Share Your Shruthi -1 Programming Tips and Tricks

I have not seen a thread like this, so I decided to start one. This is where new or cool sonic discoveries using the Shruthi can be shared.

Today, I used a triangle wave on osc2 and synced it with the first oscillator. I put the mix to 63 so that I could only hear osc2.
I was now able to make all kinds of new saw-like timbres by lowering the pitch of osc2 and messing around with the parameter knob.
I was able to make a decent “bass pluck” sound that did not involve a pulse wave using this technique.
A higher pitch (below osc1) and parameter value created softer saw-like waveforms, but it is also possible to make some really deep saws with lower pitch and parameter values. Sweeping these values with a snappy envelope created the “pluck” that settled into a “soft saw”.

Yep, there are some wonderful timbres to be discovered using the Sync mixer setting.

Don’t be afraid of lowering the mix from 63 though - you can then mix in a very different timbre for the attack. My favourite is selecting FM for Osc 1 and reducing Osc Mix to around 32, since you can then use the Pitch control on Osc 1 to ‘tune’ the metal/gonglike attack.


Yes, I just initially set it to 63 so that I can fine tune the oscillator. The FM is great for percussive transients. I like using sync with the formant/vowel waves, creates all kinds of gibberish “speech”.

Well here’s a nice easy programming tip that’s been mentioned before, but is worth repeating:

By default the Shruthi filters track the keyboard perfectly (i.e. if you play two notes an octave apart, your filter tunings will also be exactly an octave apart, whatever those two frequencies are).

However, you can easily modify this setting by adding the following in the mod matrix:

Source = NOTE, Destination=CUTOFF, value =

0=full tracking
-16=3/4 tracking
-32=1/2 tracking
-48=1/4 tracking
-63= almost off

Reducing filter tracking is really useful for creating ‘natural-sounding’ instruments whose timbre changes across the keyboard (for instance, higher notes of acoustic instruments often contain fewer harmonics than low ones).

If you want the filter cutoff frequency to remain fixed, with absolutely no change across the keyboard (useful for self-oscillating drones perhaps), you actually need a value of 64, which you can’t achieve with a single mod matrix slot the easiest way to do this is to add two identical slots in the mod matrix with these values:

Source=NOTE, Destination=CUTOFF, Value=-32
Source=NOTE, Destination=CUTOFF, Value=-32

I did not know that it had to be 64 instead of 63. That is good to know.
Are there any great tricks involving the operators that I should know about?

Here’s something fun to try if you haven’t already. Very simple really:
Setup external filtering (osc1, osc2 to none etc.) with full keyboard tracking for the filter.
Start playing a sequence on your external synth and a whole other sequence on the shruthi. You can get very nice variations just by changing tempo for the shruthi-sequence.

Here’s another trick I explored today for the first time, after noticing that detuning Osc 2 slightly for a thicker twin-oscillator sound with slow beat frequency for bass riffs sounded awfully ‘out of tune’ a few octaves higher.

If you’re currently running (for example) a thicker twin-oscillator sound for a great-sounding bass line with Osc2 PITCH FINE = 8, the secret is to add a mod matrix slot as follows:

Source=NOTE, Destination=OSC2, Value=-1
Then increase OSC2 PITCH FINE = 16

Now the same sound will have detuned oscillators that ‘beat’ at approximately the same frequency across several octaves, so you can use the same preset for both bass and lead duties


Neat, I have been interested in keeping the beat frequencies that same across the keyboard recently.