THANK YOU

Whether you are a beginner or a seasoned sound designer -

with MYTH you can turn your wildest sound fantasies into
reality, regardless of your musical style.

The basis of MYTH is a novel Non-Linear-Synthesis engine

that offers a paradigm shift: drag and drop audio and it will be
re-synthesized as an IRIS. The inherent variations and
richness of the sample can now be exploited with the
Transformer dials.

MYTH was built to emulate the joy of playing with hardware.

Forget "programming" sounds - instead you create sounds by
exploration and tweaking knobs.

I hope you will nd lots of fun and

inspiration while exploring MYTH's
exciting sonic possibilities!

All the best

Peter (Dawesome)

MYTH is the new agship synthesizer by Dawesome.

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CONTENT
The Basics Modulation System Modules Special Functions
Getting started Modulate Parameters Analog Filters Mono Mode
Tutorials Modulation Sources Modal and Resonator Freeze / Randomize
The Setup Modulation Modules Wave Generator CPU Performance
Overview Modulation: Math and Keytrack Comb and Vowel Preset Packs
Browse & Play Modulation Matrix Sweet / J-60 / Mellow Micro-Tonality
The Browse Tab Clouds / Reverb / Shimmer MTS-ESP
Save Presets Loophole
Grains
The Sections Orbit General
The IRIS OTT FAQ / Troubleshooting
Transformers FM Credits / Thank you
Re-Synthesis RM / F-Shift About Dawesome
Signal Flow Saturation / Distortion Dawesome Village
Modules Atari Punk
OSC Sections AM
Filter Section Trans
FX Section BTTF
ARP Section Glurp
Route
GETTING STARTED TIP
This involves two steps:

1 Install the software

This is straight forward: download the right installer for your system:
For example: Myth_1.00.pkg for Mac or Myth_1.00.exe for Win. MYTH has built-in help. You can
You can start the installer with double-click. de-/activate it with the question
mark ? in the lower left corner.

When you hover over any element

2 Start your free 90 day trial / Unlock your license with the mouse you will see a
short explanation.
Open one instance of MYTH in your DAW and click UNLOCK or START TRIAL

Start the 90 day demo period

CAUTION
Minimal system requirement is
CAUTION macOS 10.13 or higher
Unlock your license 64-bit Intel or Apple Silicon
You need to START TRIAL or after purchase AU / VST3
UNLOCK to enjoy MYTH.
Otherwise you will not be able to Windows 10,11
save presets and you will hear 64-bit
occasional noise. VST3
TUTORIALS Tutorial presets are
Start a tutorial via the
The best way to learn ... is by doing! main burger ☰ menu. indicated by the
pink colour.
MYTH has built-in tutorials. A tutorial is just
a sequence of presets that contain
explanations.

TIP
You can stop the tutorial mode at any
time either by saving your results, or
by loading any normal preset. Click NEXT to
continue with the next
You can RESUME the tutorial where preset in the tutorial.
you left off via the main burger menu
☰.

The preset notes

contain explanations
and instructions.
 THE SETUP
The word SETUP may not sound very sexy, Click the gear symbol MYTH supports the
but this is really important. to choose a pre- microtuning system MTS-
de ned setup. ESP. If you use this,
Nowadays there are a variety of midi-controllers MYTH automatically
to choose from, and these come with different You can also save the connects to the master.
methods for expression, e.g., velocity, mod- current setup.
wheel, MPE, aftertouch.

This creates a problem: the sound designer who

created presets most likely used a different
controller than you.

MYTH addresses this via the SETUP. You just

need to tell MYTH what kind of expressive midi
data is sent by your controller.

You can also con gure

freely to your speci c
CAUTION needs. Right-click to
choose the midi input for
Important point: this information is stored for the main expression-
the plugin, not with the preset. Hence you inputs
TIP
need to choose your SETUP only once, and
then you can browse presets and they will There are two different pre-de ned You can then give this
always match to your controller. setups for the OSMOSE. The rst one con guration a name and
has E2 = PRESS and E3 = SLIDE. use the SETUP menu to
The second one uses an input source store it.
called OSMOSE which combines
PRESS and SLIDE to one gesture.
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 THE SETUP - for Sound Designers TIP

Acoustic music instruments do not simply switch notes on and off - the 1. For E1 you should always assume Midi-Velocity
performer usually plays notes with expression.
2. Increasing E2 should increase the perceived
How this is performed and how this sounds is different from instrument intensity of the sound - in most controllers
to instrument. On a piano you vary the speed and force when hitting a increasing E2 means that you apply more force.
key, on a wind instrument you control the speed and pressure of the air It feels very unnatural if applying more physical
ow and the size of the oral cavity. force leads to a softer tone.

3. On the OSMOSE the SLIDE is activated by

pressing the key further down. That means that
MYTH uses three speci c modulation sources
E3 increases only once E2 reached its
for expressive playing:
maximum. Hence E2 should not create
complete tonal mess if you want to offer E3
E1 - for NOTE-ONSET expression

E2 - for expression via INTENSITY

E3 - for expressing with TIMBRE Some examples of typical controller setups that you can nd in the wild:
The SETUP mechanism of MYTH allows you to make sounds that
How the musician physically performs the translates from your setup to the users setup.
expression depends on their midi controller -
hence this is con gured here in the SETUP. Midi MPE OSMOSE User A User B ...
This is the same for all presets.
E1 Vel Vel Vel ModW Vel
How the preset reacts to the expressive midi E2 ModW Press Press Pedal 1 ModW ...
data and how the sound is affected by it are
saved as part of the preset. E3 Pedal Slide ModW Pedal 2 PitchBend
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 Click to save the patch.
OVERVIEW Go to next or previous patch
of your current selection. Click this to
Turns red if there are
unsaved changes. More The modulation sources
UNDO and REDO of More info here. invent a name
info here. used in the preset.
last operation
Explained here.
Use the main burger menu ☰
to change settings.

The IRIS is a core piece of

To get the most out of the synthesis engine. You
MYTH you need to tell can drag and drop samples
her what kind of midi here to re-synthesize them.
setup you are using. as explained here.

It's explained in detail

here.

TRANSFORMERS are
used to shape the sound as
Many presets provide explained here.
Macros for further
shaping of the sound.

The Freeze and Randomize

section can be used to
You can enter notes for create new presets -
your preset. explained here.

This is also used for the

TUTORIAL MODE that
is explained here. CAUTION
You need to START TRIAL or UNLOCK to
enjoy MYTH. Otherwise you will not be able
You can drag and drop
to save presets and you will hear occasional
the last played notes as
noise.
audio from here.

