Additive synthesis based on Fourier analysis: build a sound from individual partials, or analyze an existing audio file and reconstruct it from those partials. Material ranges from drawbar-organ tones to abstract textures that aren't reachable from a subtractive synth.

Up to 512 Euler-generated oscillators per voice, no wavetables. Noise floor sits at -120 dB.

Two parameter states (A/B) per voice, with morphing between them driven by mod wheel, velocity, or automation. Each partial has independent phase, amplitude, frequency ratio, and pan.

Per-partial envelopes go up to 512 breakpoints with parabolic interpolation.

FFT-based: drop a WAV in and Vertigo decomposes it into partials with their amplitude and frequency envelopes. The result plays back as additive synthesis you can edit.

FFT frame sizes 1024 / 2048 / 4096 / 8192. Windowing options Bartlett, Hamming, Hanning, Blackman. Larger frames help with bass-heavy material; smaller frames keep transients.

Frequency Pairing reorders partials between the A and B states so morphing crossfades the closest frequency partners. This avoids the artifact pile-up you get when partial 1 in A morphs to partial 1 in B regardless of pitch.

Spectrogram-style editor: amplitude and frequency live on the canvas, edits happen directly there.

Horizontal and vertical fades, boost and cut, and partial-range selection. Behaves like a graphic EQ on the partials, with the underlying additive structure intact.

PNG / JPG import as harmonic templates: pixel rows map to partials, columns to time. Image input as a sound source rather than a metaphor.

Harmonic: integer multiples of the fundamental, for drawbar organs and brass.

Odd Harmonic: odd partials only, for clarinet-style hollow tones. 1-2 Serial: proportional ratios from the gap between the first two operators, for bells and metallic textures.

Combine with the phase and frequency smearing controls to deviate from rigid harmonic relationships.

Two resonant filters, routable in series or parallel, with six selectable types: 4-pole LP, 4-pole HP, 2-pole BP, 4-pole BP, 4-pole notch, 4-pole peak.

Series for subtractive shaping, parallel for splitting bands or building phasing effects. Velocity, keytrack, and mod wheel route to cutoff and resonance.

Dedicated bipolar filter envelopes. The 128-band formant filter handles vowel-like and vocal-character processing.

Eight effects tuned for additive material.

Distortion at 8x oversampling (no aliasing on partials), phaser up to 128 taps, flanger, compressor, 8-band EQ.

Stereo chorus, tempo-synced delay, reverb.

HiDPI throughout, multi-threaded rendering so the GUI stays responsive while 512 partials run.

Spectral display, envelope editor, and per-partial activity meters all visible at once. Zoom for detail work.

Drag-and-drop for audio files and images. Built-in bank browser.

Up to 16 voices, with poly / mono / legato modes. AVX2 on x86 and NEON on Apple Silicon keep it usable with all 512 partials active.

Pitch bend, mod wheel, velocity, and full automation on every parameter.

Zero-delay feedback in the signal path. Standalone app included.