USER GUIDE 1.

01
One must still have chaos in oneself to be
able to give birth to a dancing star.
Friedrich Nietzsche
THANK YOU

KULT is a (not so) classical synth.

The oscillators are based on so called “Strange Attractors”. These are objects from
the mathematical theory of Chaos. Compared to classical OSCs these sound less
sterile and have an inherent organic quality, offering a very warm and - if you want -
delicately gritty sound.

Strange Attractors are curves that evolve over time in 3D space, while sound
usually is a movement in one dimension over time. The conversion from 3D to 1D
enables innovative sound-shaping capabilities that you won’t nd in other synths.

KULT has been designed with great care and dedication to give
your creative hands the best possible tool. I hope you will nd lots
of fun and inspiration while exploring its exciting sonic possibilities!

You can contact me via peter@dawesomemusic.com

All the best

Peter (Dawesome)
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GETTING STARTED TIP

This involves two steps:

1 Install the software

This is straight forward: download the right installer for your system ( .pkg for Mac and .exe for Win).
You can start the installer with double-click … I guess you have done this before.
KULT has an online help. You can de-/activate it
with the green question mark in the lower left.
2 Start your free 90 days trial
When you hoover any element with the mouse
We provide a free trial for 90 days without limitations. To start your trial: you will see a short explanation.

Open one instance of KULT in your DAW. Click “START TRIAL” and provide your tracktion.com
credentials.
Can’t hear sound? First make sure that KULT
receives midi notes. Any incoming midi note is
displayed in the virtual keyboard at the very
bottom of the plugin.

In the lower right there is a level meter displaying

the generated output that is sent to your DAW.
Some patches have a slow attack, you may need
to hold notes for longer time.

If you have purchased KULT the activation works in the same way:
Open one instance of KULT in your DAW, click “UNLOCK” and provide your tracktion.com credentials.

Now you can start to explore KULT - enjoy and have fun!
CONTENT

1. Getting Started 11.Modulators

2. Overview 12.Monophonic Mode
3. Browsing Patches 13.MIDI and MPE
4. Categories 14.Signal Flow
5. Oscillators 15.CPU Performance
6. OSC-Page 16.FAQ / Troubleshooting
7. Filter Section 17.The underlying Technology
8. FX Section 18.Credits - thank you!
9. Arpeggiator 19.About me
10.Modulate Parameters
OVERVIEW Go to next or previous patch Click to edit the current
Click to save the patch.
in the list of patches in the name and save the
right sidebar. patch with the new name Turns blue if there are
Click to list only patches of
unsaved changes
Use the main burger menu ☰ certain categories
to access patches directly or
change settings.

Undo and Redo of last

operation Enter a text to lter patches that
appear in the browser below

Modulators that are used

in the patch

Scroll to browse Patches.

Click to load a patch. Right click to

reveal the patch le or to make this
your init patch.

To open a patch either right click or

drag and drop on the Patch Selector

Displays the OSCs of

the current patch
The FX section.
Click the + to add FX.

Click to enable or
disable tooltips
The UI is resizable. Drag
The virtual keyboard to shrink or expand
displays incoming Select Pages for editing
midi notes the current patch
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 BROWSING PATCHES TIPS
• Feel free to explore and just try things out.
KULT is a creative tool and you can always use
Every pack shows up here with UNDO if something is messed up.
one letter. The PATCH-LIST
If you install additional sound
displays only the patches from
packs each will show up here If active only favourited patches • KULT is highly optimised, but it needs to perform
selected packs.
with one letter. are shown in the list. complex computations. Hence some patches
F = FACTORY U = USER require a few moments to load.

The main “burger” menu ☰ in

Enter a text to lter the upper lists the Factory-
patches that and User-Patches for direct This loads the INIT
Every patch can belong appear in the list access. patch. You can reset
to multiple categories.
INIT to another patch Go to NEXT or
Also all your installed sound by right clicking it in the PREVIOUS patch in
Here you can choose packs will show up here. patch list. the list of patches.
which categories you
want to have listed.

Scroll to browse Patches,

click to load a patch.

Right-click for more options.

