TRUMSYNT-KIT — AI preset-writing prompt Revision: 2026-10-05. Compatibility: TRUMSYNT-VOICE-FILE 3, 44 PATCH values. Help me design one sound for TRUMSYNT-KIT, an eight-voice drum synthesizer. Use the preset interface below to program the existing instrument. Each slot has the same sound controls. A .trumvoice file describes one sound, not a kit, pattern or audio recording. Do not substitute TRUMSYNT-16's .ts16 format. MY SOUND REQUEST I will describe the sound after this prompt. If I have not done so, ask what sound I want. Otherwise, make one useful starting preset without a long questionnaire. Ask one brief question only if an essential detail is missing. Respond in my language; use a short ASCII preset name and filename. WORKING TOGETHER - Design one sound at a time. Describe its intended character, not a listening result. Do not claim you heard, tested or matched it unless you actually did. - Supply a complete .trumvoice file attachment when your tools support it. Otherwise put the exact file contents in one plain-text code block and tell me to save it as UTF-8 plain text with the .trumvoice extension, not .txt. Never put Markdown fences or commentary inside the saved file. - Briefly explain the main sound choices and name two controls I can adjust after listening. Wait for my feedback before making another version. - If I provide a preset, keep all values I did not ask to change. Return a new filename for each revision; do not overwrite my original without asking. - If I name a drum machine or recording, treat it as inspiration unless I provide a specific reference. Do not promise an authentic reproduction. - Choose a modest VOL for the first audition. GAIN and drive affect the sound; use VOL for the listening level. Level cannot be established from numbers alone. Ask me to listen at a comfortable monitor level. HOW TO THINK ABOUT THE SOUND CONTROLS VCO 1 and VCO 2 supply the pitched body. Each has frequency, waveform, level, pitch-envelope depth and pitch-envelope decay. The two pitch decays do NOT give the oscillators independent amplitude envelopes. Positive pitch depth starts above the base pitch and settles toward it; negative starts below it and rises toward it. The pitch-envelope shape is shared by both oscillators. FM sends VCO 1 into VCO 2's frequency modulation. VCO 2 must contribute to the mix to hear its FM result. VCO 1's mixer level is separate from its role as the modulator. Hard sync couples the oscillators' cycles. VCO 1 also offers MTL, a metallic source; VCO 2 does not. These are useful timbre controls, not an arbitrary waveform editor or a bank of independently shaped resonances. NOISE has level, dark-to-bright color and its own decay. It can bypass the voice filter, but still passes through the main amplitude envelope. CLICK is a short noise-based transient. CLICK TUNE changes its brightness, not the pitch of another sine oscillator. CLICK has its own decay. With CLICK VCF BYPASS on, its own envelope can continue outside the main VCA envelope; with bypass off, it passes through the voice filter and main VCA. RETRIG repeats the click transient, not the entire voice. Pulse spacing and fall-off are fixed: do not attempt to edit the compatibility values in fields 42–43. The voice filter offers LP or HP, cutoff, resonance, envelope depth and envelope decay. Positive filter-envelope depth initially raises cutoff; negative depth initially lowers it. NOISE MOD adds movement to cutoff even when audible NOISE LEVEL is zero. High resonance can dominate the sound. VCA DECAY controls the body amplitude decay. Start here when a sound rings too long: changing oscillator pitch decay alone will not shorten its body. VCA EG changes the onset from fast toward slower. UNTZ shapes both the amplitude and filter-envelope contours: negative values make them snappier, positive values rounder and fuller; zero leaves the contours unchanged. PRE DRIVE and POST DRIVE color the sound before filtering and after the main amplitude stage respectively; they are not neutral volume controls. Each voice has one LFO with one destination. Leave it OFF for a simple first patch unless the request needs movement. SYNC makes RATE choose note values; with SYNC off RATE is in Hz. RETRIG restarts the LFO on each hit. For a synced LFO, set field 39 to 1 and use the field 35 note-value mapping below. LFO TUNE moves both VCOs; performance TUNE also moves CLICK. Practical starting choices, not recipes for specific machines: - Kick: a low pitched body, a restrained pitch sweep and a short transient. - Snare: pitched body plus noise; adjust body length and noise contribution separately, remembering that the noise also follows the main VCA. - Clap: noise tail plus repeated CLICK; compare bypass on/off after listening. - Hat: noise and/or MTL, filtering and a short or longer amplitude decay. For a tighter sound, try reducing VCA DECAY before adding more drive or FM. There is no sample playback, reverb or arbitrary envelope editor in this preset interface. Do not invent additional parameters. FILE CONTRACT Use exactly these five lines, ending with a newline: TRUMSYNT-VOICE-FILE 3 NAME PATCH PERF VOL NAME: use 1–14 printable ASCII characters, no newline. Use the same base name for the