C06
The marked Vital logo opens a panel with version, UI scale, audio device,
sample rate/buffer and MIDI inputs. These settings explain how a live standalone
session is connected; they are not equivalent to saved sound parameters.

### C07
The main menu gives a route to the preset browser. The accompanying buffer/rate
discussion distinguishes audio-host problems from synthesis. Capture the active
host configuration when investigating glitches; an old version-specific settings
bug is not automatically a present failure.

### C08
The browser shows folder/category filters, search, favorites and metadata. These
are retrieval tools for retaining working ingredients and complete patches, not
an acoustic similarity engine. Categories do not prove a sound's mechanism.

### C09
User/factory folders and preset metadata appear separately. Preserving original
identity and a research copy prevents experiments overwriting the source. The
author-field warning is historical UI behavior, not a license/provenance fact.

### C10
The Import Bank command and its menu position are highlighted. A bank packages
presets/resources; it is not the same operation as loading one external preset.
No bank installation was performed in this review.

### C11
The bank file picker illustrates the .vitalbank route; following text introduces
ordinary archive bundles. Retain packaging distinctions for future editable
delivery, without interpreting an archive's presence as successful native load.

### C12
File-manager screenshots show extraction of a bundle and its top-level folder.
The useful operational lesson is retaining the bundle hierarchy and dependencies.
These are source screenshots, not access to the owner's unrelated directories.

### C13
The example folder contains LFOs and Presets. A reusable resource collection can
contain more than patch files; motion shapes merit preservation too. This does
not require every exported instrument to depend on external LFO files.

### C14
The library root receives the top-level bundle. A red warning notes that
Initialize discards unsaved state. Use research copies and save current state
before deliberate resets; no live reset was done here.

### C15
Initialize Preset is highlighted in the menu. It is an explicit reset operation,
not a prerequisite for every improvement. Our objective remains complementing
useful constructions rather than repeatedly starting from INIT.

### C16
The oscillator crop locates coarse/fine pitch and the frame selector. Several
export/tuning headings on this page are unfilled, so they should not be cited as
detailed instructions. Coarse pitch is a transposition of incoming notes, not a
fixed MIDI pitch value.

### C17
The transpose-snap overlay and four sample playback icons are individually
illustrated. Snap can turn continuous pitch modulation into discrete pitches;
sample note tracking changes playback rate, random start changes entry point,
and loops determine repeated traversal. Preserve all four switches, not a single
"sample enabled" flag.

### C18
The sample-player combination table makes the interaction of tracking, random
start and forward/backward looping explicit. The envelope diagram separately
shows delay, attack, hold, decay, sustain and release. Use the table as a playback
mode reference; use separate amplitude control for note articulation. The text
also explains that additional envelopes appear as earlier ones are assigned.

### C19
Two envelope diagrams distinguish moving a stage boundary from changing its
curvature. This is a direct route to fast/slow energy distribution within an
unchanged total duration. The explanation explicitly allows note-off during an
earlier stage to transition to release, which matters for duration transfer.

### C20
The highlighted ENV1 lifetime warning sits beside an envelope-curve example and
an arrow from ENV1 to filter cutoff. It connects audible lifetime, spectral motion
and graph assignment. Allocate amplitude and timbre envelopes intentionally so a
short ENV1 does not truncate another desired trajectory. The prose also permits
modulating envelope parameters themselves, not only their destinations.

### C21
The full-patch image illustrates an LFO changing an envelope parameter and the UI
updating its shape. This is modulation of the motion generator, not merely adding
a second contour to oscillator level. Use it for variable articulation when that
variation is part of the instrument; a still image does not establish the whole
live trajectory or prove a specific timing response.

### C22
Mode descriptions continue for Envelope/Sustain/Loop modes and note controls.
Keep start/loop position and note release together when using the mode, rather
than inferring behavior from its name. This old prose is not a substitute for
the more explicit current mode diagram V42.

### C23
Lift, octave-relative Note, Pressure, Slide, Stereo and per-note Random have
different input meanings. The page also explicitly describes macros as modulatable
controls. Use macros to coordinate a family of changes; retain whether expression
comes from MIDI, an internal source or a static macro value.

### C24
Two example matrix states must not be merged. The upper screenshot includes
Random1->Modulation5 Amount, Env2->OSC3 Wave Frame and Level, Random2->OSC3
Distortion Phase/Spectral Morph Amount and OSC2 Wave Frame, and Random1->OSC1 Wave
Frame. The lower example assigns LFO1 to Filter1 cutoff/resonance, separate
envelopes to Filter2 cutoff/resonance, and bypassed ENV4 to OSC1 Wave Frame with
stereo/bipolar flags. These retain nested depth control, independent branch
motion and reversible bypass, not merely example amounts.

### C25
The selected Mod Remap is drawn separately below the matrix. Its curve reshapes
that connection; the small Morph control also remains part of the connection.
Do not collapse curve, amount and polarity into a single scalar when preserving
an expressive mapping.

### C26
The pencil icon is circled as the route from the running oscillator to resource
editing. Record which oscillator/resource is being edited. Entering the editor
does not mean the rest of the preset ceases to matter.

### C27
The editor view includes a source lane, frame timeline and harmonic bars.
Turning the grid off enables freer drawing. MIDI Learn is described separately:
mapping a controller is different from an internally stored modulation trajectory.
The final credit text is retained for source attribution, not a new synthesis claim.

### C28
Contributor links complete the document. There is no additional synthesis figure
on this page; preserved and inspected, with no inferred technical content.