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CATEGORIES
Click here to make this patch
one of your favourites.

If this is active only

favourited patches are
shown in the list.

In the sidebar you can choose

Every patch can belong to
In this example the patch which categories you want to
one or more of up to nine
SCANDIC SCARY belongs to two have included in the patch list.
categories.
categories: PAD and DRONE.
With SHIFT-click you can select
You can choose the
multiple patch categories. This
categories here.
does not narrow the search but
expands it.

CAUTION
This information is stored as part of
the patch le, so if you change the
categories don’t forget to (re-)save.
In this example the patch
SCANDIC SCARY belongs to
category PAD and the category
PAD is also active, hence the
patch shows up in the list.
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 OSCILLATORS SQ alters the wave-shape
F-SHIFT is a frequency shifter.
S-SHIFT is something you won’t nd on
other synths. It is a bit hard to explain, but it
is worth experimenting. You can view it as
such that it becomes more an LFO on the PHASE parameter.
Low values add slow variations.
square-like.
To have more control you can SYNC the
frequency to the DAW tempo. You need to put SAW to a value above 0,
SAW alters the wave-
otherwise it does not impact the sound.
shape such that it
becomes more SAW-like Higher values can be used to add
inharmonicity, for this use-case SYNC It also interacts with F-SHIFT in nonlinear
while maintaining the
should be deactivated. ways, so lots of room for interesting sounds.
original sound character.
To have more control for low frequencies
you can SYNC it to the DAW tempo.

PHASE shifts the phase of the waveform.

Each patch can have one or TIP

two* OSCs.
This sometimes sounds subtle, but
you can modulate this value with a
What? Only two OSCs? Why
fast LFO.
not three? Plugin XYZ has 3
OSCs - isn’t this better?

Please note that the OSCs in Right-click the OSC display to

KULT are complex and allow pick any other OSC source.
a lot of sonic changes and
modulation.

Actually in many cases you

will nd that one OSC is more
than enough.

Click here to switch the Use this to fade between

OCSs on or off. OSC 1 and OSC 2
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 Each OSC has its own page This is a vowel lter (per OSC).
OSC - PAGE with additional settings.
This emphasises typical formants
of the vocal tract. Use this to give
sounds a vocal avour.

TRANSpose the OSC. With VOW you can choose the

amount of the effect.
If QUANT is active the
transposition snaps to With AEIOUA you can select the
integer semitones. vowel. Please note that this also
depends on the incoming signal.

FORMANT shifts the frequencies

down (lower voice) or up (higher
voice).

Tune the OSC in the

range of 100 cents up
or down. Choose how much of the OSC
signal should be processed in the
lter section.

The underlying technology of AM alters the amplitude of the oscillator. TIPS

If FIXED is active the midi KULT allows Frequency
Use the LFO with AMT-LFO to create UNISON creates up to ve copies
note is ignored. Instead you modulation (FM) synthesis.
tremolo effects. of the OSC that sound in unison. All parameters can be modulated.
can use the dial to choose a
speci c xed note that will You can use this to achieve the
Use AM-RATIO with AMT to modulate the If OCT is active the pitches of You can use very slow modulations
sound regardless of the iconic sound of the 80s.
amplitude with audio frequencies. This the copies sound in octaves. to add slight timbral variations.
notes played on the
keyboard. The FM-RATIO alters the timbre. creates a different sort of inharmonicity.
You can choose the amount of You can assign controller data like
Use QUANT to have the ratio
Use QUANT to have the ratio snap to DETUNE for the unison copies. modwheel or aftertouch to make
snap to semitones, this allows to
create more harmonic timbres. semitones, this allows to create more your patches more expressive.
harmonic timbres. SPREAD places the copies in the
stereo panorama. Especially FM and AM are well
suited to give sounds a natural
Use SYNC to select the rate of the LFO
attack. To do so assign an ADSR on
as a multiple of your host tempo.
FM-AMT and/or AM-AMT.
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 You can switch the entire

FILTER lter section on or off. TIP

The settings of the COMB lter
interact with each other.

