FRMS Help

Thank you for your interest in FRMS - Granular Synthesizer.

FRMS is designed to be a complex and rich sounding synthesizer with a user friendly interface. Combining the sonic possibilities of granular and FM synthesis, FRMS gives all levels of experience, from beginner to advanced, the perfect tool to create a massive variety of sounds. Soundscapes, leads, drones, crispy metallic textures and much more, let your imagination run wild through an exciting new world of sound design.

Contents

• Overview
• Layers
• Waveform Panel
• Control Panel
• Envelope Panel
• Matrix Panel
• Modifiers Panel
• Performance modes
• Patch Browser
• File Browser
• Settings

Overview

FRMS features a clean, minimal interface designed to facilitate the control of advanced concepts using a simple, efficient and easy to use layout. The main window consists of a status bar across the top, a collapsable menu down the left side, two horizontal layer panels in the center and a performance zone across the bottom. The performance zone includes two note generation methods which can be toggled between; a standard piano keys layout and a hexagonal chorder display for one-touch chords. The layer panels use several tabs for easy access to the different groups of parameters and functions. By displaying two separate layer panels simultaneously, it is possible to manage an intuitive and productive FRMS workflow, for both production and live performance.

The following features are found on FRMS's status bar:

• Midi Learn - toggle MIDI learn on and off
• Clock Source - Selection of the engine clock source. It can be internal, MIDI clock or ableton link
• Tempo - main session tempo
• Patch - indicates the currently selected patch. Tap it to open patch browser

Midi learn

The Mapping feature of FRMS allows the mapping of its parameters for remote control by a MIDI controller.

Toggle the MIDI Learn function on by tapping it and FRMS's controls will get darker. Select the control you want to map, which will then appear highlighted \(if the parameter doesn't have any assignment it will be labeled as N/A\).

Move the MIDI control you want to map and once a message from the MIDI Device is received, it will be mapped and displayed on FRMS. Once you are done mapping, turn MIDI Learn off and FRMS is ready to operate with the given assignments.

Tempo

The tempo setting, controls the value of FRMS's internal clock. If FRMS is being used as a plugin inside a DAW, the tempo is defined by the host.

Patch

Tapping here opens the patch browser where it is possible to navigate between the different banks of patches and select any of the available FRMS patches.

Status bar icons

On the right side of the status bar are 5 icons:

• Disk

This opens the save patch menu where you can name/save the current patch state as either a new patch, or overwrite an existing one, in either the local or cloud bank.

• Revert

This resets the current patch back to its original saved state. (This button is only active/available if changes have been made to a saved patch - to indicate this, an asterisk will appear to the right of the patch name.)

• Random

When pressed this will assign a random value to each parameter.

• Up arrow

This selects the previous patch from the list of patches in the currently selected bank.

• Down arrow

This selects the next patch from the list of patches in the currently selected bank.

Layers

FRMS consists of 4 layers that can be used as either an oscillator or granulator, with the controls of each layer colour coded for ease of use.

Each layer can be thought of as an individual instrument. They can be summed together or used as an FM operator. Learn more about FM in the global panel section.

With this architecture, the sonic possibilities are expanded because each FRMS patch can use any combination of the available synthesis modes. For example, it is possible to combine a granular sound, with a low-end, constant, sine tone, and some high, distorted FM harmonics all at once. Despite granular synthesis being the main focus of FRMS, by mixing together the various synthesis types, you can generate interesting, complex and unique sounds that would otherwise require multiple instruments to achieve.

With this layering system, FM synthesis becomes very fluent and easy to achieve, because regardless of whether a layer is an oscillator or a granulator, it will function as an operator. It is only necessary to enable the FM engine, select the desired FM mode, and control the amount of FM being applied by the desired layers. In this way, instead of modulating only oscillators, it is also possible to modulate a granular layer using an oscillator or vice-versa.

There are two layer panels which means that you can work on two layers at the same time (without constantly toggling between them if the lock function is disabled - See below).

On the top left of each layer panel container you will find the following controls:

• Layer selector - Choose between four available layers numbered from 1 to 4. The colored number represents the currently selected layer.
• Lock - Locks the upper view with the bottom view. Eg: When you select a layer on the top view, it will automatically display the same layer on the bottom view.
• COPY - Copies the state of all layer parameters to memory (excluding waveform)
• PASTE - Pastes all layer parameters in memory to the current layer (excluding waveform).