## Vogel Diagrams

### V01
The annotated main UI locates three oscillators, sampler, two voice filters,
macros, note/random sources, envelopes and LFOs. This is the complete Voice-page
navigation map; Effects, Matrix and Advanced are separate tabs, not absent tools.
The example routes different oscillator ingredients through different paths.

### V02
Global Voices, Bend, velocity tracking and Spread share a strip with Glide,
Slope, Always Glide, Octave Scale and Legato. Record these performance conditions
with the patch: inter-note behavior and voice overlap are not wavetable properties.
Global Voices is distinct from each oscillator's unison count.

### V03
The header distinguishes preset selection, Save, preset menu, master volume and
visualizer. A complete instrument is saved here; wavetable editing/export is a
different state scope. Keep output level separate from oscillator drive into FX.

### V04
The system panel shows version 1.0.7, device, sample rate, buffer and MIDI input
settings in the author's standalone session. These are host conditions, not our
installed version or current configuration. Use the panel for future live-session
provenance without changing it during this review.

### V05
Voice, Effects, Matrix and Advanced appear as peer tabs, with Matrix selected.
Retaining a construction requires traversing all relevant tabs; the Voice page
alone cannot describe its modulation network or downstream processing.

### V06
Preset navigation combines name/style/creator/date columns with folders,
categories, favorites and search. The menu separates external load, save, preset
export and bank operations. This supports retaining named constructions and
resource packages without overwriting the original source patch.

### V07
The header visualization toggles between a waveform trace and a frequency plot.
The annotation calls the latter a spectrogram, but no time-history axis is shown.
Use it for immediate visual feedback, not a saved time-frequency measurement or
proof that a transient has disappeared. The master slider is a separate control.

### V08
Dragging LFO1 highlights many eligible targets, including oscillator, filter,
envelope, macro and timing controls. Modulation is not limited to frame position.
The example also contains an RM dependency in the oscillator section; target
highlighting and audio-rate oscillator dependencies are different mechanisms.

### V09
Clicking a source highlights its targets; hovering a target exposes contributing
sources, and the same assignments appear as matrix rows. Use all three views to
recover the actual graph after edits. The example separates Macro1->OSC1 frame
from LFO1->Filter1 cutoff rather than treating both as one timbral motion.

### V10
The annotated matrix explicitly includes Macro1->Modulation11 Amount and
Random1->LFO3 Frequency beside oscillator, filter, EQ, compressor and FX mappings.
Connection enable, polarity, stereo, Morph, amount and remap each have controls.
The destination menu includes Mod Matrix itself: nested control can shape how
another source acts, not just add a parallel modulation signal.

### V11
A macro's target menu lists Envelope2 Attack, Macro1 and Envelope3 Attack.
Macros can coordinate generator timing and other macros, not only FX mix.
Per-connection context menus preserve Remove versus Bypass, bipolar/stereo and
exact-value entry. Save the graph and mapping ranges, not just macro positions.

### V12
Eight note-related tiles separate Note, Velocity, Lift, Oct Note, Pressure, Slide,
Stereo and Random. Use the appropriate input domain for register, strike,
release or expressive behavior. The neighboring Glide controls affect transitions
between notes and should not be inferred from an isolated-note envelope alone.

### V13
The random-style menu includes Perlin, Sample & Hold, Sine Interpolate and Lorenz
Attractor. Rate can be seconds, straight/dotted/triplet tempo or keytrack, with
separate Sync and Stereo. Retain style, rate domain and reset/channel behavior;
randomness can be a structured evolving source, not merely per-note detune.

### V14
The oscillator diagram separately labels unison count, detune power/distribution,
amount, phase and randomization. Spectral modes include Vocode, Formant Scale,
harmonic/inharmonic stretch, Smear, random amplitudes, LP/HP, phase dispersion,
Shepard Tone and spectral time skew. Wave modes include Sync, Formant, Quantize,
Bend, Squeeze, Pulse and FM/RM from other oscillators or Sample. These can operate
on simple resources and be modulated independently; direct output and separate
filter destinations are visible alternatives to a duplicated L/R construction.

### V15
Sample playback separates pitch/snap, output destination, level/pan, keytracking,
random starting point, loop and forward/backward loop. A sample may feed filters,
effects or Direct Out. Preserve these switches with its amplitude modulation;
they determine whether the same resource behaves as onset, pitched layer or bed.

### V16
The editor overview aligns waveform, harmonic magnitudes, phase offsets,
source/modifier lanes and keyframe positions. Context-dependent parameters belong
to the selected resource operation. A keyframe axis describes available resource
states; a running oscillator still needs a frame-position trajectory.

### V17
The resource browser has Save As Wavetable, Import/Export Wavetable, WAV export
and Synthesize Preset to Table. These retain different artifacts. Preserve the
editable source recipe as well as baked output when useful; table resynthesis
does not by itself retain the original patch's performance-dependent graph.

### V18
Wave Source and Line Source have separate lanes and differently populated
keyframes. A table can combine authored sources with independent resource
evolution. These are not extra runtime oscillators, and their keyframes need not
all change at the same positions.

### V19
The waveform editor exposes amplitude and phase bars separately, grid resolution,
snap points and Smooth Spectral Blend. A sinusoidal waveform can coexist with
phase-bar values for bins whose amplitudes are absent; phase bars alone do not
prove audible harmonics. Retain amplitude, phase and interpolation choices.