MYTH offers various The MYTH engine has

Click to enable or The virtual keyboard The UI is resizable. Drag
MODULES, these are multiple SECTIONS -
disable tooltips displays incoming to shrink or expand
explained here. explained here.
midi notes
 The burger menu ☰
BROWSE & PLAY offers quick access to a
speci c preset.
Click the star symbol to
add the current preset to
your favorites.
The easiest way to
browse presets is to use
the < and > buttons. This
always refers to the
current selection of
presets you made on the When you are on the
browse tab. BROWSE tab, presets from
the current selection are
shown.
Click BROWSE to open
the browse tab - this can Click to switch to a preset.
be used to lter for a
speci c subset of presets
as explained on the next Click on the star symbol to
page. add a preset to your favorites.

Right-click for a few more

options.

TIP TIP
The BREED feature is
Select any other tab to based on the current
view the modulation selection of presets and
sources. is explained here.
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 THE BROWSE TAB TIP
Click on the header The rst two lters for PACK and
name to change or for SUBDIR can't be changed or
remove the lter. removed.

In the BROWSE tab

there are up to ve lters.
The rst two are for
PACKS and their
subdirectories.

Afterwards you can add

up to three more lters.

As displaced here, only presets

from the FACTORY content are
selected.

Only presets that are You can also lter with full text. You can specify the
tagged as BASS or PAD Below you can set which text sorting order.
pass this lter. areas should be looked at.
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SAVE PRESETS Click to change the
name of the preset
Click to choose a different
subdirectory for saving TIP
Via the ☰ symbol, you can reveal
the directory where the user
presets are stored. Use this to
create new subfolders to
organize your presets.

The SAVE button indicates

with red colour if there are
unsaved changes.

When you click SAVE a

special window opens.
TIP

Sometimes it's hard to come up

with a good name. Click on the
symbol to invent a name.

Review and/or edit your Right-click will provide you with a

preset notes. list of ten different name options.
Often these names are not
perfect, but spark a good idea.

Close the window

without saving the When you hit VERSIONIZE a
This button appears if a preset
preset. The tags and number will be added to the
with the same name already
preset notes are stored preset name to avoid
exists.
internally and are not overwriting the existing preset.
discarded.
 SOUND DESIGN - INTRO TIP

The IRIS is not a sampler - instead you Modulate the BLUE

should better think of it as an oscillator transformer with a
derived from an audio source. smacky ADSR such that
you have no BLUE at
Oscillators need to have a lot of overtones attack and during decay
that can be ltered afterwards with a lter in it adds more and more
subtractive synthesis, or to be used as an blue. In this way you can
exciter for physical modelling. shape natural sounding
transients.
Hence you will often hear, that the IRIS rst
sounds very harsh and noisy. This is by
design ... and you will see: this is your friend!

TIP

You can also keep the

"harsh" sound (or even
make it stronger with the
transformers) and then
TIP TIP use its power to drive a
MODAL or RESO
Use the BLUE transformer to make the Hold a key on your controller and module. You can drag
IRIS softer. Then you can use the other now you can click and drag on the and drop your own
transformers to add new overtones. Why IRIS to nd a sweet spot. Or samples to use as
is this useful? You can now modulate the modulate the POS for example with timbres - an easy route
various colours of your sound! an ADSR or a LFO to physical modeling.
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 The IRIS is a representation of
a sound source as a loop.
Drag and drop your own
THE IRIS samples onto the IRIS The start and end of the sample
are at the12 o'clock position.
In classical synthesis, oscillator waves are
mostly static and you add lters and
modulators to “program” variations that make The play position
the sound interesting. for each note is
indicated with a
MYTH offers a paradigm shift: it uses turquoise line.
machine learning to analyse your sound
material and approximate it with a synthesis You can click-and-
engine displayed as an IRIS. drag the IRIS while
playing to change
The inherent variations and richness of the the position.
sample and its temporal changes can now be
exploited and transformed.

Instead of “programming” sounds you create

sounds by exploration and tweaking knobs.
Of course - you can also add classical LFOs,
envelopes or lters as much as you
want. Just ... you will rarely feel the need!

TIP TIP
Often, you’ll want to modulate the play position
The easiest way to tweak an existing preset:
with a ramping LFO. You can right-click the IRIS
just drop your own samples onto the IRIS!
and choose CREATE AND USE NEW LFO from
the context menu.
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 The position of the
TRANSFORMERS "playhead" on the
IRIS. The value range
Animates the sound.
Large values detune
TIP
Transformers work as simple as the is two complete turns. the sound.
FM synthesis sounds great - but
cutoff dial of a lter - they modify the "algorithms" and "operators" are
sound and can be modulated. not your cup of tea? In MYTH you
FM Amount FM Brightness FM Inharmonics simply apply FM as you would
apply a lter.

Gain FM adds overtones - and this can

lead to pretty harsh tones. If you
want softer FM you should use a
good amount of PURE

Stereo-Width

L/R panning

SYNC DIRT
SAW STRING BRASS SQ PURE
Stems from analog Creates sick noise
Transforms Transforms Transforms Transforms Spectrally removes partials until
synthesis where from your input.
the audio as the audio as the incoming the incoming only the strongest partials are
two oscillators are Can be great in
if it were if it were audio as if it audio as if it left.
synced. Here the itself, or to excite
created with created with were created were the
nonlinear- either the comb-
an analog the physics with the output of a
synthesis engine lter or the modal
SAW wave of a string physics of a square-wave
creates a similar lter.
oscillator ensemble brass osc.
instrument effect.
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 RE-SYNTHESIS
When you drop audio onto the IRIS,
machine learning is used to re-synthesize
the sample in a special way. =
MYTH approximates your sample by
nding the optimal combination of four Each of the four internal
static sounds whose volume is controlled oscillators of the IRIS is
by an envelope curve. capable of creating any
static sound.
Each of the envelopes is a
MSEG with up to 500 Together these are
segments. represented as an IRIS

WTF
WTF changes the volume of
all four internal oscillators at
the same time. TIP
There are two more transformers.
If you turn it left, the brightest Like all the other
oscillators are faded out. If you transformers - everything
These don't act on the audio stream
turn it right, the darkest can be modulated and
like the other transformers, instead
oscillators are. automated.
they change the temporal evolution.

SMOOTH
This simpli es the envelope
curve, making it smoother.
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RE-SYNTHESIS ALGOS
You import audio by drag and drop onto
the IRIS.