Waveform Panel

This panel displays the waveforms and has two possible working modes:

• Oscillator mode example

• Granulator mode example

Depending on the layer engine mode, the following controls are available:

In waveform mode there are the following options:

• Waveform - Toggles between waveform or live input mode
• 1st Icon (Load) - Opens the File Browser.
• 2nd Icon (Record) - Records a sound from the audio input.
• 3rd Icon (Cut) - When there is a selection area in the waveform display, pressing cut will crop the wavefile to that selection.
• 4th Icon (Delete) - Deletes the currently loaded file
• 5th Icon (Copy) - Copy file to be pasted on a different layer
• 6th Icon (Paste) - If there's a copied sound file, pastes that file in the current layer

In Input mode there are the following options:

• 1/8 - Selects the size of the buffer being used to store live input information as a 1/8 of 1 second
• 1/4 - Selects the size of the buffer being used to store live input information as a 1/4 of 1 second
• 1/2 - Selects the size of the buffer being used to store live input information as a 1/2 of 1 second
• 1 - Selects the size of the buffer being used to store live input information as 1 second
• 2 - Selects the size of the buffer being used to store live input information as 2 seconds
• FREEZE - Freezes the actual buffer information
• STEREO/MONO - This button sets how to record a file from input. It can be recorded as a stereo or mono file
• Audio Device Selection (only available in desktop version) - Selects the audio device being used as input

Control Panel

• ACTIVE - Activates or deactivates the current layer.
• SOLO - Solos the current layer. This is an exclusive button. When soloing a layer, it will unsolo any previously selected solo layer.
• ENGINE - Toggles between layer engine. It can be one of the following modes:

Oscillator Mode

Despite the main focus of FRMS being the granular engine, it is possible to use each layer as an oscillator source. Subtractive synthesis is based on the sculpting of rich and complex waveforms, through the process of filtering and modulation. The term 'subtractive' comes from the fact that we start with full spectral waveforms, and we can manipulate them with the removal of harmonic content, generating different timbral sounds, all coming from the same source. With this in mind, we offer 4 kinds of waveforms:

• Sinusoidal - The simplest and purest waveform. A sinusoidal is composed of only a single fundamental, having no harmonics.
• Sawtooth - This waveform is the richest, classic periodic waveform because it is composed of all harmonics of its fundamental.
• Square and Triangle - These two waveforms are composed only of odd harmonics

Granulator Mode

A complex sound may be imagined as a multicolored firework in which each point of light appears and instantaneously disappears against a black sky … A line of light would be created by a sufficiently large multitude of points appearing and disappearing instantaneously. (Xenakis 1992 pp. 43-44)

Granular synthesis consists of combining a large number of tiny audio units (grains) over time, resulting in complex sound structures. Despite the origins of this concept being theoretically present way back, it was only after Dennis Gabor and Iannis Xenakis experiments that this kind of synthesis became better funded. Then, Curtis Roads took granular concepts and applied them with computational models and we were left with a completely new kind of sound synthesis, capable of new timbres and sonic atmospheres.

With granular, instead of playing a sound file in a continuous linear way, we can divide that same sound file into thousands of micro pieces, modify them (pitch, amplitude and duration) and reorganize them in any way we want. Then we can play them individually at any rate, ranging from slow reading (generating discrete, noisy sounds), to very fast reading (generating very dense sonic atmospheres). From a single audio file we can generate a multitude of sounds with different characteristics, maintaining more or less the timbral characteristics of the original file or even creating completely new and original sounds that have no resemblance with its source.

This synthesis offers a lot of control to the user, since we’re dealing with individual grains, each one having its own characteristics. Modifying one parameter can have a huge effect on the overall sound.

• PAN - Controls panning.
• KEY/FREE - In Key mode, the sound’s pitch is related to the pressed notes. In FREE mode, the sound’s pitch is only related to the layer’s tune knobs.
• LEVEL - Controls the volume of the layer.
• CUTOFF - Controls the cutoff of the layer's filter.
• RESONANCE - Controls the resonance of the layer's filter.
• MODE - Selects the layer's filter mode. Filter can be a 4 pole low-pass, 2 pole low-pass, high-pass, band-pass or notch.
• EG 2 - Controls the amount of modulation being applied to filter cutoff by the Envelope generator 2.