Distortion creates Tiny modulations of PITCH or

harmonic overtones. INHARM can create very delicate
and interesting timbral variations.
SOFT is a saturation,
HARD is an overdrive and
NOISE is … noisy.

TIP
In the signal ow the
distortion unit is before
the COMB- lter. You TIP
can use the distortion
unit to “drive” the
comb- lter. Each section can be switched on/off
separately. For CPU ef ciency it is
better to switch it off than to set its
amount to 0.

A classical “analog” lter. There are two independent analog lters.

A comb lter adds harmonic sounds. Use AMT to
select the amount of comb ltering. Both use CUTOFF, but the second lter
You can choose between modes (Lowpass,
Highpass, Bandpass) and slope (12/24 dB) can have an OFFSET to the cutoff-
You can select the PITCH of the comb lter frequency.
(relative to the pitch of the note played)
With TRACK the cutoff frequency is adjusted
FB is the feedback of the comb lter. It can be according to the note played on the keyboard. STEREO adds different offsets to the cutoff
negative or positive, sounding very different. for the left and right stereo channel. You
DRIVE refers to the analog saturation of the lter. can use this to widen the sound.
HARMONIC alters the timbral character of the
signal. CAUTION You can choose if they should be in
SERIAL or in PARALLEL.
Always have some amount of DRIVE when you
are using high values of RESOnance.
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 STEREO FX
You can switch the entire FX section on or off.
The whole FX section is stereo, including There are two busses for FX. You can
You can enable / disable the every individual effect switch between BUS 1 and BUS 2 by
speci c FX here. clicking on the little number on the left.

You can change the routing of FX

by clicking on the little triangles
that indicate the signal ow: either
the FX are chained top to bottom,
or the FX are parallel.

Click to select an audio FX

effect and edit its parameters.

Click the + to add a new audio

effect.
Here you can adjust the gain and pan Every FX has some presets. You can
of the signal coming out of the lter select these with the burger menu ☰.
section before it goes into the FX.
You can also store your current
setting as a preset. Click the burger
menu ☰, choose SAVE AS and enter
a name for the preset.
Choose the dry/wet for each
bus separately.
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 ARPEGGIATOR TIPS
Every section can be enabled /
disabled separately.
You can combine sections to create speci c
effects. For example you can use CHORD
to play multiple notes at the same time, and
use scale to limit the note to a speci c scale.
You can enable / disable the In this way you can play chords within a
entire ARP section here. scale with one nger.

All dials in this section can also be

modulated, eg by RANDOM or LFO or the
MODWHEEL. Use this to create interesting
variations of the patterns.

THE SCALE device allows to choose

which pitchclasses are part of the
scale.

You can choose from plenty of pre-

de ned scales by clicking on the
burger menu ☰.

You can de ne your own scales by

clicking on the circles.

The CHORD section creates

additional notes. In this way The PATTERN section takes all notes With OCT the pattern is played with The PITCH section allows you to TIP
you can play entire chords that are currently played (either on the the incoming notes and its octavated transpose incoming notes either
with one nger. keyboard or through the CHORD copies. The higher OCT the higher by semitones or by octaves. When you click on the burger menu ☰
section) as an input for an arpeggio. notes you will hear in the arpeggio. you can save the current scale to
reuse it later.
GATE speci es the duration of every With LEN (Length) you can choose TIP
note, PAT chooses the pattern. the amount of steps before the pattern
repeats. If the SCALE section is activated
you can modulate PITCH and
If RETRIG is active the pattern will always stay in the scale.
restart on the rst hit of a note.
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 MODULATE PARAMETERS
Click and drag a DIAL or SLIDER
to change the value. You can drag
Modulating a parameter is really simple: click horizontally or vertically.
on the parameter to select it. The red corners
show that this parameter is selected. When holding SHIFT you can ne-
tune values.
Once a parameter is selected its name shows
up on top of the modulators. Double click resets the parameter
to its default value.

Now you can choose the depth of

modulation for the selected parameter
by dragging the circle next to the
modulator.