### V20
The open blend menu offers None, Waveform Blend, Spectral Blend and smooth forms
of each. Interpolation is an explicit construction decision, not an assumed
property of the input cycles. Choose it alongside phase relations and the desired
transition; a still waveform does not establish how intermediate frames sound.

### V21
The two bar editors display independently patterned harmonic magnitudes and
phase offsets. Additive content and phase structure can therefore be authored
separately. Preserve both when extracting or editing a resource instead of
assuming a spectral magnitude match uniquely determines the waveform.

### V22
The selected Line Source uses a drawn curved contour, its own grid and Pull Power,
alongside a separate Wave Source lane. This is a compact parametric ingredient
option. Pull Power is retained with the existing source-backed interpretation
as a bias in interpolation between line-source keyframes, not frequency tuning.

### V23
The explicit Copy LFO -> Paste oscillator example transfers a drawn Pulse Series
shape into a wavetable. Curve geometry is reusable across editors, but a pasted
cycle is an audio resource, not the original LFO's tempo/mode/timing assignment.
This enables authored ingredients without recording a full phrase.

### V24
Audio File Source exposes sample position, samples per frame, window fade, blend
style, phase style and Normalize. Each is a separate extraction choice. Window
fade affects within-resource treatment, not the played note's ADSR. Preserve
these settings so extraction errors can be distinguished from execution errors.

### V25
Dropping the same audio on an oscillator offers Wavetable, Vocode and Pitch
Splice zones. They are distinct import operations, not quality grades. The next
three figures retain their actual resulting settings for one example audio.

### V26
Wavetable import shows window 2048, fade 1, Spectral blend and Phase None. The
fixed window is a concrete example of cycle slicing. It need not match the
period of arbitrary reference audio; do not treat it as pitch-aware extraction.

### V27
Vocode import of the example shows window 336.2, fade 1, File Blend and Vocode
phase. The changed window and phase treatment are explicit differences from
V26. The exact 336.2 value belongs to this example, not all pitched imports.

### V28
Pitch Splice shows the same example window 336.2 and File Blend, but Phase None.
Comparing V27 and V28 isolates a phase-handling distinction without inventing an
audible winner. Retain the import choice in provenance; downstream complexity
cannot reliably compensate for every mistaken extraction choice.

### V29
Phase Shift is a modifier lane with its own keyframe and Mix. The menu separates
Normal, +/-Even/Odd, Harmonic, Harm+Even/Odd and Clear. Phase treatment can evolve
across the resource independently of the source keyframes. Retain the existing
complex-spectrum mixing qualification: Mix need not preserve magnitudes.

### V30
Wave Window has left/right positions and Raised Cos, Half Sin, Linear, Square
and Wiggle styles. The shaded window is within the displayed cycle. This is an
ingredient-shaping operation, not a note-level fade or a substitute for an ADSR;
edge shape changes the resulting harmonic content.

### V31
Frequency Filter offers LP/BP/HP/Comb, cutoff, shape and Normalize on a modifier
lane. A filter can be baked into table frames or remain a runtime control, with
different musical consequences. This editor cutoff is harmonic-index based in
the existing implementation notes; do not substitute it for absolute-Hz cutoff.

### V32
Slew Limiter exposes separate Down Limit and Up Limit and visibly changes slope
geometry. Asymmetric waveform transition limiting is an available source-shaping
operation. It is not the LFO smoothing control or compressor attack/release;
all three operate on different signals and scales.

### V33
Wave Folder shows a Multiply parameter, repeated folds and its own modifier
keyframe. Harmonics can be constructed from a simpler input by a compact
nonlinear operation. Baked folding and level-driven runtime distortion are
distinct choices; the latter can respond to the played amplitude envelope.

### V34
Wave Warp exposes X/Y Warp and separate asymmetric switches on an Audio File
Source modifier. Horizontal coordinate distortion and vertical amplitude
distortion need not be conflated. Retain this authoring recipe alongside the
resulting waveform when resource-level warping explains a useful ingredient.

### V35
The filter-family menu includes Analog, Dirty, Ladder, Digital, Diode, Formant,
Comb and Phaser. Analog subtypes include 12/24 dB, Notch Blend, Notch Spread and
B/P/N. Blend, cutoff, resonance, drive, mix, keytrack and input routing are all
separate controls. Choose the family and graph before optimizing scalar values.

### V36
Six response plots show LP, HP, BP, notch, double-notch and peak behavior from
different blend/subtype settings. A filter is not merely a high-frequency loss.
Moving a notch or peak across partials can change identity while leaving much
of the spectrum present; retain shape as well as cutoff motion.

### V37
The Diode comparison at Blend 1.75 shows Low Shelf retaining low content while
Low Cut removes it steeply during LP-to-BP transition. This distinction offers
control over low-body retention during spectral motion. These are illustrative
responses, not evidence that either fixes a particular reference.

### V38
Formant AOIE replaces ordinary controls with X, Y, formant transpose, Peak and
Spread. Multiple resonances move as a coordinated structure. Use X/Y trajectories
for vowel-like evolution when appropriate; an amplitude envelope alone cannot
specify that structure, and not every vowel impression proves a formant filter.

### V39
The comb graphic distinguishes the main cutoff/pitch control from an additional
Cut control, with resonance and keytracking. This separates spacing/tuning of
the repeated resonances from spectral attenuation around them. Modulating one
is not equivalent to modulating the other.

### V40
Positive and Negative phaser-filter responses show different peak/notch patterns.
The example also routes OSC1 and OSC2 to separate filters. Response polarity,
branch routing and motion are available independently; neither polarity is a
universal improvement or a replacement for checking the combined output.