• COARSE - Selects the tuning of the layer. It has a range of -3/+3 octaves and can be restricted/quantized with the use of quantized mode.
• QUANTIZED/FREE - Selects the behaviour of the coarse knob. When in QUANTIZED mode, coarse works with fix steps of 1 semitone. In FREE mode there’s no fixed steps.
• FINE - Controls the fine tuning of the layer.
• WAVEFORM - Selects the type of oscillator. Wave can be Sinusoidal (SIN), Sawtooth (SAW), Square (SQR) and Triangular (TRI).
• PULSE WIDTH - Controls the size of the square wave pulse, if the wave type is square (SQR).
• WINDOW - Controls the shape of grain's window.
• MODE - Selects the playing mode of the grains.

 LOOP - Grains are being looped within OFFSET+SIZE boundaries.

 P.PONG - Grains go back and forth within OFFSET+SIZE boundaries.

 END - Grains stop when they reach the end of the OFFSET+SIZE boundaries.

• RAND COLOR - Controls the type of random that is generated and fed to randomization parameters.
• OFFSET - Controls the starting point of the grain.
• Playing Mode - Selects grain's reading behaviour.

 FORWARD - Grain is read from the beginning to the end. (Left to right)

 BACKWARD - Grain is read from the end to the beginning. (Right to left)

• RANDOM (OFFSET) - Controls the amount of random applied to the grain starting point. Randomization is applied everytime a grain is fired.
• SIZE - Controls the size of each grain.
• SIZE Mode - Selects the grain size type.

RELATIVE - The amount of grain size is relative to the size of the sample.

 ABSOLUTE - The amount of grain size is relative to a fixed value of 100 samples.

 SYNC - The amount of grain size is relative to the bpm.

• RANDOM (SIZE) - Controls the amount of randomization applied to each grain size. Randomization is applied everytime a grain is fired.
• DENSITY - Controls the amount of grains that are being used.
• Density Mode - Selects the type of density.

 EVEN - Grains are fired evenly across the grain size.

 TIMED - Grains are fired with a fixed time interval.

 SYNC - Grains are fired with an interval that is in relation with the tempo BPM.

• RANDOM (DENSITY) - Controls the amount of random applied to density of grains. Randomization is applied everytime a grain is fired.
• TUNE - Controls the pitch/tune of all grains at the same time.
• RANDOM Tune - Controls the amount of random adjustment applied to each grain tune. Randomization is applied everytime a grain is fired.
• AMP SPREAD - Controls the amount of random applied to the amplitude of each grain. Randomization is applied everytime a grain is fired.
• STEREO SPREAD - Controls the amount of random applied to the panning position of each each grain. Randomization is applied everytime a grain is fired.
• GAIN - Controls the amount of gain applied to the granulator source.
• FM - Controls the amount of signal being sent to the next FM operator according to the selected FM mode under global panel..
• DELAY - Controls the amount of signal being sent to the global delay effect.
• REVERB - Controls the amount of signal being sent to the global reverb effect.

Envelope Panel

There are two independent envelopes that can be used. Envelope generator 1 (EG1) is used to shape the amplitude of the sound, and envelope generator 2 (EG2) controls the layer's filter cutoff.

This module can be manipulated direct with mouse or touch, either using the individual ADSR knobs or by directly interacting with the visual display of the envelope curve, it's possible to change the attack, decay, sustain and release by making left/right and up/down movements.

• LINK - When active, links the changes made on the current EG to the same EG on all other layers.
• INV - This button inverts the shape of the EG vertically.
• SYNC - When activated, EG time based values (ATTACK, DECAY, RELEASE) are in sync with the BPM.
• ATTACK - Controls the attack time of the envelope.
• CURVE - Controls the type of curve being applied to the attack stage.
• DECAY - Controls the decay time of the envelope.
• CURVE - Controls the type of curve being applied to the decay stage.
• SUSTAIN - Controls the sustain amount of the envelope.
• RELEASE - Controls the release time of the envelope.
• CURVE - Controls the type of curve being applied to the release stage.
• ALT - When toggled, this button allows access to the alternate function MAX, which allows you to control the maximum values of the time based parameters (ATTACK, DECAY, RELEASE).
• A.VEL - Controls the amount of modulation being applied to the attack stage by velocity value.
• R.VEL - Controls the amount of modulation being applied to release stage.

