A powerful synthesizer — three oscillators (layers and splits) with physical-modeling, virtual-analog and wavetable sources, plus SF2 and sysex (FM) file import — eight analog-filter simulation options, modulation, a step arpeggiator/sequencer and a full effects rack. Plays standalone (Mac and iOS) and as two AU and AUv3 plug-ins (an instrument and an effect) in your favourite host.
The first Brazilian synth app for Mac and iOS. Designed and built in Brazil.
In the press
A news post on Tonic 2 — a three-layer synth for iPhone, iPad and Mac: 3D wavetables, a Vector XY pad, a 12-mode arpeggiator and eight sound models per layer, standalone and AU/AUv3.
Read the article →A feature on Tonic — an analog-modeling synth with eight synthesis engines, three layers, analog filters and AUv3.
Read the article →Features
Tonica — sounds from the communityNew
Browse sounds shared by musicians around the world, try them out and save the ones you like — and publish your own creations to the community just as easily. Optional: the synth works fully offline without it.
Record & export your performanceNew
Record what you play — oscillators + effects — and save it as WAV or M4A: trim the start and end with the handles, audition the selection and pick where to save.
Arpeggiator & sequencer with MIDI file import
12 modes (from Up/Down and ZigZag to chords, gate and a continuous pad), up to 4 octaves, swing, ratchets, ties, accents, probability and ghost notes; a step editor with rhythm masks, capture and .mid import. Eight arp scenes per preset and a factory bank of 20 ready-made arpeggios.
Your own wavetables, in 3DNew
Turn any sound into a wavetable — import an audio file or record with the mic — and explore it in a 3D visualizer you can drag, rotate and draw on. Up to 128 frames, with Motion animating the table, on top of the 36 factory tables.
VectorNew
An XY pad that sweeps the blend of all three oscillators in real time: play it by hand, drive it with the LFO or an envelope, or draw a motion path saved with the preset.
Sources
Eight models per layer: string, modal, wind and bowed (physical modeling), analog — with a 7-voice Super Saw (Mix/Spread/Density) and a Noise wave in 4 colours (White, Pink, Brown, Blue) —, wavetable, SoundFont (SF2 and SF3) and 6-operator FM.
Filter
Eight analog-modeling voicings — LP/HP/BP/Notch, 12 or 24 dB/oct, resonance to self-oscillation, drive and 4× oversampling.
Modulation & effects
Tempo-syncable LFO, envelope follower, note-triggered filter ADSR, pitch-bend and a re-assignable mod-wheel — then chorus, delay, an FDN reverb with independent Decay and Size and a tunable shimmer (±24 st), a 5-band EQ with adjustable Q, compressor and flanger/phaser.
Made to play
More than 215 factory presets across 17 banks, now with search tags and Tonic’s own file formats (.tpr per preset, .tbk for your whole library). A MIDI Filter to choose which controller messages reach each oscillator, two All 1/All 2 macros, per-preset transpose and bend range, tap tempo, six scenes (A–F), MIDI Learn and an on-screen keyboard.
What it's for
Tonic is a synthesizer for iPhone, iPad and Mac that runs standalone and as two AU and AUv3 plug-ins (an instrument and an effect) inside your favourite host — AUM, Loopy Pro, GarageBand, Logic, Cubasis, Drambo and more. It has three layers with eight sound models — physical modeling (string, modal, wind, bowed), analog, wavetable, SoundFont (SF2/SF3) and 6-operator FM —, an eight-voicing analog filter, full modulation (LFO, envelopes, MIDI Learn), a step arpeggiator/sequencer, WAV/M4A performance recording and a rack with chorus, delay, reverb, EQ, compressor and flanger/phaser. With Tonica, you can also browse and share sounds with the community — optional, and the synth runs fully offline without it. One-time purchase, no subscription.