### V41
The envelope graphic labels all six stages plus attack/release curvature,
mapping indicators and zoom. Additional assigned envelopes reveal more slots,
up to six as documented. Retain stage durations, sustain level and curvatures
separately; a visual contour's width is not a literal held-note duration.

### V42
The LFO diagram retains Trigger, Sync, Envelope, Sustain Envelope, Loop Point
and Loop Hold, plus seconds/tempo/dotted/triplet/keytrack rate domains. Point
menus allow exact phase/value and start-point entry; curve handles have Reset
Power. Up to eight LFOs become visible as used. Save contour, mode, start/loop
position, rate, smoothing, delay and stereo phase together. The menu itself does
not animate release behavior; use the accompanying mode descriptions for it.

### V43
FX are activated independently and reordered by dragging. The example chain
contains chorus, compressor, delay, distortion and flanger, with other families
available. Reordering changes which signal drives later stages. Preserve order,
enable state and parameters, not an unordered set of effects or a wetness total.

### V44
Chorus contains voices, rate domain, depth, two delay groups, feedback and mix,
plus filtered output controlled by cutoff/spread. It is a time-varying delayed
path, distinct from oscillator unison. Source pitch/phase and chorus delay motion
can be allocated separately instead of encoding both in extracted stereo tables.

### V45
The compressor's outer graph edges are thresholds and inner bars are ratios;
the central bars show input/output and attenuation. Upper/lower regions control
different level behavior; attack/release and band gains are separate. The figure's
"more transparent" description of upward compression is contextual, not a rule
that it is always less audible or improves a match.

### V46
Multiband, Low Band, High Band and Single Band visibly change the active band
layout. Select the detector/processing organization before tuning gains and
thresholds. A static EQ adjustment and band-dependent dynamic shaping can give
different articulation even when an averaged spectrum looks similar.

### V47
Ratio graphics distinguish weak/strong upper and lower processing, with a 1:1
upper region displayed as disabled. Do not interpret that label as bypassing
every operation in the band: lower processing and gain have separate controls.
The lower-region color change is a useful UI cue; exact expansion semantics stay
linked to the existing source-backed compressor notes.

### V48
The illustrative upward-compression meter maps input -26 dB toward threshold
-20 dB at approximately 2:1, giving output -23 dB. It explains below-threshold
gain rather than uniform makeup gain. Keep the displayed example arithmetic,
not a claim that this was measured from our plugin or reference audio.

### V49
The downward example maps input -12 dB above threshold -28 dB at approximately
2:1 to output -20 dB. Together with V48 this distinguishes upper and lower
threshold action. Real transients also depend on detector history and timing;
these static examples do not specify the entire dynamic response.

### V50
Delay offers Mono, Stereo, Ping Pong and Mid Ping Pong, two time controls and
seconds/tempo subdivisions. The visualization explicitly separates L/R repeat
positions. Cutoff/spread shape the delayed path. Preserve timing and routing so
echo structure is not mistaken for extra notes, release or oscillator width.

### V51
Six distinct distortion types have separate plotted responses: Soft/Hard Clip,
Linear/Sine Fold, Bit Crush and Down Sample. The internal filter can be None,
Pre or Post with cutoff/resonance/blend. Pre filtering changes what excites the
nonlinearity; post filtering shapes its output. Drive and mix must be retained
with upstream level, not treated as a final loudness adjustment.

### V52
EQ shows three independently configured tabs and multiple graph handles. The
example combines low cut, mid notch and high shelf. Each band's gain/cutoff/
resonance and mode survive tab changes; the visible selected band is not the
whole EQ. This is a compact way to keep global spectral shaping editable.

### V53
The FX filter example uses Comb: Band Spread Flange-, with Cut, Mix and Keytrack
plus graph controls. The effects slot has a wide family vocabulary, not just
another low-pass. Its location after the voice sum differs from two separately
routed voice filters, especially with overlapping notes or nonlinearity.

### V54
Flanger combines rate, offset, center, depth, feedback and mix with a comb-like
response graph. Center sets the region around which delay-driven coloration
moves, depth sets excursion and offset affects stereo relationship. Preserve
these dependencies instead of reducing the operation to "make wider."

### V55
Phaser has a similar timing layout but a distinct response and an additional
filter-blend slider. Center/depth and response blend allow moving notches or a
more static coloration. Similar controls do not make phaser and flanger
interchangeable; retain their mechanism and resulting movement separately.

### V56
Reverb separates pre-low/high cuts, independent low/high EQ tabs, chorus
amount/rate, delay, size, time and mix. This supports frequency-dependent tail
behavior and internal modulation. Use the source-backed feedback-EQ placement
when modeling decay; the diagram's generic EQ label alone does not establish
an external post-reverb EQ topology.

### V57
Advanced exposes stacks (unison, center-drop, octaves, power/major/minor chords,
harmonics), blend, detune range, stereo unison and table/spectral/distortion
spread. These distribute different synthesis states across voices, not just
left/right pans. Note priority and Kill/Steal govern overload behavior; tuning,
note tracking, oversampling and Hi-Res Wavetable are independent. Preserve the
distribution recipe, voice budget and quality state alongside the main page.

## EDMProd FM Figures

### F01
Two sine traces show different cycle counts over comparable widths. Carrier
frequency and modulator frequency are independent inputs to FM construction;
their relationship is not encoded by the word "sine" alone.