The original re-synthesis algorithm was

optimised to extract timbral changes, but
it is not very faithful to the original timbre
in many cases.

The MYTH version 1.5 introduced a new Drop audio here for the new re-synthesis Drop audio here for the classic re-synthesis
re-synthesis algorithm, optimised to algorithm. algorithm.
preserve the characteristics of the source
material. This algorithm preserves the original The appearance of an IRIS and its playhead
timbre and offers multiple playback will differ depending on which re-synthesis
modes. style was used.

TIP

You can import a stereo sample

such that the left channel will be on
the left IRIS and the right channel
will be on the right IRIS by
dropping between the two IRISes.

For your convenience this will also

adjust the panning and the stereo
width of each IRIS accordingly.
PLAYBACK MODES TIP
If your IRIS was imported with the new
re-synthesis algorithm you can choose Changing the playback mode is
between four playback modes. fast and simple, and sometimes a
different playback mode gives you
pleasant surprises.

Works great on wavetables This is the "general purpose"

and typical synth sounds. mode for acoustic instruments
or voice.
You can export wavetables
from any wavetable synth with Also gives good results at very
note F, -1 octave and -23 cents slow speeds.
These settings usually give
good results in MYTH.

Gives very interesting result on This mode tries to atten out

some sources, for example pitch changes.
drum loops.
If the signal does not contain a
clear pitch, is inharmonic, noisy
or the weather conditions are bad
the results may not be what you
expect.
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SIGNAL FLOW

The IRIS, OSC and FILTER sections are per voice The voices are summed and feed into the FX

TIP
The FADE knob can be used to crossfade
between IRIS 1 and IRIS 2

In RING mode the signals of the two IRISes

are not crossfaded, but ring-modulated.
MODULES
The menu ☰ symbol offers
Modular synthesis can be very exible, but multiple functions. For example, Drag and drop a module by its
you can reset a module to its name label to re-order. You can Click on the + symbol to add
also can get very complex with all the cables. defaults or save the state as a also revoke a module by another module. Each section
named "sub-preset" for this dragging it out of view. can have up to 6 modules.
module
MYTH offers modules for great exibility and
sound shaping. The system takes inspiration
from classical pedal boards - where the
effects are simply chained.

Enable / disable the entire

chain by clicking on
Click on any tab to
switch to the
currently displayed
section.

The menu ☰ symbol offers

multiple functions. For example,
you can remove all modules
with one click, or you can save /
restore the entire section as a
"sub-preset".
TIP
All parameters can be automated in
your DAW or modulated within MYTH Every section has its own assortment of available
as explained here. modules. Some modules don't make sense for
polyphonic material and hence are not available
in the FX sections. Some are too CPU expensive
to be rendered per voice and hence are not
available in the OSC and FILTER sections.
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OSC SECTIONS
Each IRIS has its own section where you can Click on + to open the menu
of available modules.
do further sound shaping with modules:
OSC1 for IRIS1 and OSC2 for IRIS2

If you’ve already used

all available modules of
a certain type it is
grayed out in the menu.

TIP

You can also add Filters to the

OSC section - there is no need to
put them into the dedicated
FILTER section.

Click here to select the

OSC 1 or OSC2 section.
FILTER
Click on + to open the menu
The two OSC sections are combined and of available modules.
feed into the FILTER section. Here you can
place modules that shall be applied on the
combined signal of OSC1 and OSC2.

TIP

Even though it is called FILTER

section you can actually do much
more!
FX SECTION The SEND parameter
determines how much of
The IRIS, OSC and FILTER sections are per the signal is fed into the
FX section.
voice. After the lter section the output of all
voices gets summed and fed into two parallel
FX sections.
TIP

The SEND dials are PER

VOICE. You can use this for
example to modulate this
parameter with an ADSR, such
that the note onset is not sent
into the FX to stay sharp and
dry.

The OUT section has a

LIMITER that can also be
CAUTION
used for sound shaping.
You should ALWAYS put
The -6dB switch reduces a fast brick-wall limiter
the outgoing signal by -6dB. behind your synth when
you are doing sound
design to protect your
ears!
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 The SCALE device allows you to choose
ARP SECTION which pitch classes are part of the scale.
You can choose from plenty of pre-
de ned scales by clicking on the burger
The ARP section processes the incoming midi menu ☰. You can de ne your own scales
data and offers a couple of midi-modules. The ARP module takes all notes
that are currently played (either on by clicking on the circles.
the keyboard or through the
CHORD module) as an input for an
The CHORD module takes one arpeggio. GATE speci es the
input note and creates multiple duration of the notes. OCT adds
transposed notes from it. For octavated copies. There are
example, here the CHORD will multiple modes to choose when the
produce the original incoming ARP should re-trigger.
note T, one note 3 semi-tones The TRANS module can be used
above, one note 7 semi-tones to transpose the midi-notes
above and one note that is one either by octaves or by semi-
octave below the incoming note. tones.

In this way you can play entire

chords with one nger.
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 MODULATE PARAMETERS

Modulating a parameter is really simple: click

on the parameter to select it. The corners
show that this parameter is selected.
Click and drag a DIAL or SLIDER
to change the value. You can drag
Once a parameter is selected its name shows horizontally or vertically.
up on top of the modulators.

Now you can choose the depth of

modulation for the selected parameter
by dragging the circle next to the
modulator.
When a parameter is modulated the
In this example LFO 1 has a positive coloured ring indicates the current
in uence on CUTOFF. The value. Every parameter can have as
KEYTRACK has no in uence, and many modulations as you want. The
high values of MAIN ADSR will reduce modulations are added together.
the CUTOFF.

TIP
When holding SHIFT you can ne-
tune values.
The modulation sources are listed in the
right and left sidebar of MYTH. Double click resets the parameter to
its default value.
You can RIGHT-CLICK on a modulator
You can click + to add a new modulator. to remove it and to show all parameters
that are modulated by this modulator.
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 MODULATION SOURCES TIP TIP
You can create and edit steps based
With a few modulations you can turn any
on the grid with SHIFT-CLICK or
boring sound into something that sounds
Click to select a modulation source. RIGHT-CLICK.
alive and interesting. Almost any parameter
You can now edit the settings in the
in MYTH can be modulated.
detail page.

You can also modulate the parameters of

the Modulators. For example, you can
modulate the rate of one LFO with another
LFO. This allows you to setup complex,
chaotic movements in your sound.

For special purposes you can add

modules here. This works exactly like the
"normal" modules - they modify the
incoming modulation signal.
Click to choose from multiple pre-
de ned waveforms for the LFO.

