SubSynth uses the idea of subtractive synthesis in a slightly unusual form. Instead of starting with a spectrum and taking out what you don't want, it is a broadband noise generator with a series of harmonics filters that only allow comparatively narrow bands that you do want through to the output.
It is the simplest of Yoshimi's engines in terms of the number of controls almost all of which are real-time. There are also the following standardised inserts. Most of these are initially disabled.
Very obvious is the scrollable row of sliders. These represent 64 harmonic bands, the upper row being the amplitude, and the lower row the bandwidth. At minimum bandwidth the harmonics are close to sinewaves, and at maximum they are very obviously noise.
The Bandwidth control (top centre) sets the overall range and the Bandwidth Scale changes the frequency scaling of this range that is applied. You can have quite narrow LF bands with wide HF ones, vice-versa or anywhere between the two.
Octave, Bend, Offset, 440Hz, Eq.T, Detune, Detune Type, Coarse Det.
These all work in exactly the same way as the ones in AddSynth, but are quite independent.
(overtones)
Overtones Position This sets the type of overtone variation. For Harmonic there is no control, so the other parameters are inactive. Similarly Par 2 does nothing for Shift so is disabled for that variation.
Par 1 spreads the harmonics according to the 'position' type.
Par 2 provides a further variation on the harmonics spread.
ForceH This moves the shifted harmonics by a variable amount towards to the nearest actual multiple of the fundamental.
(bottom row)
Stereo enables a stereo output rather than mono
Filter Stages This sets the number of stages of the harmonic filters, not the filter insert above.
Mag. Type defines the magnitude of the harmonic filter controls.
Start sets where in the cycle that note starts from.