Matrix Panel

The modulation matrix allows you to define how much a modulation source(s) affects a modulation target(s). The values can be between -1 and 1. This means that you can modulate negatively or positively a certain target. In order to change a value, choose on the correspondent intersection and then use the slider at the right side.

• PAGE - Toggles between page 1 and page 2.
• RESET - Resets all the modulations of the current layer to their default value.
• VALUE SLIDER - Allows you to set the modulation ammount of the select cell.

Sources:

• PAGE 1 - LFO1, LFO2, LFO3, LFO4, EG1, EG2
• PAGE 2 - SEQ (Sequencer), (MOD) Mod Wheel, KBD (Keyboard), VEL (Velocity), AFT (After Touch)

Targets:

• LEVEL
• PAN
• CUTOFF
• RESO (Filter Resonance)
• PITCH (COARSE+FINE)
• FM
• OFFSET
• SIZE
• DENSITY
• STR SPD (Stereo Spread)
• AMP SPD (Amplitude Spread)
• RND OFF (Random Offset)
• RND SIZE (Random Size)
• RND DENS (Random Density)
• RND TUNE (Random Tune)
• PW (Pulse Width)

Modifiers Panel

This panel gives access to the LFO's and the arpeggiator tabs.

LFO

FRMS has four LFO's available to be used as modulation sources.

• LFO - Selects between the LFO 1, 2, 3 and 4.
• WAVEFORM - Selects the waveform of the LFO. From the left to the right: Sinusoidal, Square, Sawtooth, Triangular, Sample and Hold (S&H), Filtered Sample and Hold (FS&H).
• SYNC - When enabled the LFO frequency is synced with the BPM.
• PHASE - Selects the behaviour of the LFO when pressing a key.

FREE - The LFO is always running.

KEY - The LFO phase is reset when a key is pressed. This way the LFO will have the same behaviour every time a key is pressed.

• RATE - Controls the LFO frequency.
• DELAY - Controls the amount of time the LFO is delayed before starting.

Arpeggiator

• ENABLED - Enables/disables arpeggiator.
• MODE - Selects the arpeggiator playing mode.

UP - Notes are played from the lowest to the highest pitch.

DOWN - Notes are played from the highest to the lowest pitch.

**UP/DWN I **- Notes are played from the lowest to highest pitch, and back to the lowest pitch.

UP/DWN II - Equal to up/dwn I, but the lowest and highest notes are repeated every time direction is changed.

RND - Notes are played randomly.

• GATE - Controls the duration of the notes being played. The least the gate, the least the duration and vice-versa.
• STEPS - Selects the amount of octaves being added to the arpeggiator notes. If steps are equal to 0, the arpeggiator only plays pressed notes. When steps is greater than 0, arpeggiator plays pressed notes plus that same notes in the octaves above (according to its amount).
• RATE - Controls the speed of the arpeggiator.
• SYNC - When enabled, arpeggiator speed is sync with the BPM.
• HOLD - When enabled, arpeggiator memorizes the pressed notes, and keeps playing them even if there aren't any pressed notes.

Global Panel

In this panel you control settings that affect the overall synth performance and sound, such as: polyphony, FM, effects, global filter, master output. It is divided in 5 panels

Modes

• MODE - Selects between voicing mode. It can be Poly, Mono or Unisson.
• TRANSPOSE - Can pitch up/down all layers simultaneously.
• LEGATO - Turns on/off legato.
• GLIDE - Defines the duration of the glide between notes. When at zero there’s no glide.

FM Modes

A new application of the well-known process of frequency modulation is shown to result in a surprising control of audio spectra. The technique provides a means of great simplicity to control the spectral components and their evolution in time. Such dynamic spectra are diverse in their subjective impressions and include sounds both known and unknown.
(Chowning 1973 The Synthesis of Complex Audio Spectra by Means of Frequency Modulation)

1973 was the year John Chowning released he’s paper about FM synthesis. There he stated that, despite being a known method for other applications, frequency modulation applied to sound could result in new rich sounds. With this synthesis method, one could even “replicate” other instruments using only sinusoidal waveforms.