See it in action
Screens
Controls
Synth — Tonic Synth only — generates the sound; 8 models, in 3 layers
| Control | What it does | Range / options |
|---|---|---|
| Sound source | Sound model: String, Modal (bell/bar), Classic (analog), Wind, Bowed, Wavetable, SF2 (SoundFont) and FM (6-operator) | 8 models |
| Waveform | (Classic) waveform: Sine, Saw (rich, best to filter), Square, Triangle, Pulse, Super Saw and Noise (hold to pick the colour: White, Pink, Brown or Blue) | 7 shapes |
| Damping / Tone | (String/Wind/Bowed) brightness and length: low = bright/long, high = muted/short | 0 … 1 |
| Wavetable | Choose from 36 factory tables (Organ, Glass, Vocal, Metallic…) — or make your OWN: import an audio file or record with the mic (Sample → Wavetable), edit, redraw and randomize in the hub with a live 3D view and morphing across up to 128 frames | 36 tables + your own · up to 128 frames |
| FM | 6-operator FM synthesis; loads .syx voice cartridges | .syx cartridge |
| SF2 (SoundFont) | (SF2) plays SoundFont (.sf2) sample banks | .sf2 bank |
| Level | Layer volume before it enters the filter | 0 … 1 |
| Velocity curve | How touch force becomes volume/timbre — per layer | 6 curves: Soft+ … Exp++ |
3 independent layers (with mute/solo) and a per-layer keyboard split, to build splits and stacked layers. Each layer also has a sub-oscillator and noise (hold the knob to take them out of the filter → "Sub·PF"/"Noise·PF"), glide (portamento, 0–2000 ms), detune (Coarse ±24 st · Fine ±50¢), PWM (pulse-width, on Classic), a mono/legato mode two "All 1"/"All 2" macros that move a chosen parameter across all 3 layers at once, and a Main fader — the master volume of the whole instrument (−24 … +12 dB).
Envelope (ADSR) — the "shape" of the note volume — applies to every model
| Control | What it does | Range / options |
|---|---|---|
| Attack | Time to full volume. Short = percussive; long = soft fade-in | 1 ms … 20 s |
| Decay | Fall from the peak to the Sustain level | 1 ms … 20 s |
| Sustain | Volume held while you hold the key (0 = attack only) | 0 … 1 |
| Release | Time to go silent after you let go of the key | 1 ms … 30 s |
Filter — the core — in both plug-ins
| Control | What it does | Range / options |
|---|---|---|
| Cutoff | The frequency where the filter acts — sets the "brightness". Lower it to darken; raise it to open | 20 Hz … 20 kHz |
| Resonance | Emphasizes the frequencies right at the Cutoff; at max the filter self-oscillates (becomes a sine) | 0 … 1 |
| Mode | Shape of the cut: LP (low-pass), HP (high-pass), BP (band-pass, "wah"), Notch (cuts just one band) | LP · HP · BP · Notch |
| Slope | Steepness of the cut: 12 dB/oct (gentle, musical) or 24 dB/oct (stronger/darker) | 12 · 24 dB/oct |
Lad, Acid, Scrm and LPG are their own low-pass designs (4-pole). Slope acts on the Silk, Snap, 2-Pol voicings and on all HP/BP/Notch modes.
