Patches and knobs

The source

The sound engine has two sources and a third that is both: the sampler (a Decent Sampler instrument, or a WAV, or the sine), Suzu, and layered — every note strikes a sampled voice and a synth body in the same voice. Source lives in the Sound section on the desktop and on the tablets’ Sound page; switching the source ends every voice. The sampler’s side is the sound guide’s.

The desktop: every knob of the current voice

The desktop’s Sound section carries the whole synth. Suzu voice picks the kind — one cell, modal lattice, Verlet string, hybrid string, Duffing cell, kicked rotor, flute (bore + jet), saxophone (reed + cone), trumpet (lips + flare) — and the section shows that kind’s knobs and no other’s. They persist in the settings file as suzu_* and travel in a session preset as its suzu block.

Voice	Knobs
every voice	Suzu level; Suzu release (s), the declared T60; Suzu cutoff (Hz) (the filter at CC 74’s centre; 20000 bypasses it) and Suzu resonance; Suzu: the press blows (channel pressure as the mouth of the bow and the winds)
one cell	Suzu shear and Suzu shear kind (cubic, triangle fold)
modal lattice	Suzu preset (harmonic string, stiff bar, bell, glass, plucked string), Suzu modes (up to 16), Suzu coupling, Suzu decay (s), Suzu brightness decay (the highs’ extra rate), Suzu stiffness (B), Suzu pluck position; the bow: Suzu bow onset (s), Suzu bow position
Verlet string	Suzu string nodes, Suzu string decay (s), Suzu pickup, Suzu pluck position
hybrid string	Suzu bridge (Hz), Suzu bridge modes, Suzu bridge coupling, Suzu bridge decay (s), Suzu loop loss (the one-zero’s gain), Suzu pickup
Duffing cell	Suzu Duffing beta, Suzu drive, Suzu drive ratio, Suzu decay (s)
kicked rotor	Suzu rotor K (the rest K; the mod wheel sweeps it up to 2.5), Suzu decay (s)
flute	Suzu bore cells, Suzu bore loss, Suzu bore corner (Hz), Suzu bore wall (s); the jet: gain, drive, delay (periods), Q, noise; Suzu breath reference, Suzu breath range
saxophone	the bore’s knobs; the reed: Suzu reed (Hz), Q, opening, closing pressure, flow, noise; Suzu cone apex (the truncation)
trumpet	the bore’s knobs; the lips: Suzu lip ratio, Q, opening, compliance, flow, lip range (octaves) (CC 74’s reach); Suzu partial (which peak the note sits on); Suzu bell start, Suzu bell flare, Suzu brass
the modulator	Suzu modulator (none, → cutoff, → coupling, → rotor K, → drive), depth, rate
the trace	the orbit trace’s section

A patch the load gates refuse — a coupling the compensation cannot place, a stiffness past the sampling bound, a junction that gains, a bore that would leak energy — is refused with a note in the log and the live patch stands.

The patch table: eleven named patches

The sound engine owns one table of named patches, and every shell lists it: the desktop’s Suzu patch picker (with Load patch, which puts the patch into the knobs — the knobs stay yours after), and the tablets’ Sound page picker, where the patch is the whole setting.

Patch	What it is
Bowed string	the modal harmonic string under the breath bow — the one that sings under the brass layouts’ valves and slide
Bell, Flute, Saxophone, Trumpet	the lattice’s bell preset; the three winds at their defaults
Dan Tranh (VCSL), Glockenspiel (VCSL), Tubular bells (VCSL), Concert harp (VCSL)	modal patches fitted to the Versilian Community Sample Library’s recordings of those instruments — the partials’ ratios, weights and decays measured from the samples
Tenor sax (VCSL), Baroque recorder (VCSL)	the reed and the jet fitted the same way: the reed’s threshold and closing pressure, the bore’s loss and corner, the jet’s noise

The six fitted patches are the same numbers the lab auditions under its VCSL links and the same files in the tree’s presets/; a test pins the table to the files, so the three cannot drift. The Sound row names what sounds — “Suzu: Tubular bells (VCSL)”, or the sampler’s instrument, or both under the layered source — and the Local Control switch decides whether the play surface sounds inside.

The press, and the breath

Channel pressure is the output gain ($0.35 + 0.65\,p$) and the Duffing drive’s amplitude, and with the press blows it is also the mouth of the bow and the winds — two consumers, flagged as such. Breath (CC 2, with CC 11 as the alias) is always the mouth. On a tablet the play surface’s push-away is the press, so the Bowed string and the winds speak under a finger’s pressure; a wind controller’s breath plays them as it plays the ink feed.

In a preset

A session preset’s suzu block carries the source and every voxo_suzu_params_t field by name; the sampler’s instrument is not in it (a library is a file of yours, never copied into a preset). The schema rule holds: a preset from a version that knew fewer knobs loads with the defaults for the rest.