Contrary to subtractive synthesis, which modifies the spectral content of an harmonic rich sound, fm synthesis creates new spectral content that is modulated over time, by modulating an oscillator’s frequency (carrier) with the output’s amplitude of other oscillator (modulator). With this, even using simple sounds as a sine wave, it is possible to create complex ones, because when applying frequency modulation, new side bands emerge, thus resulting in new timbres.

The relationship between the frequencies of modulator and carrier (also known as ratio) is what is going to define the quality of the resulting sound. If that relation is harmonic, it will result in an harmonic sound. Otherwise, if the relationship is inharmonic, the resulting sound will be inharmonic too. The more the modulator’s frequency is increased, the more the resulting sound complexity. This concept is very important, since this relation is what will define the type of the resulting sound (bell like sounds have a specific ratio while woodwind sounds have another).

It is possible to have a chain of frequency modulations, where for example, oscillator one modulates oscillator two, and the result of oscillator two will modulate oscillator 3. This is just an example since there are a lot of different layout possibilities depending on the amount of oscillators available and each of those oscillators can be called an operator. Since FRMS has a system with 4 independent layers, it is possible to think of each one as an operator. In FRMS case, an operator can not only be an oscillator, but also a granulator engine, turning everything even more interesting. There are 8 different layouts available and each operator, if working as a modulator, has an available FM knob to control the amount of amplitude being sent as a modulation signal.

FRMS has an FM engine that enables FM synthesis between the layers. Each layer functions as an individual operator with 8 different FM modes available that organizes the operators in different ways.

• Operators Image - Displays the current selected FM mode. When off, the image has opacity.
• Left Arrow - Selects the current FM mode in a decreasing order.
• ON/OFF - Enables/disables Fm engine.
• Right Arrow - Selects the current FM mode in an increasing order.

Available FM modes (each number corresponds to the layer number):

FX

FRMS has two independent effect units connected as auxiliary channels. The amount of signal that is sent to these units is controlled with the DELAY and REVERB knobs that can be found in each layer.

Delay

• TIME - Controls the amount of delay time.
• FEEDBACK - Controls the amount of feedback.
• SYNC - Enables/disables sync function. When on, delay time is in sync with the BPM.
• SPREAD - Controls the amount of stereo spread.
• HP CUTOFF - Controls the cutoff of the delay’s high pass filter.
• LP CUTOFF - Controls the cutoff of the delay’s low pass filter.

Reverb

• DECAY - Controls the amount of decay.
• DAMPING - Controls the amount of damping.
• HP FILTER - Controls the cutoff of the reverb’s high pass filter.

Filter

Master filter section. This is a lowpass/highpass filter that can be manipulated directly on the window where cutoff and resonance can be changed. This filter can be modulated by the LFO's and EG's.

• CUTOFF - Controls the cutoff of the master filter.
• RESONANCE - Controls the resonance of the master filter.
• MODE - Selects the type of filter being used. It can be a lowpass (LP) or highpass (HP) filter.
• SOURCE - Selects the first source of modulation. It can be LFO 1 or LFO 2.
• AMOUNT - Selects the amount of modulation being applied by first source.
• SOURCE - Selects the second source of modulation. It can be EG1 or EG2 of any layer. The “L” represents the number of the layer, so for example, when selecting “L1EG1” the EG1 of the first layer is being chosen to be the second source.
• AMOUNT - Selects the amount of modulation being applied by second source.

Output

• MASTER - Master volume. Controls the overall level of the instrument.
• PRE GAIN - Controls the pre gain given to the overall sound.

Performance Modes

FRMS has two types of performance modes: Keyboard and Chorder.

They can be changed using the icon on the bottom left of the instrument

Keyboard

The built-in keyboard works as a regular keyboard, with the possibility of also playing in MPE mode.

• PITCH - Pitch Bend.
• MOD - Modulation Wheel.
• PANIC - Stops all notes.
• HOLD - Holds a note after it is pressed.

Moving (left and right) the zone between the two circles moves the keyboard keys up and down the octaves, and moving up and down increases and decreases the key’s size.

Chorder

With the built-in Chorder it is possible to play chords and to play single notes from the current selected chord.

The notes displayed on the chord’s pads represent the fundamental, and the chord types are arranged as followed:

• Top Row - Major Chords.
• Middle Row - Minor Chord.
• Bottom Row - Major 7 Chords.