Voicings — the analog character — changes the "colour", not the shape; each models a classic circuit
| Control | What it does | Range / options |
|---|---|---|
| Lad | 4-pole transistor ladder — warm, fat; the bass tunes up with resonance | |
| Silk | Creamy, round SVF, vintage vibe | |
| Snap | Bright, snappy, focused SVF | |
| Acid | Diode ladder — acid, rubbery squelch | |
| Scrm | Aggressive Sallen-Key — distorts and screams at resonance | |
| 2-Pol | 2-pole multimode — fat and smooth | |
| LPG | Low-pass gate / vactrol — plucky/organic, transients open and close on their own | |
| OTA | 4-pole OTA ladder — smooth and full, classic analog-chorus synth vibe |
Character & output
| Control | What it does | Range / options |
|---|---|---|
| Drive | Saturates the input (analog warmth/distortion): adds harmonics and gets louder | 0 … 1 |
| Mix | Dry ↔ wet (at max, only the filtered sound) | 0 … 1 |
| Output | This layer's output gain (the global master is Main) | −24 … +12 dB |
Effects — an output rack — each effect toggles on/off
| Control | What it does | Range / options |
|---|---|---|
| Chorus | Thickens and widens the sound (6 modes: I, II, I+II, Ens, Pan, Trem). Knobs: Depth, Rate, Mix | Rate 0.05–12 Hz · Depth/Mix 0–1 |
| Delay | Echo; can lock to tempo (sync) and ping-pong. Knobs: Time, Feedback, Tone, Mix | Time 20–2000 ms · Sync 1/1–1/32 · Fb ≤0.95 |
| Reverb (FDN) | Ambience: 6 types (Room, Hall, Cathedral, Plate, Spring, Shimmer). Knobs: Decay (hold = Size, the room size, independent), Damp, Mix (+pre-delay/mod; hold Mod = Shimmer Pitch, ±24 st) | 6 types · Decay/Size/Damp/Mix |
| EQ (5-band) | Equalizes across 5 bands (low, low-mid, mid, high-mid and high); long-press a band's gain to adjust its frequency | ±15 dB · per-band freq 40 Hz–18 kHz |
| Compressor | Controls the dynamics and "glues" the sound. Knobs: Threshold, Ratio, Attack, Release, Makeup | Thr −48…0 dB · Ratio 1–20 · Atk 0.1–100 ms |
| Flanger / Phaser | One at a time: Flanger (metallic "jet" sweep) or Phaser (phase-shift swirl). Knobs: Rate, Depth, Feedback, Mix | Rate 0.02–10 Hz · Fb ≤0.95 · Depth/Mix 0–1 |
Modulation — the filter moves on its own
| Control | What it does | Range / options |
|---|---|---|
| Env → Cutoff | An envelope follower opens/closes the Cutoff with the dynamics. + = louder opens (auto-wah); − = inverts | −1 … +1 |
| Env Attack / Release | How fast the follower rises and falls | short … long |
| Filter envelope (ADSR) | A dedicated, note-triggered ADSR that modulates the Cutoff (separate from the volume envelope) | A/D/S/R |
| LFO Depth | How much the LFO sweeps the Cutoff | 0 … 1 |
| LFO Rate | LFO speed when running free | in Hz |
| LFO Shape | Sweep shape: Sine (smooth), Tri, Saw↑/↓, Square (on/off), S&H (random steps) | Sine · Tri · Saw · Square · S&H |
| LFO Sync | Locks the LFO to the host tempo instead of Hz | 1/1 … 1/32 |
| Mod wheel (target) | The mod wheel can drive ANY parameter: double-tap the wheel to pick its target — saved per preset | any parameter |
| Oversampling | Fixed at 4× — automatically cleans harshness (aliasing) from Drive and high resonance | 4× (fixed) |
All modulation here sweeps the Cutoff. With the Cutoff maxed out you hear nothing — close the Cutoff (~1 kHz) and raise Resonance a bit for the sweep to show up.