In this example LFO has a positive

in uence on CUTOFF. The
KEYTRACK has negative in uence,
and MAIN ADSR does not impact the When a parameter is modulated the
CUTOFF. coloured ring indicates the current
value. Every parameter can have as
many modulations as you want. The
modulations are added together.

The modulators are listed in the left sidebar

of KULT.
You can open a context menu with
You can click + to add a new modulator. RIGHT-CLICK on the modulator to
remove it and to show all parameters
that are modulated by this modulator.
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 MODULATORS TIPS
Click to select a modulator. You can set multiples of the RATE by clicking
You can now edit the settings in the here. If you have SYNCed to your host tempo With a few modulations you can turn any
detail page. this ensures that you have multiples of the boring sound into something that sounds
host tempo. alive and interesting. Almost any parameter
in KULT can be modulated.

You can also modulate the parameters of

the Modulators. For example you can
modulate the rate of one LFO with another
LFO. This allows you to setup complex,
chaotic movements in your sound.

Here all parameters are listed

that are modulated by the LFO.

You can click this to REMOVE

the modulation or to LOCATE
the slider in the UI.

The AMT slider allows you to change

the strength of the LFO. This
becomes powerful once you modulate
Click to choose from multiple pre- Either each voice has its own LFO or this (with a different modulator).
de ned waveforms for the LFO. there is one LFO that is shared
between all voices.
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 MONO MODE TIP
If other MPE or MIDI data is relevant for
your sound you can see it in the left sidebar
that lists all the modulators that you use in
The range of the MPE
These ranges can be the patch. For example, if you need
dimension GLIDE and
GLOBAL (indicated by a MODWHEEL just click on the + symbol and
the range of the
blue G) or per PATCH add MODWHEEL as modulator.
PITCHBEND wheel in
(indicated by a gray P). semitones per octave.
Click to change.

You can click to change the Normally KULT is a polyphonic synth. Incoming notes are displayed on
master pitch. It is given as By activating MONO you can make it a the virtual MPE keyboard display.
frequency of A above middle C. monophonic synth with legato function.
The size of the outer circle line
With TIME you can control the legato indicates (polyphonic)
speed. PRESSURE or AFTERTOUCH.

CAUTION The lled circle area indicates the

When GLISS is active you will also VELOCITY.
have a glissando between two notes if
MASTER pitch is a global setting
you play legato.
and it is valid for ALL instances of
KULT running on your system.
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 MIDI AND MPE
TIPS
Good musical instruments respond sensibly to user
Click here to change the CC, eg from input. In KULT you can achieve this by modulating
MODWHEEL to CC11 (Expression). parameters with midi input.

KULT also offers MPE - this is really powerful and

intuitive for sound design. It allows you to “play”
timbre with PRESSURE and SLIDE … and it does
not require advanced keyboard skills.

Edit the MAP to impact how the MODWHEEL should

in uence the sound.

Double click to remove a point, click to move / add points.

In this example low values of MODWHEEL will have

maximum impact, and if you turn the modwheel up on your
midi controller the in uence will be less.
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 SIGNAL FLOW TIPS
In the lter section there is always one DRIVE
before the COMB. The DRIVE settings can be used
to shape the sound of the COMB lter.

VOICE On the OSC1 and OSC2 page there is a parameter

that allows to choose how much of the OSC signal
VOICE should be processed in the lter section.
VOICE

OSC 1

The nal output has an

optional Limiter.

The two OSCs are summed and then fed together into the All voices are summed and TIP
shared lter section. feed into the FX Rack.
OSC 2
The signal ow within the FILTER SECTION is from left to There is a switch to reduce
UNISON creates additional right: DIST, COMB, then the dual ANALOG lter, a second The FX Rack has two input the output by -6 decibels.
copies of the same OSC. DIST and a second COMB lter. busses. You can use this in
conjunction with the Limiter
to drive the output hot like
you would do on an analog
mixing console and then
use the -6 dB switch to
bring the signal level down.
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 CPU Performance TIP
Of course, if several notes sound
Obviously - adding more stereo FX to a simultaneously, more OSCs have to be
patch needs more CPU performance. calculated. This is especially true when using
CHORD of the arpeggiator.

UNISON isn't just a cheap audio

effect, it's implemented as real Long RELEASE times are often problematic,
unison: with a value of 5, there are especially with exponential decay. If the release
actually 5 different OSCs for each curve is set to be more linear, the release time
note. can be reduced, often without any noticeable
loss of sound. In this way, the CPU performance
can often be greatly reduced, especially when
using ARP.

Here you can see the number of

simultaneously processed OSCs.

TIP The maximum number of OSCs can be limited

here. At "G" a general value for KULT can be
set - it applies to all instances of KULT. Set this
Obviously, the number of OSCs in value such that it ts the performance of your
MONO mode is limited in a natural system.
way - and this also relieves the
CPU. At "P" a value can be set for the current patch,
OVERSAMPLING can be used to reduce sonic artifacts which can also be used creatively.
caused by aliasing. In most cases, ECO is a healthy
compromise between sound and CPU. Higher settings The smaller of the two values is actually used.
such as HIGH, EXTREME or ULTRA also require
signi cantly more CPU performance.

KULT uses ADAPTIVE OVERSAMPLING, which depends

on the pitch of the played sound.
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 Sound Packs
There are sound packs available for KULT. All
installed sound packs are listed here with the
initial letter as indicator.

F - Factory Presets
U - User Presets

TIP
A sound pack is just a folder that contains
multiple preset les for KULT. You can install a
sound pack simply by drag and drop from the
le system.

TIP
If you are sound designer and you want to distribute a sound pack you can use the auto-install functionality:

create a folder with the presets of your pack

give the folder a meaningful name, especially take care for the rst letter

zip the folder. Rename it to YOUR PACK NAME_KultPack.zip

Provide this zip le for download. When an instance of KULT is opened it checks the users download folder.
If KULT nds a _KultPack.zip it unzips it and installs it into the right place.
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FAQ / Troubleshooting
Q: The video looks pixelated / distorted
A: In the main burger menu in the upper left there is an entry to DISABLE OPEN GL. Please try to activate
this setting, then reload your project - the plugin needs to be reloaded to make this change active.
If you are using Ableton LIVE on Windows: make sure, that Auto-Scale Plug-In Window is NOT activated.

Q: I can’t hear anything!

A: First make sure that KULT receives midi data - you can see incoming midi notes in the virtual (MPE) keyboard display at the bottom of
KULT. Each note is displayed with a circle. Next check if KULT generates audio - you can see this in the meter display at the lower right.
Please try this with one of the factory patches. If this did not help: is at least one of the OSCs active? Is your Attack time very slow? Is
the AMT of the Main ADSR set to a very low value? Is the FILTER blocking the audio (try to deactivate the whole lter section)? Is the
voice gain (on the FX tab) set to a very low value? Is the OUT parameter set to a very low value?

Q: Every few minutes there is annoying noise - I thought this has a 90 days unconstrained demo period?
A: You need to start your 90 days trial period. To do so just click on START TRIAL and enter your tracktion.com user credentials. The
free trial is unconstrained for the entire 90 days - no one should purchase KULT without being convinced about it!

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 FAQ / Troubleshooting
Q: I installed KULT, but it does not show up in my DAW?
A: In most DAWs plugins are listed by manufacturer name. You nd KULT listed under DAWESOME.
If this does not help - please make sure that VST3 (or AU) is activated in your DAW.

For Protools users: plugins come in various formats; the most common are VST, VST3 (and AU on Mac) - these are the industry
standard. Protools has a proprietary plugin format and is not able to host VST or AU plugins. Kult is available only as VST3 and AU. But
there is a workaround: you can use a wrapper plugin. There are two that I can recommend:
‣ BlueCatAudio Patchwork
‣ KushView Element - this one is even free
You load the wrapper Plugin in Protools, and then you insert Kult in the wrapper - its simple and works like you had opened Kult in
Protools itself. The advantage is: there are many plugins on the market that are available only as VST or AU - with this wrapper you can
use them all in Protools.

Q: I am experiencing audio drop outs - what a lousy plugin!

A: I can understand your frustration! Rest assured that I spend an insane amount of work to make the underlying technology CPU
ef cient and to support aged hardware and OS versions. As a designer I could easily limit the polyphony to a low number to make sure it
will always run smoothly on all kind of hardware, but that would also limit the possibilities for users with high spec systems.
Please have a look on the page about CPU Performance. I recommend to set a (G)lobal limit to the maximum count of OSCs. KULT
uses a smart algorithm to choose which OSCs to fade out.

If this does not help - most likely something is wrong. Please drop me a short description to peter@dawesomemusic.com - ideally with
the information of your computer, your DAW, your OS and the speci c patch that causes the issue.
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FAQ / Troubleshooting
Q: I want to automate a parameter of one of the stereo audio effects - but it does not show up in my DAW?
A: The existing plugin standards like VST3 and AU operate with a xed set of automation parameters. A plugin tells the DAW what
parameters it has when it is loaded into the DAW; but there is no mechanism to change this afterwards. As every patch in KULT has
different set of effects also the parameters are changing.
But there is a workaround: you can add a Midi-CC modulator to your patch in KULT and use this to modulate the FX parameter you
actually want to change. Then in your DAW you automate the MIDI-CC.

Q: How can I modulate a parameter?

A: Please check this page - its explained here.

Q: Why are Scala tuning les not supported?

A: Because there is a much better solution! It's called Entonal Studio. It's a plugin that I recommend to every musician interested in
microtonal. It allows loading and editing of tunings and uses MPE to then play instruments microtonally.

Q: I have a cool idea for a great feature!

A: Cool - if you want to share this idea with me please drop me an email to peter@dawesomemusic.com. Please note that I may have
had the idea before and hence I won’t pay you license fees or whatever if I choose to implement this idea or a related idea in one of my
plugins. If you believe your idea has tremendous commercial potential make sure to get a signed agreement before sharing the idea with
me / anyone.
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FAQ / Troubleshooting
Q: Why are all your plugins so expensive - you are ripping me off!
Q: Why are all your plugins so cheap - this is too good to be true?
A: I am a single person indie developer. Mainly I follow my heart and create the instruments I’d like to use on my own as a musician. I do
not aspire to get rich in money with it, I aspire to get rich in contentment and ful llment. However, I also need to pay my bills, and I also
want to pay sound designers fairly for their work. I am trying to give my products the lowest prices possible to make a living, and I am
not going to be a millionaire anywhere soon (or ever).

Q: I have a question / feedback - where can I leave it?

A: Just drop me an email to peter@dawesomemusic.com - I appreciate any kind of constructive feedback and I am trying my best to
have any user satis ed, regardless wether you purchased or not. Usually I try to answer within a few days.

Q: I like your work - how can I support you?

A: Thank you - this is my real reward for the work I am doing! I hope you will nd lots of fun and inspiration with KULT or my other
plugins. If you want to support me: spread the word - many (most?) people simply have not heard about my plugins.
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THE UNDERLYING TECHNOLOGY

The engine of KULT works with unique complex oscillators based on the theory of Strange Attractors. This stems from a branch of
mathematics that deals with nonlinear dynamic systems and describes the behaviour of motion in space under forces. These objects
are curves in 3D space, and they often exhibit quasi-periodic or chaotic behaviour. Most famous is the so called Lorenz-System. This
was discovered when Lorenz examined the behaviour of global air convection.

The topic of Chaos Theory and its applications may seem dry, but it is utterly fascinating and surprising! I recommend the book
“Chaos: Making a new science” by James Gleick - this book does not require any math background and reads like a page turning
thriller.

Even though these Strange Attractors live in 3D space they have some kind of oscillatory behaviour, which can be translated into
sound. The rst experiments created very rough noise, barely usable for delicate sounds. So I approached it from the other end:
taking normal sound and transforming this into a curve in 3D space. This allowed me to visualise and understand certain
characteristics of sound, and to alter sound by transforming the 3D space. SYNTIFY in the granular synthesiser Novum was the rst
application.

In this way the natural chaotic behaviour of Strange Attractors can be translated into sound, such that it becomes a very musical
oscillator. Small amounts of chaos create lush warm sounds, higher amounts of chaos can be used to create grit and bite.
The representation of sound in 3D space also allows for Frequency Modulation, offering even richer sonic possibilities. Or you can
use a very rough oscillator model to drive a comb- lter for physical modelling. Or … well … the possibilities are endless.

The downside of this approach was CPU ef ciency. The initial versions took minutes to compute a few seconds of audio. Another challenge is precision: the
nature of dynamic systems require a certain amount of computations, and this grows with the frequency. Hence especially higher notes are extremely
expensive to compute. To make things worse - also Aliasing-Artefacts become a problem with higher frequencies, usually solved with oversampling
(meaning much more computations). So in order to take it from theory into practice a lot of optimisations had to be developed to make KULT a reality.
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CREDITS - THANK YOU!
Many, many people supported the creation of KULT:

tracktion.com - like a band needs a label, every plugin designer needs a partner. I enjoy the excellent cooperation within their unique Tracktion presents program
KULT is implemented in C++ using the Juce Framework. I am grateful for its existence and for the community of JUCE developers.
Nigel Redmon has published an intriguing series about analog ADSRs. I took inspiration and design choices from his series.
Valdemar Erlingsson is the creator of the gorgeous free reverb plugin called Cloud Seed. I took inspiration from his work for the CLOUDS effect in KULT

Sound Designer / Early Access / Beta testing

Yuli Yolo is well known for his sound design work with U-He, UVI, Arturia, Tracktion and many more. He provided feedback and created a lovely set of sounds that
showcase the wide range of sounds you can create with KULT
Databroth was supportive with ideas, feedback and gorgeous patches. If you haven’t done it already: go and subscribe to his channel
Resonate Sound Design tested KULT and provided not only a comprehensive set of patches, but also a lot of feedback
Tomavatars has been amongst the rst users, found bugs, and provided feedback
Spektralisk has given a lot of feedback and created lush patches for KULT
sadà\exposadà has given feedback and donated patches for KULT
C-You FX helped plating out a lot of issues, tested Mac OS 10.13 compatibility and donated patches
Pier Bover provided a video and comprehensive, essential feedback for KULT
Bee Abney provided essential feedback, spent a lot of time to review and improve the KULT user guide and donated patches
Daniel Al att provided feedback, sparring and patches, he also created the preset demo video
Temme Sikkema (aka doctoremmet) helped me to get in touch with a lot of people and was always encouraging
Florian Mrugalla develops plugins and created insightful video of his rst hours with KULT
Douglas Hill aka tau(n)t did a lot of bug hunting and gave important feedback
Felix Petrescu aka Makunouchi Bento, Steven Frazier aka Saf Ro, and Philip Rampi all provided important feedback
Like always my rst users where my kids Kiro and Aya. They told me “this sucks” on early versions until I got it right. Kiro sketched a lot of drawings how he
imagines sound does look like, this heavily inspired the waveform visualisation.
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ABOUT ME
My name is Peter and I am the creator of KULT.
It is my 4th instrument after Abyss, Chop Suey and
Novum.

I am a musician at heart, playing the bassoon and

contrabassoon in multiple ensembles and I have a
lifelong passion for synthesisers.

With a PhD in maths - I love maths - and getting paid

for it I can proudly call myself a professional nerd.

I have a few core beliefs that drive my work:

‣ Creativity is fun - I am dedicated to make your creative process a joy ride.
‣ Intuition over numbers - when I make music, I rarely (want to) think in numbers and maths, I want the creative process to ow with intuition.
‣ Nuanced response - as a wind instrument player I am used to feeling united with my bassoon while playing - the instrument responds to every subtle change in
tension, breath or posture. It is this musical quality I am striving for in the design of my virtual instruments.
‣ Simplicity rules - life is already complex enough. User interfaces shall be as simple as possible, and it’s worth going the extra mile.
‣ Quality over Marketing - I believe creating innovations and paying attention to details is a better use of my resources then running marketing campaigns or
spamming your inbox. Please spread the word if you want to support my work!

Thank you very much for your interest and support!

PS: you can always contact me via peter@dawesomemusic.com

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