### F02
An explicit arrow maps LFO1 to a Vital voice-filter cutoff while oscillator
shape remains Basic Shapes. Timbre motion can be placed in a downstream filter,
leaving the source simple and independently editable.

### F03
The GS-1 instrument photograph is historical context. It contains no visible
operator-routing diagram or transferable numerical Vital settings. Preserved
without inventing synthesis details from the photograph.

### F04
The DX7 photograph supplies historical instrument context, not a readable patch
algorithm. Its presence is not evidence that a particular Vital graph matches
its synthesis or sound.

### F05
A Serum screenshot highlights one oscillator's wavetable while showing another
source, sub/noise, filter and modulation sections. Retain the conceptual separation
of ingredient and surrounding instrument; this is not a new Serum product target.

### F06
A low-pass response overlays a harmonic spectrum and slopes down above cutoff.
This illustrates changing relative partial strength without replacing the source.
The static plot does not demonstrate note-triggered motion; that requires the
connection shown in F02 or an envelope mapping.

### F07
Fruity Granulizer exposes grain spacing, wave spacing, speed and transient/time
controls around a sample. It illustrates a different synthesis representation.
These controls are not silently available in Vital's ordinary sample player.

### F08
Sytrus displays six operator tabs and an operator volume envelope. The transferable
idea is independently articulated modulation sources/carriers. Six visible Sytrus
operators do not establish six audio oscillators or identical routing in Vital.

### F09
The initial Vital example uses a Basic Shapes sine with ordinary ENV1 and LFO1.
This is the simple starting state for the article's construction sequence, not
a reason to reset useful existing Replica candidates.

### F10
Two Basic Shapes sine oscillators are enabled; OSC2's audible level is reduced.
They have different roles, not one per stereo side. An ingredient can exist to
modulate another oscillator without requiring an independently audible layer.

### F11
OSC1 selects FM OSC2 while OSC2 remains the sine modulator. The dependency is
OSC2->OSC1's FM input, not OSC1->OSC2. Preserve carrier, modulator, their tuning,
phase and amount; treating the pair as two summed waves loses the construction.

### F12
ENV2's decaying contour maps to OSC1 FM amount. This makes the spectral interaction
stronger/weaker through the note without requiring the amplitude envelope to have
the same shape. A transient spectral gesture can be synthesized, not only sampled.

### F13
The conceptual FM graphic shows a slow message, faster carrier and changing
cycle spacing at roughly constant height. It distinguishes pitch/phase motion
from amplitude modulation, but does not establish identical numerical FM and PM
equations or Vital's exact scaling.

### F14
The ring-modulation illustration combines a sine and bipolar square into an
amplitude/polarity-changing product. Retain RM as a different interaction from
FM: changing oscillator ratios and source shapes affects their products differently.

### F15
Vital's wave-morph menu explicitly lists FM and RM from OSC2, OSC3 or Sample;
the shown state selects RM OSC2 with a Brown Noise table in OSC2. Noise-like
material can participate in oscillator interaction, not only a parallel hiss layer.

### F16
The carrier changes to Combreezy while OSC2 stays a sine and FM OSC2 remains
selected. Complex carrier plus simple modulator is another available allocation;
not every useful FM construction needs both resources to be complex.

### F17
Two arrows connect the same LFO1 to filter cutoff and resonance. One gesture
can coordinate spectral position and emphasis, with separate depths. This is a
coupled motion recipe that a single cutoff trajectory does not fully preserve.

### F18
The LFO peak moves earlier and the return becomes longer; rate also changes
from the preceding screenshot. The recipe illustrates articulation via curve
geometry and timing, but the pair is not a controlled one-variable comparison.

### F19
An additional square-like OSC3 routes to Filter2, whose low-pass differs from
Filter1 processing the FM carrier. Independent branch filtering lets a support
component keep its own spectral shape while the primary layer moves.

### F20
The arrows form a serial FM dependency OSC3->OSC2->OSC1, with a sine carrier,
different OSC2 resource and an additional noise sample. Preserve dependency order
and distinguish which sources are audible. This spends the three oscillator
roles differently from unison, stereo tables or three parallel layers.

### F21
A curved LFO in Sync mode at 4/1 displays six assignment indicators. One global
gesture can coordinate many destinations. Indicators alone do not identify all
six mappings; retain the surrounding article/patch context instead of guessing.

### F22
Filter1 low-passes OSC1, while Filter2 high-passes OSC2 and Sample. This is a
specific complementary branch arrangement: body and upper texture can be shaped
independently. It is not simply an EQ on the final summed waveform.

### F23
ENV1 shows a gradual attack, a high sustained stage and a curved release.
Amplitude articulation is independent of the FM network in F20. Long attack
does not mean the FM depth or filter motion must rise at the same rate.

### F24
An LFO assignment ring is visible on OSC1 FM amount; OSC2 tuning is shifted.
The carrier/modulator relationship can evolve periodically, unlike F12's
decaying envelope. Retain both tuning ratio and depth trajectory.

### F25
The next recipe uses a sine carrier transposed -36 semitones, Virus_WT_001
modulator and FM OSC2, with low audible modulator level. The relative tuning
is part of the timbre, not necessarily an error in the supplied MIDI.

### F26
A rapid curved rise followed by a long curved fall is drawn in Trigger mode.
The shape remains named Triangle despite being edited, so resource names alone
cannot describe the actual contour. Preserve points and curvature.

### F27
LFO1 is assigned to the White Noise sample's level; the sample routes to Filter2,
which high-passes its branch while Filter1 shapes OSC1. This couples textured
attack/body motion to a separate filtered ingredient instead of baking it into
the carrier table.