filename. Prefer descriptive names such as Soft Knock or Dust Snare; do not assume my library has a particular free preset number. Numbers: decimal point, no units, commas, NaN or infinity. Boolean fields are integer 0 or 1. Choice fields are integer indexes, never waveform names. PATCH is one physical line. Do not add field labels, comments or extra values. PATCH FIELD ORDER AND ALLOWED VALUES 01 | VCO 1 pitch decay | 0.01–2 seconds 02 | VCO 2 pitch decay | 0.01–2 seconds 03 | VCA decay | 0.01–2 seconds 04 | VCF decay | 0.01–10 seconds 05 | VCO 1 frequency | 1–8000 Hz 06 | VCO 2 frequency | 1–8000 Hz 07 | VCO 1 level | 0–1 08 | VCO 2 level | 0–1 09 | VCO 1 waveform | 0=SQR, 1=TRI, 2=MTL, 3=SIN 10 | VCO 2 waveform | 0=SQR, 1=TRI, 3=SIN (do not use 2) 11 | VCO 1 pitch depth | -60–60 semitones 12 | VCO 2 pitch depth | -60–60 semitones 13 | Pitch envelope shape | 0=EXP, 1=LIN, 2=LOG 14 | FM amount | 0–1 15 | Hard sync | 0=off, 1=on 16 | Noise level | 0–1 17 | Noise color | -1–1; negative darker, zero neutral, positive brighter 18 | Noise decay | 0.005–2 seconds 19 | Noise VCF bypass | 0=off, 1=on 20 | Click tune | 20–8000 Hz 21 | Click decay | 0.005–0.2 seconds 22 | Click level | 0–1 23 | Click VCF bypass | 0=off, 1=on 24 | Filter cutoff | 20–20000 Hz 25 | Filter resonance | 0–1 26 | Filter mode | 0=LP, 1=HP 27 | Filter envelope depth | -1–1 28 | Stored compatibility | keep 0.5 for new presets; preserve in supplied presets 29 | Noise filter modulation | 0–1 30 | VCA onset | 0–1; zero is fastest 31 | UNTZ | -1–1; negative snappier, positive rounder, zero neutral 32 | Stored compatibility | keep 0.84 for new presets; preserve in supplied presets 33 | Pre drive | 1–10; start at 1 34 | Post drive | 1–10; start at 1 35 | LFO rate | 0.01–20 Hz with sync off; with sync on use mapping below 36 | LFO waveform | 0=TRI, 1=SAW, 2=SQR, 3=SH 37 | LFO destination | integer 0–29; mapping below 38 | LFO amount | 0–1 39 | LFO sync | 0=off, 1=on 40 | LFO retrigger | 0=off, 1=on 41 | Click retrigger pulses | integer 1–8, including the first pulse 42 | Stored compatibility | always 0.01325 43 | Stored compatibility | always 0.78 44 | Voice gain | 0–2; start at 0.8 SYNCED LFO RATE — PATCH FIELD 35 With SYNC on (field 39 = 1), field 35 stores cycles per quarter-note beat, not Hz or a choice index. Use one of these values: 0.0625=4 bars; 0.125=2 bars; 0.25=1 bar; 0.5=1/2; 1=1/4; 2=1/8; 4=1/16; 8=1/32. Bar labels assume four quarter-note beats per bar. Only straight note values are available. For example, an eighth-note LFO uses field 35 = 2 and field 39 = 1; keep field 37 set to the intended destination and field 38 above zero to hear modulation. LFO DESTINATION INDEXES 0 OFF; 1 CUTOFF; 2 RES; 3 VCF EG; 4 NOISE VCF; 5 FM AMT; 6 VCO1 PITCH; 7 VCO2 PITCH; 8 NOISE; 9 NOISE COL; 10 CLICK LVL; 11 VCO DEC; 12 VCO2 DEC; 13 VCF DEC; 14 VCA DEC; 15 VCA EG; 16 PRE DRV; 17 POST DRV; 18 UNTZ; 19 CLICK TUNE; 20 NOISE DEC; 21 CLICK DEC; 22 RETRIG; 23 VEL; 24 PAN; 25 TUNE; 26 VCO1 LVL; 27 VCO2 LVL; 28 VCO1 PITCH EG; 29 VCO2 PITCH EG. PERFORMANCE AND VOLUME PERF has three positions, each 0–1, in the order TUNE, DECAY, VEL. Use PERF 0.5 0.5 0.8 for a new starting sound. TUNE 0.5 is untransposed; its endpoints are -12 and +12 semitones. DECAY 0.5 leaves the programmed decays unchanged; its endpoints are x0.25 and x4. These controls modify the sound when played; do not bake their effect into PATCH a second time. VOL is 0–2: 0 is silent, 1 is unity, 2 is +12 dB. It is a knob position, not a linear gain multiplier. Start at 0.65. Do not compensate for every sound with high GAIN or drive. VEL, accents, step locks and the DAW mix also affect what I hear; a preset file does not set the whole kit or the master bus. COMPLETE STARTING EXAMPLE — Soft Knock.trumvoice This is an editable starting sound, not the factory Init preset. TRUMSYNT-VOICE-FILE 3 NAME Soft Knock PATCH 0.025 0.05 0.045 0.15 70 180 0.6 0 3 3 5 0 0 0 0 0 0 0.05 0 1800 0.01 0.06 1 5000 0 0 0 0.5 0 0 0 0.84 1 1 1 0 0 0 0 0 1 0.01325 0.78 0.8 PERF 0.5 0.5 0.8 VOL 0.65 BEFORE RETURNING A FILE Count all 44 PATCH values and all three PERF values. Check every field's position, range and integer/boolean requirements. Keep fields 28 and 32 at their starting values in new presets and fields 42–43 at their fixed values. Check that the intended audible sources are enabled and that GAIN and VOL are not zero. Do not claim a parser or audio check unless it was performed. HOW I LOAD THE RESULT Save the .trumvoice file to Documents/TRUMSYNT-KIT/Presets, or another chosen folder. Use a spare slot or save your project before auditioning: loading replaces that slot's sound and VOL and clears its synth/performance step locks in all patterns. In KIT, open the selected voice's preset browser, choose BROWSE PRESETS..., select the file and confirm the file dialog. The preset loads immediately; no separate LOAD step is needed. HIT plays the sound. Save useful adjustments in KIT. If KIT refuses the file, check the extension, five-line structure, format version, numeric values and PATCH count before changing any sound settings. If it loads but sounds wrong, ask what I hear and change only a few relevant controls in the next version. My listening is the final judgement. MY REQUEST: