Wavimus vs Bit Splitter

Wavimus is a deep wavetable synthesizer for iPhone and iPad (iOS 18+). Optimized for touch, Wavimus offers crisp stereo output for mobile musicians, sound designers, and producers looking for advanced synthesis workflows standalone or inside an iOS DAW. Standalone App & AUv3 Plug-In Deploy Wavimus in two distinct configurations that seamlessly share user presets: • Standalone App: A full-screen production environment with an on-screen mini keyboard, real-time output oscilloscope waveform display. • AUv3 Instrument Plug-In: Connect inside compatible hosts like GarageBand or AUM. It appears natively as "Wavimus”. Advanced Oscillators & Morphing • Three Wavetable Oscillators (WT 1–3): Features level, coarse/fine tuning, octave offset, and phase modes (restart on note-on or free-running). Morph across 64 frames (256 samples per bank) manually or via automatic scan sweeps with variable LFO shapes. • 21 Procedural Banks: Morph across characteristic timbres including Sine→Saw, Tri→Square, Glass additive, Warm drive, Beating detune, Odd harmonics, PWM brass, Formant choir, Fold ice, Phase warp, Step crush, Sub grind, FM metal, Pulse ripper, Fold hell, Ring comb, Sync tear, Crush scrape, Reso skream, Chaos stairs, and Growl sub. • Sub & Noise: Dedicated sine-based sub layer for bass weight and a customizable noise oscillator (white, pink, brown). Includes independent ADSR+hold amp envelopes per oscillator slot. ZDF Filters & Modulation Matrix • Dual ZDF Filters: Independent virtual-analog style filter modules (Filter A and B) with zero-delay feedback topology and non-linear drive saturation. Includes low-pass, high-pass, band-pass, and notch modes (12/24 dB slopes), logarithmic cutoff mapping (20 Hz–22 kHz), resonance, key tracking, pre/post drive, and series/parallel routing. • 64-Slot Mod Matrix: Up to 64 many-to-many routes with bipolar depth. Sources include LFOs 1-3, envelopes (amp/mod 1-3), velocity, mod wheel, pitch bend, performance macros 1-4, and pressure (poly/channel aftertouch). Targets include pitch, levels, wavetable positions, filter settings, LFO rates, effect mix, and delay tape speed. Multi-Effects & Parametric EQ • Dedicated Global FX: Includes a global Delay (ping-pong/tape types with mix, time, feedback, tape speed), an 8-channel FDN algorithmic Reverb with modulated delay reads for lush tails, and Distortion (bitcrusher, saturator, tape). • 5-Slot Serial Effects Chain: Chorus, Flanger, Phaser, Modulation-style EQ, and a Compressor. • Master Parametric EQ: An 8-band EQ separate from the serial chain with an interactive curve display, 2x oversampling high-quality mode, and stereo, left/right, or mid/side routing. Polyphony, MPE & Randomization • Voicing & Stacking: Up to 16 voices with poly/mono/legato voicing modes, portamento/glide, and unison stacking up to 16 detuned voices with stereo spread. • Master Processing: DSP master soft limiting features polyphony-aware gain scaling to safely minimize clipping on chords. • Sound Design Dice: Global patch randomization across three intensities (Nice, Medium, Chaos) plus per-oscillator module dice targeting related routes. • Integration & Styles: Optional MPE mode with per-note pitch bend, timbre, and pressure expression alongside standard Core MIDI input. Supports dark or light theme options with 18 custom accent color presets.

BIT SPLITTER A bit-plane manipulator. The input is scaled and quantized to an 8-bit value, then a single bit-plane of that value is used to reshape the signal. Where a bit crusher reduces resolution and hands back a degraded copy of the sound, the bit splitter operates on one specific bit and can either output that bit on its own, use it to gate the input, or mask the signal down to a chosen number of bits. MODES ISOLATE Outputs the chosen bit-plane on its own as a bipolar square wave. The most-significant bit behaves like a sign comparator, producing a hard square that tracks the waveform; lower bits flip more often as the amplitude moves, giving increasingly noisy, aliased fuzz. This is the most literal reading of splitting a bit out. GATE Passes the dry input only while the chosen bit is high, and mutes it otherwise. The signal is chopped by its own bit-plane, producing glitchy, rhythmic gating that still carries the source material underneath. MASK Zeros every bit below the chosen one and reconstructs the result to audio. This is a bit-depth reduction in which BIT sets how many low bits are discarded: at 0 the signal is untouched, at 7 only the most-significant bit survives (1-bit). Closest of the three to a classic crusher, but with arbitrary bit selection. CONTROLS BIT In Isolate and Gate, selects which bit-plane is used, from 0 (LSB) to 7 (MSB). In Mask, sets the lowest bit that is kept, so it acts as a resolution control. Lower bits track fine detail and toggle rapidly; higher bits track the gross shape of the waveform. Range: 0 to 7 THRESH Input drive into the quantizer. The signal is divided by this value before being mapped to a byte, so lower settings push the signal harder into the 8-bit range (clipping into it sooner) while higher settings keep it quieter and more centered. It changes which bits are active for a given input level, and so reshapes the character of every mode. Range: 0.01 to 2.0 MODE Selects the bit-plane operation: Isolate, Gate, or Mask (see above). Switching mode changes what BIT means, so the two are best adjusted together. MIX Controls the balance between the unprocessed (dry) input and the processed (wet) output. At 0% only the dry signal is heard; at 100% only the processed signal passes through. Intermediate values produce a linear crossfade, useful for blending the harsher modes back under the source for parallel-style processing. Range: 0% to 100%