Scenes & routing — live performance and how each layer uses the effects
| Control | What it does | Range / options |
|---|---|---|
| Scenes (A–F) | Six memories that store the whole patch — every parameter and the loaded SF2/FM sources; switch sounds live by tapping a letter | 6 scenes |
| Routing (per layer) | Choose which effects each of the 3 layers feeds — a send matrix to Chorus, Delay, Reverb, EQ, Compressor and Modulation | 3 layers × 6 effects |
| Vector (XY pad) | Continuous morphing between the 3 oscillators: play it by hand, drive it with the LFO/envelope or draw a motion path — saved with the preset, and the icon blinks at the real speed of the motion | XY · saved path |
Arpeggiator — hold a chord and it plays for you — the "staircase" button on the oscillators row
| Control | What it does | Range / options |
|---|---|---|
| Power / Hold | Turns the arp on (the icon blinks in time while it plays). Hold keeps the chord running after you let go — also in Gate mode; Panic releases everything | on/off |
| Mode | The shape the notes follow: Up, Down, Up/Dn, Up&Dn, ZigZag, Order, Rand, Chord, Auto, Gate, Pattern and Sustain (a continuous pad) | 12 modes |
| Rate / Octaves | Speed of the phrase (tempo divisions) and the arpeggio range in octaves | tempo-synced · 1–4 octaves |
| Gate · Swing · Humanize | Length of each note (Gate), shuffle feel (Swing) and human timing/velocity imperfections (Humanize) | 0 … 1 |
| Rhythm mask | A step grid that becomes the groove — the mode picks THE NOTES, the grid THE RHYTHM. Polymetric, with Capture of your own playing and .mid file import | grid + capture + .mid |
| Step editor | Per step: tie, rest, ratchet, accent, probability/ghost and velocity — with a live playhead while it plays | per step |
| OSC 1/2/3 | Choose WHICH oscillators play the arpeggio — the others play normally at the same time (e.g. arp on OSC 1, a held pad on 2/3) | any combination |
| Key Low / High | Limits the arpeggiator to a keyboard range | keyboard range |
| Tempo (tap) | The app's BPM (shared with Delay/LFO Sync): drag it or tap the knob in rhythm (tap tempo); follows external MIDI clock — in AUv3 the DAW rules | 40 … 240 BPM |
| Arp scenes (1–8) | Eight snapshots of the whole arp (mode, timing, humanize, tempo, grid) that travel INSIDE the preset — tap to use; hold to save/copy/reset | 8 scenes |
Long-press the arp button to copy the arp from another preset ("Copy from"). The panel floats on iPad/Mac — the keyboard stays playable; in Sustain mode, Freeze holds the pad. And the factory "Arp" bank ships 20 ready-to-play presets.
Interface icons — standalone app buttons (in AUv3 the host handles presets)
| Control | What it does | Range / options |
|---|---|---|
| Settings | Opens settings: audio (rate/buffer + per-output interface on Mac), MIDI (Bluetooth, hot-plug, external clock) and "keep screen awake" | on/off |
| Show/hide keyboard | Toggles the on-screen keyboard — which can echo incoming external-MIDI notes or the arpeggiator's steps | on/off |
| MIDI Learn | Maps a CC from your controller to a parameter (tap the icon, move the knob, send the CC) | on/off |
| Hold (latch) | Holds the notes sounding without keeping your finger down — also latches external MIDI notes and the arpeggiator | on/off |
| Panic | Kills all stuck notes (all notes off) | — |
| Preset ◀ ▶ | Step to the previous/next preset | — |
| Preset browser | Save, open, export and import preset banks | — |
In the AUv3 plug-in, presets appear in the host (DAW) preset menu.
Gestures & shortcuts — the three golden rules: underlined label = extra on long-press · double-tap = reset · hold = fine-tune
| Control | What it does | Range / options |
|---|---|---|
| Underlined label | The small underline beneath a control's name means it has an EXTRA function on long-press. No underline, no hidden action — that is how you find the shortcuts without memorising them | visual cue |
| Double-tap a control | Returns that control to its factory default — works on knobs and faders | reset |
| Double-tap a section title | Resets EVERY control in that section/slot at once (the title acts as a "reset block") | section reset |
| Hold Sub / Noise | Takes the sub-oscillator or noise out of the filter (straight to the output); the label becomes "Sub·PF" / "Noise·PF". Hold again to revert | pre ↔ post-filter |
| Hold All 1 / All 2 | Choose which parameter each macro commands across the 3 layers (Cutoff, Resonance, Drive, ADSR, Sub, Noise) or globally (Vector, Main, arp) — saved with the preset and per scene | up to 15 targets |
| Record | Records what you play (oscillators + effects); when you stop, trim the start/end with the handles, audition the selection and save it as WAV or M4A anywhere | WAV · M4A · up to 10 min |
| Hold an EQ gain | Opens that EQ band's frequency | — |
| Hold a fader/knob | Opens fine-tune: a precision knob + typed values (with +/−, respecting range and step) | — |
| Double-tap Transpose/Bend | Sets the transpose and pitch-bend range PER PRESET (there is also a global transpose) | bend 1 … 24 st |
| Tap an OSC (mixer) | 1 tap enables/selects the layer; 2 taps turn it off (mute) | — |
| Tap a scene | 1 tap recalls the scene; 2 taps open the editor (keyboard split) | — |
On Mac, right-click stands in for "hold" wherever there is a menu (the "All" knob, scenes).