On the left there are the following buttons:

• PLAY/SEL - Sets the chorder to play mode. When pressing a pad in play mode, it plays that chord. When pressing in Selection mode it selects the chord.
• HOLD - When active, if a chord is pressed it will play until it is pressed again or until hold is turned off.
• Interval Button - Here it is possible to select the interval between the notes of the same line. For example, in 5P (perfect fifth) each chord of each row will be separated by a 5th.
• PAN (device) - It is possible to move the chorder view while pressing this button and moving the chorder zone. This is available in the FRMS app for device.

The lateral horizontal lines represent the individual notes of the current selected chord. Clicking on them will play the corresponding note. Chords can be played with single notes simultaneously.

The foremost right arrows will shift (up/down) the current chords by one octave at a time.

Patches

The patch browser is divided in three columns: Banks, Patches and Filter. Three banks are available by default:

• Factory - This bank stores the default presets included in FRMS
• Favorites - presets you marked as favorite
• Local - This bank stores the presets saved by the user in the local machine.
• Cloud - The bank where your saved presets will be store on the cloud \(This bank is available when you have a profile account\).

Patches

This section allows you to navigate through the patches of a certain bank. Touch a patch to select it. If you want to mark as favorite, tap the star icon on the right side its name.

Filter

Use this section to filter by tags the patches listed.

Saving a patch

To save a patch just click the save patch icon:

• Name - Use this field to choose the patch name
• Bank - Use this field to select the destination bank. Cloud bank is only available when logged in under Profile section.
• Cancel - cancels the operation and closes the dialog.
• Save - Overwrites the current patch. Only possible when the patch is modified or the name is different.
• Save as... - Saves the current patch as a new patch with the specified name and bank.

File Browser

Frms has a file browser that enables browsing and loading of audio files being used with the granular engine.

This window is open when clicking on the “Load” icon of the waveform panel. It is important to note that the loaded waveform will only be displayed when the layer is in Granulator mode.

When opening the file browser, it will display a window with two sections:

• On the left there is the Folder’s Browser. It is possible to select between the file banks (files that belong to the frms software), the user’s system folders to use personal audio files, or the recording folder to use recorded files with the frms record functionality.
• On the right there is the File’s Browser. Here it will be displayed the available files on the selected folder. Notice that FRMS only supports WAV and AIFF files, so, only these files will be displayed in this section. When selecting a file, its corresponding waveform will be displayed above. If the Headphones icon is enabled, selecting a file will also play it.

Audio files can be loaded to the current layer through the LOAD button, or double clicking on the desired file. Clicking on the CLOSE button will exit the file browser.

When browsing through the audio files of system and recordings folders, it is also possible to delete the files through the Cross button in front of each file name. Deleting the files in FRMS will also delete the files from your computer or device.

Settings

Audio Device

Select the audio device (only available on desktop standalone version)

Sample Rate

Select the sample rate (only available on desktop standalone version)

Buffer Size

Select the buffer size (only available on desktop standalone version)

Apple Pencil Support (iOS only)

When enabled it allows the use of Apple Pencil to interact with the controls.

Notifications

Enable or disable push notifications (promotions and other type of general notifications from Imaginando)

Background Audio (iOS or Android only)

Use this option to determine if the synthesizer engine keeps running when the app is on background. When on, you are able to play the synthesizer with an external midi controller when using other apps. This option is disabled by default.

High Quality

Enables or disables the high quality audio rendering. Higher audio quality means more CPU usage.

MPE Mode

Enables or disabled the MIDI Polyphonic Expression mode support. The internal keyboard will also behave accordingly.

MPE Pitch Bend Range

Defines the pitch bend sensitivy when sliding a key.

MIDI In Channel

Sets the MIDI channel(s) that are accept as input. You can filter the MIDI channels inputs individually by ticking the boxes numbered from 1 to 16. When a channel is off, the routed destination inputs will be ignored. Use the clear and select all options to activate/deactivate all the channels.

MIDI Out Channel

Sets the MIDI channel(s) that will be used for MIDI output. By default this value is set to 1.

Voices

Voices defines the total polyphony of FRMS, this means the amount of notes that can be played simultaneously. A higher polyphony means a higher the CPU load.

On mobile devices the maximum number of voices is limited to 4. If you experience audio dropouts while playing FRMS, try to decrease the number of voices for optimal performance.

Updated on: 11/03/2026