TIP
You can also save and restore your
LFO curves here as a "subpreset".

In POLY mode each note played has Click here to choose a

its own LFO. Otherwise there is one different grid for snapping.
shared LFO for all notes.
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 MODULATION MODULES TIP TIP
You can chain multiple JIT The KEYTRACK and ADSR
You can shape the modulation sources with modules with different settings to modulation sources do not have
these little modules. This can be very create unique random patterns. their own modulation section. But
you can feed their output into a
powerful - this is like CV modules in modular JIT adds random uctuations to MATH modulation source to
synthesizers. the signal. You can set the accomplish this.
RATE of how often the random
value changes and the AMT of PERLIN noise works similar to
randomness added to the JIT, but it creates very smooth
incoming signal. noise, while JIT creates
With SOFT you can apply
smoothing of the signal. You random jumps.
can set the time it takes to
RISE the signal, and the time it
takes to adopt to a FALL of the VISU is a visualizer for the
incoming signal. NOTE-RANDOM creates a
CURVE allows you to shape modulation signal. Each note's
new random value at note-on
the signals characteristic from signal is represented with a
and holds it for the entire note.
linear to exponential or dot.
logarithmic.

POS is an "extension"
module for the LFO. It
allows you to add an
offset to the LFO
position. Of course,
this OFFSET can be
modulated, e.g. by the
LFO itself ... there are
no limits.
AMT simply scales the
amplitude of the signal.
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MODULATION: MATH and KEYTRACK
TIP
KEYTRACK takes the
In the example I draw a random
note input and uses a
curve around center. This can now be
curve to determine the used to modulate DETUNE of the
output signal. OSC - in this way every note has its
own slight imperfections. Techniques
like this can breathe a lot of life into
your sounds.

TIP TIP

MATH has one input dial. MATH opens a plethora of Like every parameter -
Its value is then mapped possibilities! For example, you can you can modulate INPUT
with a curve and modulate its input with an LFO or by more than one
ADSR and use the CURVE and modulation source ... in
afterwards you can add
modules to create a second this way you can create a
modulation effects. summed signal and then
modulation signal - that is still
linked to the LFO / ADSR. process this further.
Its power starts as soon
as you modulate the The KEYTRACK and ADSR
INPUT dial! modulation sources do not have
their own modulation section. But
you can feed their output into a
MATH modulation source to
accomplish this.
MODULATION MATRIX
Sometimes it's useful to see an overview of You can adjust the
all modulations in the preset. For this purpose modulation depth This column shows the This column shows the
click on MOD to bring the MODULATION directly here in the parameter that gets section that the
MATRIX up. matrix. modulated. You can modulated parameter
click the parameter to belongs to.
"jump" to the parameter
in the UI and select it.
This column lists the
Click on the X to modulation sources.
If the modulated
remove a modulation. parameter is from a
This does not remove module, then the
the modulation source. module name is showed
here.

Click on MOD to bring

up the modulation
matrix.
 MODULE: ANALOG FILTERS TIP
There are multiple lters that use This is a virtual analog highpass with A lowpass lter that is inspired by the
virtual analog modeling. lots of character. Its design is inspired KORG-35 can be found in the
lowpass module and is called
by the KORG-35 lter that was used in
"CREAM"
their iconic MS-10 and MS-20 synths.

The LPF (LOWPASS)

module has multiple
classical low pass modules
with very different sound
characteristics ranging from
clean to dirty and screaming.

TRACK turned fully right

shifts the CUTOFF This is a classical 4-pole ladder design
frequency with the note you that can be con gured to work as a
play. lowpass, highpass, bandpass or
bandstop (notch) lter.

It can be run in a dual con guration

with two lters either parallel or serial.
The OFFSET parameter determines
TIP the difference between the two
CUTOFF values.
Put the lter into self-oscillating mode
by using high resonance to use it as
a generator. Turn TRACK fully right.
To tune, add a sine generator after
the lter (WAVES module) and tune
the CUTOFF by ear.
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 MODULE: MODAL and RESONATOR RESO is a resonator with a xed
pitch. This is great to add character
to a sound
The MODAL and the RESONATOR
modules are twins. Both use a so called PITCH transposes the entire
"modal lterbank" - 32 bandpass lters in lterbank lower or higher.
parallel. This lterbank can be "trained" TIP
by any sample via drag-and-drop. The fun starts when you use your
own samples to train the modal lter
bank - you can simply drag-and-drop
a sample. MYTH will derive a
MODAL is always tuned to the " ngerprint" that is saved with the
pitch of the incoming notes so it preset, access to the source sample
can be used to create the pitched is not needed.
part of your sound.

TIP
REDUX damps more and more of
the resonators until only the MODAL has no DRY/WET. If you
strongest resonance is left. need this: use a RESO instead with
TRACK turned fully right.

RESO controls how easily the

resonators respond and how long Click here to train the lterbank to
they "ring". a speci c sample.

INHARM can be used to add in-

harmonics to the sound.
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MODULE: WAVE You can SPREAD the TIP
unison voices in the stereo
The WAVE module generates classic panorama. Use two WAVE modules and one
"vintage" synth waveforms with up to LPF module, and you have a two-
5x unison. It acts like an analog OSC analog modeled synth.
oscillator
You can use the IRIS to add dirt and
OCT transposes some of grit to make the sound more organic.
You can DETUNE the the unison voices by
octave(s) You can also create your own super-
unison voices. For saw by using one or two WAVE
example you can use this modules and high unison.
to create super-saws.
RAND randomizes the
phase at note-on.
Activate this to avoid a
UNI chooses the amount "zip" like start of the
of unison voices. wave.

PM is pulse-width modulation for

MIX blends in the the SQUARE wave. For TRI and
generated wave with the SINE it distorts the phase to make
original signal. For the waveform more sawlike.
example you can chain 2 For NOISE it is a temporal bit-
WAVE modules for 10x crushing effect.
unison.

You can transpose the

You can choose the oscillator by +-2 octaves.
waveform: SAW,
SQUARE, TRI, SINE
and NOISE.
MODULES: COMB and VOWEL

HARM in uences the

inharmonics in the signal.
A comb lter is a speci c kind of
resonator, often used for classic VOWEL is a lter that creates
physical modeling. formant peaks in the frequency
spectrum that are similar to the ones
of the human voice.

DAMP lowpass lters the

feedback path.
This shifts the formants up or down.

