mxm-mono-03

Sound

mxm-mono-03 follows the Roland TB-303 and is made for one job: play a repeating bass line and perform the filter. Cutoff and resonance stay large because those are the controls a hand keeps moving. Envelope amount, decay, and accent set the shape around them.

The oscillator produces a saw or a square shaped from that saw. The square is not a perfect 50% pulse. Its duty cycle changes with pitch, from broad at the bottom to close to even at the top.

The diode ladder uses four uneven poles. That spread gives the cutoff its sag and pushes self-oscillation higher than a neat four-pole model would. Envelope depth cannot reach zero because the TB-303 circuit cannot turn it all the way off. MXM keeps that floor.

There is no full amplifier envelope. Amplitude has a fixed attack and decay, while the filter gets the decay control. The constraint keeps every note recognisable and puts the motion where it matters.

Accent remembers

Accent reaches three places. It raises level, forces a shorter filter envelope, and charges a second sweep. That charge does not vanish at the note boundary, so consecutive accented notes climb. The editor shows the stored charge because the Accent knob has not moved even though the next note sounds brighter.

Slide also lives in the synth. A Slide switch engages the pitch lag; a tied note from the host keeps the gate open so the envelopes do not attack again. A MIDI keyboard can reach the same mechanism because the lag is not trapped inside one sequencer.

No distortion follows the amplifier. The TB-303 voice had none, even though pedals became part of the recorded acid sound. Distortion belongs in a separate effect slot where you can choose it.

Interface

The main panel has two cards: Voice and Filter. The filter response display shows the ladder’s corner plus the range added by envelope and accent. The Voice card shows the accent charge.

A labelled Advanced area keeps the constants the TB-303 circuit fixed: slide time, envelope attack and decay values, accent timing, drive, filter model, and bend range. Every control opens on the source value, so the panel still starts as the constrained machine.

At narrow widths the two main cards stack. The Advanced area follows below them and remains visible. The editor does not hide a third of a small synth behind another page.

Presets

Fifty factory sounds travel inside the .clap bundle. They leave Slide and Accent note alone because those are per-step decisions. The shared browser handles banks, categories, search, favourites, and user presets.

Init keeps the hardware’s non-zero envelope floor but starts other amounts at zero. The result is a plain voice ready for cutoff, resonance, and decay to do the work.

Status

The DSP tests pin the accent memory, slide rules, filter shape, silence, and numeric limits. They prove what this implementation does. Hardware comparison remains open.