Quick recipes — combinations to start from
| Control | What it does | Range / options |
|---|---|---|
| Acid bass | Classic + Saw, Sustain 0.3 · Voicing Acid, Cutoff ~700, Resonance 0.85, Env→Cutoff +0.5 | |
| Guitar auto-wah | Voicing Lad, LP mode, Cutoff ~400, Env Amount +0.7, Env Attack 5 ms | |
| Ethereal bell | Synth Modal, Release ~1 s · Voicing 2-Pol, Cutoff ~6 kHz, Resonance 0.2 | |
| Dub wobble | LP mode, LFO Sync 1/8, LFO Depth 0.8 | |
| Screaming lead | Voicing Scrm, Resonance 0.85, Drive 0.4 | |
| Organic pluck | Classic + Sine, Sustain 0 · Voicing LPG | |
| Moving pad | Classic + Saw, Attack ~1.5 s, Release ~2.5 s · Cutoff ~1.5 kHz, Resonance 0.2 · LFO Sine, Sync 1/2, medium Depth · Reverb Hall |
FAQ
Does Tonic work as an AUv3 plug-in?
Yes. Besides standalone, it runs as two AUv3 plug-ins — one instrument and one effect — in your host (AUM, Loopy Pro, GarageBand, Logic, MainStage, Cubasis, Ableton Live 11.2 or newer, and REAPER). One Mac detail that confuses people: in the AUv3 format the plug-in lives INSIDE the app, so there is no file to copy into Components or VST — just open Tonic once and it shows up in your software's list as "RSJB: Tonic Synth" (instrument) and "RSJB: Tonic" (effect).
Can I use Tonic in Pro Tools?
Yes, with a bridge — and one of our users has already confirmed it. Pro Tools only takes the AAX format, but Blue Cat's PatchWork (version 2.78 or newer) hosts AUv3 plug-ins and runs as AAX: inside it, Tonic opens normally. Two steps that aren't obvious: use the INSTRUMENT version of PatchWork ("PatchWork Synth") on an instrument track, not the effect one — on the effect version Pro Tools suspends processing when no audio comes in and the instrument stays silent; and, in PatchWork, click a plug-in slot and choose "Scan Plug-Ins" — AUv3 never shows up by scanning folders, only through that scanner. The same route works for Cubase, FL Studio and Studio One, which don't load AUv3 either. We don't ship our own VST3 or AAX plug-in today.
What kinds of synthesis does it offer?
Virtual-analog oscillators, a wavetable engine, physical modeling (string, modal, wind and bowed), plus .SF2 and sysex import.
Can I play it over MIDI?
Yes, over Bluetooth or USB, with pitch-bend, mod-wheel and MIDI Learn on any control.
Is there a subscription?
No. It is a one-time purchase, with no ads.
Which devices does it run on?
iPhone, iPad and Mac — on the App Store.
Does Tonic do FM and play SoundFonts?
Yes — among the 8 sound models there is 6-operator FM (which loads .syx cartridges) and a SoundFont player (reads SF2 and SF3), plus physical modeling, analog and wavetable.
Can I switch sounds live?
Yes. Tonic has six scenes (A–F) that store the whole patch — including the loaded SF2/FM sources — and you move from one to another live by tapping a letter.
Does Tonic have an arpeggiator?
Yes — a full-featured arpeggiator with 12 modes (Up, Down, Up/Dn, ZigZag, Order, Random, Chord, Gate, Pattern, Sustain and more), up to 4 octaves, swing, ratchets, ties, accents, probability and ghost notes. The step editor has polymetric rhythm masks, capture of your own playing and .mid import; you can choose which oscillators arpeggiate (the others hold the pad), limit the keyboard range and humanize timing/velocity. Eight arp scenes travel inside every preset, with tap tempo and external MIDI clock; with Hold, the pattern keeps running.
What is Tonica?
It's Tonic's sound cloud: browse sounds shared by musicians around the world, try them and save the ones you like — and publish your own with a tap. It all happens inside the app and only in Tonic's native preset format (you can't upload other files). It's optional (the synth works fully offline without it): what leaves is just the preset, the author name you choose and an anonymous identifier (so you can delete it later) — no tracking and no ads — and you can remove what you published whenever you like, with the delete button.
How do I find the hidden knob shortcuts (long-press and double-tap)?
Look at the control's label: if the name is UNDERLINED, that knob has an extra function on LONG-PRESS — no underline, no hidden action. That is how you find the shortcuts without memorising anything. The three golden rules: (1) underlined label = extra on long-press; (2) DOUBLE-TAP a control to return it to its factory default; (3) DOUBLE-TAP a section title to reset every control in that block at once. And holding a fader/knob opens fine-tune, with a precision knob and a typed value. Examples of "extra on long-press": the All knob picks the parameter it drives across the 3 layers, an EQ band's gain opens its frequency, and Sub/Noise step outside the filter.
I change the LFO or filter envelope but hear no modulation. Why?
All of Tonic's modulation sweeps the filter Cutoff — with the Cutoff maxed out the sound is already fully open, so there is nothing left to sweep. To hear it: in Filter, lower the Cutoff (~1 kHz) and raise Resonance (~0.4) in LP mode; then, in Modulation, raise LFO Depth at Rate ~2–4 Hz (or use the filter envelope with a short Attack). The sweep becomes obvious. Open the Cutoff back up and the effect disappears — that is by design.
How do I build a moving pad?
Pick the Classic source with a Saw wave (or Super Saw); in the Envelope, raise Attack (~1–2 s) and Release (~2–3 s) so it fades in and out; in Filter, set Cutoff ~1.5 kHz with a little Resonance; in Modulation, use LFO shape Sine with medium Depth and Sync (e.g. 1/2) so the filter breathes in time; finish with Reverb (Hall) and a touch of Chorus. Dial the Cutoff to taste.
How do I make a sound more percussive or softer (ADSR)?
The ADSR envelope shapes the note's volume. Percussive (pluck): short Attack, fast Decay, low Sustain. Soft (pad/strings): long Attack and Release. Sustain is the volume while you hold the key; Release is how long the sound takes to fade when you let go.
What does each effect do?
Reverb adds space/ambience; Delay creates echoes (lock to tempo with Sync and use Ping-Pong for stereo); Chorus thickens and widens; Flanger/Phaser add movement (a metallic sweep or a phase shift — one at a time); EQ balances lows/mids/highs; Compressor controls dynamics and "glues" the sound. Each effect toggles on/off and can be routed per layer.
How do I make a full, rich synth with wavetables (not 8-bit)?
A wavetable on its own is a static oscillator — the "8-bit" tone comes from playing a single raw cycle with no filter and no movement. The step-by-step recipe: 1) Source — in an OSC's WT menu pick a factory table or bring your own (Import wavetable, or Sample → Wavetable with the mic, in the app); when capturing, choose Multi-frame so the timbre has somewhere to evolve. 2) Movement — long-press the Morph knob and turn on Morph motion (LFO or Env), or use the Vector pad so the sound drifts between the three OSCs; this is what removes the static feel. 3) Body — enable OSC 2 and 3 on the same (or complementary) tables with a little detune, pan them apart, and add a Sub for weight. 4) Filter — lower the Cutoff (~1.5–2.5 kHz), a touch of Resonance, and a filter envelope (Attack/Decay) so the sound "opens". 5) Space — Chorus + Reverb and a subtle Delay. 6) Play with dynamics: velocity opens the filter. Tip: open the Waves preset bank to hear ready-made examples and take them apart.
Made in Brazil · First of its kind