FB sets the amount of

feedback. It can be positive or
negative feedback, which has
a different sound.
Choose the vowel. It can be fun to
modulate this.

There are two modes:

CLASSIC is the normal mode.
PHYSIS has a different tonal character, The amount of vowel- ltering.
and the FB behaves differently.
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 MODULE: SWEET / J-60 / MELLOW The JUNO 60 is an iconic vintage synth
from Roland (Wikipedia). It contained a
special chorus effect which became its
These modules can be used to add a signature sound. The J-60 module in MYTH
subtle or not so subtle chorus effect. is a virtual analog model inspired by this
chorus.

It is a cheat-code, as it can make almost

everything sound better.

SWEET will make most sounds

just ... sweeter. Used with subtle
amount it can give a very modern
and velvety sound.

High values of SUGAR create

Ligeti-like detunings for an eerie or MELLOW uses a barber-pole
haunting sound character. anger that creates movement for
the sound and also adds a velvety
character.

This works on a broad range of

source material, provided that it
contains at least some overtones.

It does not wash away transients,

hence it's also great for leads and
Simply the amount of the basses, where it can add
effect applied. movement or create a very modern
sound.
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 MODULE: CLOUDS + REVERB + SHIMMER
There are three different types of REVERB REVERB is a simple vintage
modules available. reverb inspired by the 80s
algorithmic reverbs.

CLOUDS is inspired by a reverb

plugin called CLOUDSEED by
Valdemar Erlingsson
It's great for epic ambient reverbs
with long or even endless tails.

SHIMMER is a shimmer effect. It

TIP uses a pitch shifter within a
feedback loop and can create
If you nd a nice setting you angel-like clouds of sound, but
can save / restore it via the also dark or dissonant textures.
burger menu ☰
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MODULE: LOOPHOLE TIP

LOOPHOLE is inspired by a
LOOPHOLE consists of six parallel micro-
plugin called Weeping Wall by
loopers with incommensurable delay times.
Aqeel Aadam, which has
much more functionality and
It's very much fun ... you can take something
works great on synths and
plain (like a sine), and use a LOOPHOLE keys as well as on other
module. Just by playing a few notes and acoustic instruments like
tweaking some transformers with the mouse guitar.
you will get interesting sound textures. Activate for REVERSE
playback.

DECAY on full will loop

forever, but new audio
material is also slowly
With low DENSE you get fed into it
stuttering echoes.

With high DENSE and

DECAY you create very
organic "freezes"
MODULE: GRAINS
This is basically the SWARM mode of the
plugin LOVE as a module. Each grain gets its own tuning. This
parameter controls how much the
tuning is offset. High values create
GLITT sets the probability that a grain is Ligeti-like clouds of dissonances.
pitched an octave up (turn right) or down
(turn left). In center position all grains are
played back at their original octave.

JIT adds randomness to the grain creation. CALM controls the grain duration from very
With low values the grains play at a steady short to very long and also the grain
rate, with high values it is chaotic. density. Turn fully right for smooth sound
and long tail.

Simply the amount of the

effect applied.
 HOW IT WORKS
MODULE: ORBIT FLUX can be used to add
inharmonics to the sound. If you happen to own the KULT
ORBIT is a new type of modulation synthesizer you can use a sine OSC
effect. It shares similarity with (analog) Technically this works by and then apply FM or AM. You will
ring modulation and frequency adding a xed frequency to see that this transforms the signal
modulation, but has its own unique the moon’s orbiting speed - trajectory by adding curves and
this desynchronizes the spirals.
character.
orbits of the celestial
The orbit modulation interprets the
bodies.
incoming signal as a planet orbiting
the sun. It then adds a moon to this
planet and follows the moons
trajectory. This new trajectory is then
transformed back to sound.

Like a real moon, its orbits around

Sonically behaves in a the planet can be circular or elliptical,
similar way as the RATIO CHAR - the ORBIT effect is as well as centered or off-center. This
of classical FM. most pronounced in center can be chosen with the modes.
position. There are two
Technically it controls the different ways to tone down
ratio between the the effect by either turning
frequency of the moon right or left.
orbits to the frequency of
the planet orbiting the Technically this in uences
sun (see explanation to the ratio between the sun-
the right) planet distance and the
planet-moon distance. There are three different
modes - each with its
own sonic character. You
don't need to understand
the theory behind this,
but it's explained here.
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 MODULE: OTT
OTT stands for Over-The-Top and has become a
standard technique in modern electronic music.

This module is a multiband-compressor and can

be used to add texture, punch or saturation to a
MAIN/MID MAIN/MID MAIN/MID Separate
signal.
applies to applies to applies to dials for
the entire the low end the high each of the
Its available in the OSC and FILTER section - and mid end and bands.
frequency
hence you can use this per voice. range. range. mid range.
Separate Separate
dial for high dial for low
range. range.

Turned to the LEFT this is

(aggressive) upwards CAUTION
Turned to the RIGHT this
compression: silent signals is "normal" downwards
are made louder. This can When you turn a dial to
compression: loud signals
be used to bring up texture the left it is doing upwards
are reduced to compress
in the sound or bring out the signal. Gives punch. compression. That is:
silent parts like tails. silent signals get dramatic
ampli cation. Be careful
with very silent tails when
you put the OTT in the FX
section.
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 TIP
MODULE: FM
To best understand this module feed
FM uses the incoming signal to it with something simple, e.g. a sine
modulate a low frequency sine wave. wave. You can use the INIT preset for
This can be used to create metallic and this.
inharmonic tones, to add sharp
overtones, or to animate a static signal.
SPREAD can be
used to treat the
LEFT and RIGHT
channels
differently. This
TIP
can range from
subtle to wild. Unless you are seeking a rough and
sharp sound chaining a J-60 chorus or
a SWEET module can work wonders!
The incoming signal
modulates a low frequency
sine wave. The frequency
of this sine wave can be
chosen here with a wide
range from ultra-slow to far
into the audio range.

Low values animate the

The amount of
signal. Higher values
frequency
create inharmonics.
modulation that is
applied to the
incoming signal.
 TIP
MODULES: RM and F-SHIFT
To best understand this module feed
The modules RM and F-SHIFT can be used to create it with something simple, e.g. a sine
inharmonic, metallic sounds, or to add motion to a sound. wave. You can use the INIT preset for
this.

RM stands for F-SHIFT stands for

Ring-Modulation Frequency-Shift
RM modulates the
incoming signal with a sine
wave. The frequency is set A frequency shifter adds
with the RATIO. the same xed frequency
to all the partials of the
RIGHT-CLICK to choose incoming signal.
from some integer ratios.
This added frequency can
be set via the LFO, or via
the TRANS / TUNE dials.
FLUX adds a xed low
frequency to the sine. It
can be used to create a
metallic sound.

TIP
There are two modes Set WET to 50% and use small
available: RING and BELL values of TUNE to add motion
that have a very different to your sound.
sound character.
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MODULE: AM TIP

This offers amplitude modulation. It To make yourself familiar with this

module start with the INIT sound, or
can be used to add inharmonic
keep all the TRANSFORMERS to
character or animation to a sound. their defaults and dial up BLUE to the
max.

Once you have an idea how RATIO

and HARM in uence the sound start
experimenting with the colour-
The AM is tuned to the
transformers.
incoming signal. With
RATIO you can choose
Normally the RATIO of an
the frequency ratio
amplitude modulation creates
between the incoming
harmonic tones for integer ratios,
signal and the signal
and inharmonic values in
used for modulation.
between. Hence sweeping the
RATIO gives a pretty wild journey
through all kind of inharmonics
and is often of limited musical
use.

This module uses the underlying

technique of shepard tones
(Wikipedia) to allow for a
The amount of the separation: with RATIO you
amplitude modulation. determine how high or low the
modulation sounds, with HARM
you control the speci c timbral
character of the in-harmonics.
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MODULES for Saturation / Distortion TIP
These modules can be used to shape
These modules can be used to distort and shape the the sound, add punch, or more
sound. overtones. All parameters can be
modulated. Often these create
interesting effects if used in
CRUSH offers two conjunction with other modules.
sorts of bit-crushing.
ASYM offers
asymmetric distortion.

NOISIFY adds different

types of noise to your SATURATOR has multiple
signal. different distortion types.
You can set the DRIVE.

Use ATT to attenuate the

saturated signal, before the
DRY / WET.
MODULE: ATARI PUNK TIP

You can build DIY-synths with CMOS chips - The Atari Punk Console, shortened to
APC, is a popular DIY-synth circuit
this is fun and has a speci c adorable lo-
that uses two 555 timer ICs as an
sound. This module takes whatever input and astable square wave oscillator. It is
creates a noisy mess that sounds as if it cheap, easy to build, wild fun and
were created with a wild CMOS circuit. sounds extremely lo- , or in other
words: you just need to experience
If you are looking for something subtle, you this.
better to look elsewhere.
You can build entire modular synths
based on this philosophy, google
“lunetta DIY”.
This exaggerates the SLEW of
the signals, forcing it to look A great tutorial is here.
And one of the most interesting and
more and more like a square
entertaining YT series is Kristof
This drives the signal signal (just with wild Blåsols Modular-In-A-Week
depending on its phase. frequencies).
The effect is a bit hard to Ah, and in case you don't know what
explain and depends on Like all the other knobs ... a bit ATARI means: go and ask your
the other knobs. hard to explain and the result parents or grandparents.
also depends on the other
settings.

This adds crude sub-

frequencies as if you
Choose how wild you were feeding your signal
want to go. into a CMOS based clock
divider at audio rates.
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MODULE: TRANS Tune the oscillator up or down
in cents of a semitone.
Tune the oscillator up or down
Modulate this with a PERLIN
This module is only available for sections OSC1 by octaves. It's fun to modulate
noise modulation source for
and OSC2. It can be used for tuning the IRIS this, eg with an LFO.
sweet detuning.
and the modules in the OSC section.

TIP
This module also affects the
IRIS, hence it will always be in
the left-most position of the
section.

Transpose the oscillator up or

down in semi-tones.
TIP
In many cases you just want to
put the IRIS up or down in If active the TRANSPOSE
octaves. You don't need the snaps to integer semi-tones.
TRANS module for this - just
use this dial.
If active the oscillator always
plays note C3, regardless of
the note you play. You can use
the TRANS + OCT to change
this note.
 TIP
MODULE: BTTF
To acquaint yourself with this module
BTTF is a very odd and rare module. you should start with feeding
It uses FM with feedback to bring you something really simple. Start with
crazy and unusual sounds. the INIT patch or feed in a sine.

Start with individual parameters rst,

and then explore combinations.
The FLUX capacitor
controls a delay that is in Afterwards you can use the
the FM-feedback path. TRANSFORMERS to change the
BIFF controls the amount It's faithfully modeled after sine wave you are feeding into BTTF.
of feedback-FM ... it can the original schematics by
sound warm and brass like Doc Emmett Brown.
if used sparingly on very
simple inputs, it can easily
get harsh and brutal.

HEAVY controls the

amount of FM-modulation
of the incoming signal. Low
values sound like a vibrato.

McFLY works like the ratio in classical FM,

but it does not create irrational frequencies
in-between, giving a more musical sweep.
Works great when modulated, for example
with a fast ADSR.
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 TIP
MODULE: GLURP
The GLURPY-GLORP was one of the
GLURP is an extension of the original GLURPY-GLORP. rst electronic music instruments,
invented in the late 1920s, but it took
It features the original "GLURP" and "GLORP" another 30 years before the one and
parameters, but on top it has an additional "SPILL" only prototype was built.
parameter for even more variations.

GLORP is to the GLURP

GLURP is carefully what Yin is to the Yang.
modeled to reproduce the
original tonal character. The two in uence each
other in sometimes
It can be used to add unpredictable ways, which
almost arbitrary amounts of is one of the reasons why it
glurpidity to your sound. has become so popular The GLURPY-GLORP is now
amongst musicians. meticulously modelled after the
original and available in MYTH as the
GLURP module. This module can be
used in the OSC and FIL sections.

Alas, the wait is over and this

important iconic instrument is now
Set SPILL to the 12 o'clock available for everyone!
position to have the original sound
of the GLURPY-GLORP.
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 TIP
MODULE: ROUTE
Forget about the signal ow,
Normally the signal ow in a section is serial
just remember: the ROUTE
from left to right. But in a few cases, you want to simply "splits" the processing
have parallel module chains - this can be chain into a left and a right part
achieved with the ROUTE module. that are processed in parallel.

The ROUTE module takes the

output from the previous module
and directs it to the output of the
SECTION.

Also, it takes the input of the

SECTION and feeds this into the
next module.
FROM IRIS 1
TO FILTER
In the example:
The WAVE module goes into the
ROUTE, from there the signal is
directed to the output.

A fresh copy of the same signal that

feeds into the WAVE now goes through
the ROUTE into the J-60.