### F28
Multiband compression precedes Soft Clip distortion with its filter set Pre;
a modulation indicator also appears at the filter cutoff. This sequence combines
dynamic shaping with an input-dependent nonlinear stage. Preserve order and
modulation, not merely the two effect names.

### F29
EQ low-cut shaping precedes an Analog FX filter, and cutoff modulation indicators
are visible. Static balance and moving final shaping can coexist with the voice
filters and FM network. This is a multi-stage recipe, not proof that every stage
is necessary for every sound.

### F30
The Serum example uses different tables, RM from A, a patterned LFO and macros.
It is cross-synth illustration of connected tools, not evidence of identical
DSP or a requirement to switch our output target.

### F31
The crop points to Serum's FM FROM B on oscillator A. The transferable dependency
direction corresponds conceptually to a modulator feeding a carrier; parameter
amounts and internal scaling must not be copied numerically into Vital.

### F32
Massive separates three oscillators, a dedicated Modulation OSC, two filters,
inserts and FX. The displayed architecture reinforces that audio sources and
control routes are distinct. It does not expand Vital's native oscillator budget.

### F33
The zoomed Massive panel highlights Phase modulation with oscillator-selection
buttons, separate from Ring Mod, Position and Filter FM. Preserve the exact
target domain rather than using FM as a label for every modulation operation.

### F34
Massive X displays two main wavetable sources with PM inputs, noise and distinct
modulator envelopes. This is a reference architecture, not a Vital control map.
Independent spectral and amplitude trajectories remain the reusable principle.

### F35
The Massive X crop highlights PM1 enable and its amount/source controls. Routing
availability and modulation depth are separate choices. A mode label or enabled
button alone does not establish a consequential modulation amount.

### F36
Phase Plant shows multiple generators and three FX lanes with macros and motion
sources. It illustrates graph composition, while its lane/oscillator capacities
must not be assumed to exist identically in Vital.

### F37
A 100 Hz LFO visibly maps to an analog oscillator pitch control in Phase Plant.
This is a different route from an oscillator-to-oscillator dependency. Do not
generalize its update behavior to Vital's ordinary modulation matrix without
using the existing native/source distinctions.

### F38
The caption says frequency modulation, but the highlighted target and tooltip
read Phase Offset. Preserve the actual screenshot as phase-target modulation
between oscillators, not literal proof of a frequency-input connection. This
clarification retains the technique without copying an imprecise label.

## EDMProd Vital Guide

### T01
The pricing table is a historical screenshot of Basic, Plus, Pro and subscription
offers, not current pricing or a reason to purchase anything. It belongs to the
source's access context, not its synthesis instructions. Nothing was purchased
or installed during this review.

### T02
A themed full INIT view retains the oscillator/filter, macro, envelope, LFO and
global-control regions. Colors and styling can change without changing these
functional roles. Identify controls by labels and layout rather than a fixed
color-recognition rule.

### T03
The numbered component map uses an actual Radio Tuning patch with different source
resources, morph operations, destinations and voice counts. The overview is not
an instruction to duplicate one resource into left/right oscillators. Retain
source roles, modulation indicators and routing when interpreting a full patch;
global polyphony and per-oscillator unison are separate quantities.

### T04
Arrows identify the power buttons of oscillators, sampler and filters, distinct
from their level controls. Different oscillator destinations are visible:
Filter1+2, Filter1 and Effects. A powered-off source, a silent audible level and
a source routed around a filter have different consequences.

### T05
The oscillator-enable example contains two Init resources with separate Filter1
and Filter2 destinations. Resource equality does not imply identical processing
or a stereo-pair purpose. Preserve destination, pitch, phase and modulation as
part of each oscillator's identity.

### T06
The wavetable browser provides resource folders, search and favorites. Choosing a
resource is distinct from choosing an entire preset: the oscillator's processing,
modulation and downstream graph remain separate construction state.

### T07
Two Classic Blend instances show different waveforms at different frame positions.
The same wavetable name is therefore insufficient to establish that the sources
are identical. Compare frame position and its modulation as well as resource
content before attributing redundancy to an oscillator pair.

### T08
The oscillator has separate coarse and fine pitch fields, illustrated with 2 and
61. These are not wavetable frame indices or unison spread. Preserve pitch offset
and fine tuning independently from resource and frame motion.

### T09
The destination menu explicitly offers Filter1, Filter2, Filter1+2, Effects and
Direct Out. This is a branch-selection decision, not only a gain adjustment.
Direct Out and Effects do not have the same downstream processing; retain the
actual choice when saving or reconstructing an instrument.

### T10
The unison strip separates a three-voice count and 20% detune from phase controls.
Voice count, spacing and phase realization are independent dimensions; the
Advanced detune range also matters. A displayed percentage alone is not an
absolute cents measurement or a complete stereo construction.

### T11
Form Scale and Quantize occupy the two distinct oscillator morph stages. They
can coexist with frame selection and unison, with independent amounts and
modulations. Do not reduce these operations to another table name or confuse
oscillator Quantize with the effects distortion stage.

### T12
The Waves sample is assigned to Filter2, while oscillators use Filter1 and OSC1
has FM from OSC2. This combines a periodic modulation dependency with a separate
sample/filter branch. The sample can supply an independently shaped texture;
it need not be mixed into the periodic resource itself.

### T13
ENV2 is selected with a decaying contour and modulation indicators. Its shape is
separate from ENV1's amplitude/lifetime role. The crop supports independent
control-envelope design, but does not by itself identify every assigned
destination or an exact audible consequence.

