"So how do I use it?" Notes or sounds can be played on either the Amiga's qwerty keyboard, using F1 - F5 for octave change, similar to the way that most trackers implement it, or alternately from a MIDI keyboard. Both methods will be able to do the basic stuff that keyboards are expected to do on synthesisers, namely send pitch control values to the oscillators as well as to the filter (DCF), though 'loudness' or aftertouch values can not be generated by the qwerty keyboard. Pitch values and volume information for DCO and DCA, and trigger pulses for the envelope generator (ADSR) and/or for the step sequencer, can be easily generated by either input source.

Of course to get any sound to appear at all, a `patch` needs to be created first. This can be as simple as connecting the output of a DCO to an Output channel, which will result in a continuous tone, its timbre being determined by the DCO`s wave-shape and its pitch set by the DCO`s frequency settings dial. We could also set one of the DCO`s control sources to `Keyboard`, and then the DCO`s pitch will be controlled by the last key that has been pressed. Obviously there is no `Attack` nor a `Release` slope to the note yet - the easiest way to achieve that is by routing the DCO`s Output to the DCA instead of to an Output channel and sending that to an Output channel, then set a control source on the DCA to ADSR, giving our sound an envelope. Every time we press a key, the ADSR`s duty cycle will be triggered, but only if we set the ADSR`s trigger input to `Keyboard`. The note will have a fast or slow `Attack`, depending on the equivalent dial setting on the ADSR module, it will have a certain length of `Delay`, and a final `Release`, where the note will trail off. The length of these is obviously set by the Delay and Release dials on the ADSR module. Perhaps here, a draggable wave shape could replace those four dials.

But let`s make it a bit more exciting than just have a straight and unfiltered wave-shape. We can achieve just that by routing the DCO`s output to the DCF, then patch the output of that into the DCA, just as we had done with the DCO previously. Now we will have a DCF modified tone instead of a straight one. Obviously the DCF will have to be controlled as well, so let`s set one of its control sources to Keyboard. This will track the pitch of the last keypress, modifying the DCF to be `compatible`, or tuned to any frequency that we play on the keyboard, avoiding distortions that would otherwise occur. We could also attempt to set one more control on the DCF, so let`s choose the ADSR for that, as this will create some interesting changes in tone colouration as the envelope of the note goes through the stages of the ADSR. And finally we can also play around with the two dials of the DCF until we have found some optimal setting.

While this is not much, it should at least give you a start. As you can probably see, the possibilities for unbridled originality are endless. So rather than me continuing to explain other patch combinations, I think it would be best if I left you to your own imagination. I am quite sure that you will soon be able to start finding your very own style and run with it. Especially if you have read this far. Obviously there will be more detailed patches described in a planned manual (though I hardly read those myself), as well as pre-made example patches that can be loaded into the program.