In other words: the WAVE is now

parallel to the J-60 module.
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 MONO MODE
The MONO MODE can be used
for basses and leads that have
similar behaviour to monophonic
analog synths.

You can drag and drop

the last played notes
as audio from here. Normally MYTH is a polyphonic synth. By Incoming notes are displayed on
activating MONO you can make it a the virtual MPE keyboard display.
monophonic synth with legato function.
The size of the outer circle line
TIP indicates (polyphonic)
With TIME you can control the legato speed.
PRESSURE or AFTERTOUCH.
You can play a note and then When GLISS is active you will also have a The lled circle area indicates the
drag this as audio from here glissando between two notes if you play VELOCITY.
to the IRIS - to get the sound legato.
re-synthesized!
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 FREEZE & RANDOMIZE Click on the
new preset:
symbol to BREED a

MYTH has a powerful system to create new

presets from existing ones. This takes the current selection of
presets that you have ltered in the
BROWSE tab (see here) and creates
When FREEZE is activated, each a new "Frankenstein" preset by
section shows a snow ake. With this randomly replacing entire sections in
snow ake you can FREEZE the the current preset.
section. In this example OSC1 and
FX1 are frozen. That means: if you For example, you can create a
now click on or these selection of DARK, MYSTERIOUS
sections are not changed! PADS on the BROWSE tab and then
use BREED to create more similar
sounds.

IMPORTANT

When you switch to a preset Click on the symbol to randomize

with the normal buttons the the parameters of your preset. This
freeze state is ignored - this When the FREEZE mode is active may enable / disable modules, but it
simply restores the preset as you can use < and ☰ and > to load a will not add / remove modules.
it was saved. new preset, but keep the frozen
sections untouched. For example,
freeze the IRIS, OSC and FILTER
TIP
sections. Now skip through presets to The longer you hold the DICE symbol
try different FX sections. down, the more deviation you will get.
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 IMPORTANT
CPU Performance
MYTH has been designed and optimized with When the CPU usage is
great care for CPU ef ciency. problematic always check
the voice indicator rst.
On the other hand, a single preset can have:
• 2 IRIS with 20 transformers Long, exponentially shaped
• 18 modules which are per voice release tails are a recipe for
• 6 midi effects high CPU strain.
• 12 audio effects
• 25 modulation sources
• ... MYTH offers up to 24 voice polyphony.
Each voice is represented with a DOT.
It should not come as a surprise that this gives It's gray if the voice is not sounding, a
you ample possibilities to strain your system. coloured disc while the key is pressed
Click to change the polyphony and a coloured outline for notes that are
for the current preset. in their release stage.

You can set the CPU mode here. This

affects a lot of internal settings, but in
most of the cases the effect will be
subtle. ECO and SMART mode will be
suf cient for almost all cases.

On CPU problematic patches reduce

POLY, for example to 8
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PRESET PACKS Installed packs TIP
You can create PACKS from your presets and shows up here
other users of MYTH can install these. It is easy to create your own packs.
Simply use the le system and
PACKS are a great way to extend the sonic create a folder that contains MYTH
capabilities of your instrument. presets. You can organize these in a
single level of sub-folders, deeper
nesting is ignored.

Choose CREATE PACK ... from the

main menu. You will only need to
locate the folder with your presets
and a name to save the pack.
You can simply drag any .MythPack to the
MYTH user interface to install the pack, or
choose INSTALL PACK from the main menu.

.MythPack TIP CAUTION

You can also activate AUTOSCAN If you handle preset les,
FOR PACKS AT STARTUP via the
you should ALWAYS make a
main menu. When you open an
copy beforehand.
instance of MYTH it scans your
download folder - if it nds a pack for
MYTH it will be automatically Better safe than sorry!
installed.
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MICROTONALITY
MYTH supports two methods of retuning: MYTH supports the MTS-ESP You can also retune MYTH with MPE
MTS-ESP and MPE pitch bend. standard created by ODDSOUND. pitch bend, typically generated by a
plugin like Entonal Studio or Abletons
Microtuner. Make sure to load MYTH
as an MPE instrument.
TIP

Microtonality means tuning notes differently

than the 12 equal divisions of an octave,
which is the modern standard.

Many kinds of music make use of alternative

tunings, but software instruments have usually
been written to only play in 12-equal. In recent
times this is changing, more and more
instruments allow the musician to decide how
the notes should be tuned.

There are many possibilities. Some only subtly

different from 12-equal, some very drastically
so. Happy exploring!
 TIP
Explore different tunings with MTS-ESP Working in 12-equal, no extra effort is needed to
MYTH supports MTS-ESP, which allows you to easily explore tunings other make each software instrument play the same
than the standard 12-TET. You’ll need an MTS-ESP source to set the tuning, tuning; they (almost) all play 12-equal by default.
for the following example we’ll use the (free) MTS-ESP Mini. Working in other tunings however, up until now
we’ve had to manage the tuning of each
instrument individually.

When the goal is for all instruments to play in the

1 INSTALL / PREPARE 2 HAVE FUN same tuning this gets very repetitive, albeit
In your DAW create one track and add one doable. MTS-ESP xes that. It's the closest thing
Install the free MTS-ESP MINI from ODDSOUND
instance of MTS-ESP Mini. This track does not today to a central DAW-integrated tuning feature:
need to be armed for recording. set the tuning in one place, all the instruments
Download some scales:
follow suit. Just like setting the tempo and time
• the Surge Synth Team collection of Scala
Load an instance of Myth on any adjacent track. signature.
SCL and KBM les
Arm it to receive MIDI input from your controller.
• the Sevish Tuning Pack (v1.1) contains If the MTS-ESP source supports it, you can also
Now extract some of the above SCL-KBM les change the tuning on the y (with automation or
another small curated collection of tunings
on your computer and arrange them so they are MIDI), for example slowly changing key from G to
for intonation explorers
easy to drag-and-drop into your DAW. Bb over the course of 6 minutes.
• The Scala Scale Archive is a large collection
Drag-and-drop "HD2 06-12.scl" from the Surge
of over 5100 scale les
XT Tuning Library onto the UI of MTS-ESP Mini
to get a feel for how it works. This should
This should be suf cient to get us started and last TIP
instantly tune MYTH to the scale.
through several music making lifetimes!
Now play across the range to hear the new I recommend the Surge Synth Team tuning
intonation. Guide, which lists all MTS-ESP plugins.
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FAQ / Troubleshooting
Q: Every few minutes there is annoying noise - I thought this had a 90 day unconstrained demo period?
A: You need to start your 90 day trial period. To do so, just click on START TRIAL and enter your tracktion.com user credentials. The free
trial is unconstrained for the entire 90 days - no one should purchase MYTH without being convinced about it!