### T14
The highlighted sampler control randomizes sample start position. This differs
from oscillator phase randomization and from a Random modulation source. It
changes which portion of a recorded resource begins playback, a consequential
choice for repeatable transients versus varying sustained textures.

### T15
The filter arrows distinguish blend, cutoff and resonance; drive, mix and
keytracking remain separate below. A Ladder12 example can therefore change
response shape, resonance and excitation independently, rather than serving
only as a static brightness control.

### T16
The envelope panel exposes attack, decay, sustain and release together with delay
and hold. Sustain is a level, not a duration. A complete trajectory also depends
on the note's release time and curve shapes, not just the six displayed values.

### T17
The edited ENV2 shows a lengthened attack. This retains a visible construction
step for changing a modulation trajectory without modifying the source waveform.
It is an example state, not measured evidence of an acoustic improvement.

### T18
The ENV2 curve now has a different attack curvature, with other visible shape
differences including release. Curvature changes the distribution of motion
within a segment. This is not a controlled one-variable audio comparison against
T17, so do not infer a measured effect size from the pair.

### T19
ENV2 is explicitly connected to Filter1 cutoff while ENV1 remains the amplitude
envelope. This is a complete moving-spectrum construction: a source enters a
filter whose cutoff follows an independently chosen envelope. Brightness and
amplitude need not share the same timing or be baked into a complex wavetable.

### T20
The Sin LFO is in Trigger mode with a 1/2 tempo division; smooth, delay and stereo
remain independent controls. Curve shape, playback mode and rate describe
different aspects of motion. A shape name alone cannot specify its behavior
across note onsets, durations or releases.

### T21
The arrow connects LFO1 to OSC1's Formant waveform-morph amount. This is not the
voice Formant filter or spectral Form Scale operation. Source and exact target
domain must remain explicit even when several controls use similar words.

### T22
A Sample & Hold Random source shows a stepped trace at 1/16, with Sync and Stereo
switches. This supplies discrete changes rather than a smooth periodic LFO.
Rate, reset behavior and channel relationship remain separate decisions from
the destination and depth of those changes.

### T23
The Tension macro has several assignment rings alongside different source
waveforms. A macro coordinates multiple destinations rather than introducing
another audio layer. The visible rings establish multiple connections, but the
full list of destinations must be retrieved rather than guessed from the label.

### T24
Hovering a macro assignment exposes Filterfx Cutoff and a value of 60.88. This
provides a concrete way to inspect a destination hidden behind a macro label.
Do not silently interpret that displayed number as Hz or copy it as an optimized
setting without its parameter scale and base/depth context.

### T25
Compressor, Distortion and Delay are active in that visible order; neighboring
effects are disabled. The ordered graph, not just the set of effect names, is
construction state. Compression before nonlinear processing can change the
signal exciting that processing.

### T26
The Chorus panel exposes 16 voices, tempo rate, depth, two delay controls,
feedback, mix, cutoff and spread. This is a delayed-signal mechanism with its own
motion and spectral treatment, not interchangeable with oscillator unison.
Approximate knob angles are not exact parameter values.

### T27
The Multiband compressor has its transfer/detector display as well as attack,
release, band gains and mix. The graph contains meaningful interactive controls;
the detailed threshold/ratio examples in V45-V49 retain how to interpret them.
Do not treat this effect merely as a final volume knob.

### T28
The Mono delay example uses a 1/8 division and a filtered delay path. Timing,
feedback, filtering and wet/dry mix control different aspects of the repeats.
Mono mode is not evidence that the original source or the whole instrument has
no stereo information.

### T29
The distortion mode is Down Sample with a Post filter. Amount, wet/dry mix and
filter cutoff/resonance/blend are separate controls. Downsampling, bit-depth
reduction and clipping are distinct operations; filter position changes whether
spectral shaping precedes or follows the nonlinear stage.

### T30
The equalizer shows multiple spectral handles with Band selected and Low/High
tabs available. Static balance can be shaped independently of oscillator
resources and amplitude dynamics. Preserve the selected band, shape and its
parameters rather than reducing the EQ to a single brightness score.

### T31
The FX Analog12 filter exposes drive, mix and keytracking controls in an effects
panel. It processes a different point in the signal graph from a per-voice
filter. Similar curves at these two locations need not behave identically when
notes overlap or drive-dependent processing is involved.

### T32
The flanger rate field reads Freeze. Feedback, mix, offset, center and depth can
therefore define a static coloration without an obligatory continuing sweep.
Preserve frozen versus moving state when interpreting the shape of its response.

### T33
The phaser example shows multiple notches, a blend control and an 8/1 rate.
Its response and motion are not the same mechanism as the adjacent flanger.
The plot is a configuration/instantaneous-response view, not an audio measurement
of the full instrument.

### T34
The Reverb panel includes low/high shaping, cutoff/gain, internal chorus amount
and frequency, delay, mix, size and time. These are distinct relationships within
the reverberant path. A single reverb amount cannot specify its onset, spectral
decay, density and modulation.

### T35
The matrix shows LFO1->OSC1 Distortion Amount, Random1->OSC2 Distortion Amount,
LFO6->Filter2 Blend and ENV2->OSC1 Distortion Phase, with polarity/channel
controls alongside them. These oscillator distortion destinations are morph
controls, not the FX distortion drive. Motion can affect multiple domains with
different sources while preserving a simple underlying waveform.