Q: The UI looks pixelated / distorted

A: In the main burger menu in the upper left there is an entry to DISABLE OPEN GL. Please try to activate
this setting, then reload your project - the plugin needs to be reloaded to make this change active.
If you are using Ableton LIVE: make sure that “Auto-Scale Plug-In Window” is NOT ACTIVATED.

Q: I can’t hear anything!

A: First make sure that MYTH receives midi data - you can see incoming midi on the virtual keyboard. Make sure that the OUT is not set
to zero.
 FAQ / Troubleshooting
Q: I installed MYTH, but it does not show up in my DAW?
A: In most DAWs plugins are listed by manufacturer name. You nd MYTH listed under DAWESOME.
If this does not help - please make sure that VST3 (or AU) is activated in your DAW.

For Pro Tools users: plugins come in various formats; the most common are VST, VST3 (and AU on Mac) - these are the industry
standard. Pro Tools has a proprietary plugin format and is not able to host VST or AU plugins. MYTH is available only as VST3 and AU.
But there is a workaround: you can use a wrapper plugin. There are two that I can recommend:
‣ KushView Element - this one is even free
‣ BlueCatAudio Patchwork
You load the wrapper Plugin in Pro Tools, and then you insert MYTH in the wrapper - it is simple and works as if you had opened MYTH
in Pro Tools itself. The advantage is: there are many plugins on the market that are available only as VST or AU - with this wrapper you
can use them all in Pro Tools.

Q: I am experiencing audio drop outs - what a lousy plugin!

A: I can understand your frustration! Rest assured that I spend an insane amount of work to make the underlying technology CPU
ef cient and to support aged hardware and OS versions. Please drop me a short description to peter@dawesomemusic.com - ideally
with the information of your computer, your DAW, your OS and the speci c preset that causes the issue.
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FAQ / Troubleshooting
Q: Why are all your plugins so expensive - you are ripping me off!
Q: Why are all your plugins so cheap - this is too good to be true?
A: I am a single person indie developer. Mainly I follow my heart and create the instruments I’d like to use on my own as a musician. I do
not aspire to get rich in money with it, I aspire to get rich in contentment and ful llment. However, I also need to pay my bills, and I also
want to pay sound designers fairly for their work. I am trying to give my products the lowest prices possible to make a living, and I am
not going to be a millionaire anytime soon (well, ever).
There is a 90 day free trial. During this time there is an almost 100% chance that there will be a SALE with massive discount.

Q: I have a question / feedback - where can I leave it?

Q: I have a cool idea for a great feature!

A: Just drop me an email to peter@dawesomemusic.com - I appreciate any kind of constructive feedback and I am trying my best to
have any user satis ed, regardless whether you purchased or not. Usually I try to answer within a few days.
If you want to share any idea with me please drop me an email to peter@dawesomemusic.com. Please note that I may have had the
idea before and hence I won’t pay you license fees if I choose to implement this idea or a related idea in one of my plugins. If you
believe your idea has tremendous commercial potential make sure to get a signed agreement before sharing the idea with me / anyone.

Q: I like your work - how can I support you?

A: Thank you - this is my real reward for the work I am doing! I hope you will nd lots of fun and inspiration with MYTH or any other of
my plugins. If you want to support me: spread the word - many (most?) people simply have not heard about DAWESOME.
Or send me a brief message via mail to peter@dawesomemusic.com - this will certainly cheer me up!
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CREDITS - THANK YOU!
MYTH is implemented in C++ using the Juce Framework. I am grateful for its existence and for the community of JUCE developers.
Valdemar Erlingsson is the creator of the gorgeous free reverb plugin called Cloud Seed. I took inspiration from his work for the CLOUDS FX
Nigel Redmon has published an intriguing series about analog ADSRs. I took inspiration and design choices from his series.
MYTH uses the awesome AVIR image resizing algorithm designed by Aleksey Vaneev of Voxengo
Sample rate converter designed by Aleksey Vaneev of Voxengo
The lava image in this manual on page 2 is from Brent Keane
c0nsilience provided feedback on early version and some samples
Rich Whit eld and Frank Gesang aka SiL3NC3 and Saf Ro and DATABROTH painstakingly proof read this user guide
DATABROTH + Spektralisk + HydraTek + Rich Whit eld have provided extensive feedback / discussion of various features over a long time
Sound Author + Sabastian Weaver aka Azure Eyes gave feedback to improve features and had some very cool feature requests
BIIANSU created the of cial trailer track for MYTH
Jacky Ligon convinced me to add MTS-ESP support and provided tons of inspirational use cases and validated the MTS-ESP implementation
Oli Cash from OddSound provided the lib for MTS-ESP and answered all my questions
Jacky Ligon and Andreya provided the Microtuning and MTS-ESP explanation in this user guide
Jacky Ligon and Sound Author have provided samples for the modal lter / resonator

I am blessed with an awesome group of Beta Heroes who found bugs and provided many ideas:
Rich Whit eld DATABROTH Spektralisk HydraTek Sound Author Alessandro Cardinale
Cool WAV El°HYM Saf Ro Florian Mrugalla HiEnergy Frank Gesang aka SiL3NC3
Tomavatars Andreya Squaremoons Mathias Brüssel Philip Rampi David Lilja (PaleSkinnySwede)
sadà\exposadà lab by the sea David Henkel BIIANSU Jacky Ligon Sabastian Weaver aka Azure Eyes
Astralmuse dreamerOnGo
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ABOUT DAWESOME
My name is Peter and I am the creator behind all
Dawesome plugins.
PETER
I am a musician at heart, playing the bassoon and
contrabassoon in multiple ensembles and I have a
lifelong passion for synthesisers.

With a PhD in maths I can proudly call myself a

professional nerd.

TIP
A few core principles that drive my work:
Spending my time on creating plugins
‣ Creativity can and should be fun instead of running marketing campaigns
‣ Sense and Simplicity (is the outcome of hard and complex work) and spamming your inbox is more fun ...
for me and probably also for you.
‣ Exploration is the royal road
Please support my work by spreading the word!

PS: you can always contact me via peter@dawesomemusic.com

Dawesome Village
... is the friendly and supportive community for sound lovers on Discord!

You can join by clicking on the invitation link below. You will nd many interesting people, tons
of information, many freebies like sample packs and presets and much more...

Invitation Link: Dawesome Village

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