### T36
The destination menu exposes oscillators, sampler, filters, FX, LFOs, Randoms,
envelopes and modulation-matrix parameters. Oscillator destinations include
detune power/range, morph amount/phase/spread, frame spread, level, pan, phase
randomization, spectral morph, stereo spread, transpose and tune. This retains
the breadth of controllable relationships, not just cutoff and wavetable frame.

### T37
Mod Remap1 has a convex edited curve although its displayed name remains Linear.
The mapping transforms source values; it is not an independent timeline.
Resource names are insufficient to identify edited point data, just as table
names are insufficient to identify a selected waveform.

### T38
The Advanced panel gives the two enabled oscillators different detune ranges,
including 2.000 and 33.64, with separate spread controls. Note tracking, high
resolution, voice behavior and 2x oversampling are independent settings.
The same primary detune percentage can therefore correspond to different
constructions when these Advanced settings differ.

### T39
The built-in analyzer displays a waveform and a spectrum. They provide useful
live observation surfaces, but this screenshot is not a saved audio trace with
known timing, calibration or per-voice data. Computational comparisons should
retain actual rendered audio as well as relevant instrument state.

### T40
The Diabolic skin illustrates that labels and indicators may have lower contrast
under another theme. It does not introduce new synthesis functions. Use the
clearer source figures and control labels for mechanism identification rather
than inventing settings from barely visible colors.

### T41
The Prometium-themed example visibly chains OSC1 FM from OSC2, OSC2 FM from OSC3,
and OSC3 FM from Sample, with a Box Fan sample resource. Even a theme illustration
therefore retains a useful modulation topology: a sample can enter a multi-stage
oscillator dependency. The image does not establish its sound, optimal depths
or whether this chain is useful for a particular reference.

### T42
The composite of three skins preserves recognizable functional regions and
shows varied source/sample choices, including a Direct Out sample destination.
Do not merge settings from different panels into one claimed patch or assume
the images are a controlled same-preset comparison. Themes are presentation
state, not explanations of audible differences.

### T43
The theme menu exposes loading/saving themes, returning to the default and
editing colors/values. This is UI customization, not preset construction or DSP
parameter automation. No theme was changed during this review.

### T44
The theme editor lists oscillator-related UI categories such as buttons, line
renderers, oscillator sections and preset selectors. These are display styling
objects rather than additional signal-processing modules. Preserve this
distinction when considering what a controller can infer from the interface.

### T45
Line, fill and disabled-state colors are editable properties. The same logical
enabled/disabled state can have different visual colors under another theme.
Reliable inspection must use control identity and state, not one hard-coded
purple/gray threshold.

### T46
The Custom Pastel example retains OSC1 FM from OSC2 and an Envelope-mode LFO with
a rising/plateau shape. The functional construction is still recognizable under
the theme. This is a visible state example, not an audio comparison or proof of
how that named preset sounds.

### T47
The transpose-snap grid shows selectable pitch classes and Global Snap. It can
constrain pitch modulation into steps, independently of wavetable extraction.
Retain which oscillators use which snap choices rather than assuming every
pitch motion should be continuous vibrato.

### T48
The arrows connect one Sample & Hold Random source to the transpose controls of
all three oscillators. Shared control coordinates their pitch changes; individual
modulation depths and snap settings still matter. This is not three independent
random generators or merely a widened unison sound.

### T49
The arrows identify Note and Velocity as separate modulation sources, distinct
from the global velocity-to-level tracking knob below. Performance-dependent
timbre can therefore be assigned explicitly instead of treating velocity as
only loudness or treating note tracking as only oscillator pitch.

### T50
Note is connected to Reverb Mix. This documents register-dependent effect
control, not just register-dependent source tuning. Base amount, modulation
depth, remapping and the FX destination's mono/poly combination behavior matter;
the screenshot alone does not establish independent reverbs for simultaneous
notes.

### T51
Velocity is connected to Filter1 cutoff. Note intensity can affect the spectral
response while amplitude follows a different control. This is a useful native
relationship to preserve in an editable instrument, rather than baking one
velocity's brightness into its wavetable.

### T52
The piano roll shows a repeated sequence with differing note velocities. Coupled
with T51, it illustrates how performance drives filter response without editing
the preset between notes. The screenshot gives an example performance, not a
requirement for supplied MIDI as a final-product input or an audio comparison.

### T53
Glide has an amount control, an adjacent slope display and Always Glide, Octave
Scale and Legato options. Its behavior is conditional on note transitions and
voice settings, not just an isolated pitch curve. These controls belong in the
instrument/performance interaction record.

### T54
The highlighted glide slope rises slowly before a faster terminal change.
Changing this curve changes the distribution of pitch movement during a glide,
independently of the glide amount. The tiny crop is qualitative, not a calibrated
timing or pitch measurement.

### T55
The alternate glide slope rises quickly and then flattens. It contrasts with
T54's curve while preserving the same type of control. Glide shape can affect
articulation even when endpoints match; this is not an amplitude-envelope edit.

### T56
The pencil opens the wavetable editor from a 3D resource display. The displayed
frame landscape is available resource content, not proof of a time scan.
The more detailed V16-V34 editor figures preserve how sources, keyframes and
modifiers construct that resource; runtime motion remains a separate layer.

### T57
The Advanced panel exposes 1x, 2x, 4x and 8x oversampling, with 1x highlighted in
the illustration. Quality configuration is separate from tuning, voice policy
and theme. Retain it when comparing nonlinear/high-frequency behavior; the image
does not establish that every patch needs the highest setting or quantify its
audible benefit.