This one is deep…
Put the knobs in the following positions:
Mix, Size, Density, Reverb and Feedback fully CCW
Pitch, Position, and Texture at 12 o'clock
Pan fully CW
The input feeds the voice/resonator, which decay is controlled by the Density knob.
The pitch of the resonator is controlled by the Pitch knob. Each voice consists of four "parts" (four resonators), which can be set to different pitches to form chords. The Size knob sets the chord.
The resonators can sound very metallic; the Texture knob helps attenuating the high/low frequencies each time sound passes through the resonator. At 12 o'clock, no filtering is applied; CCW is a low-pass filter; CW is a band-pass filter. This way, a short sound impulse passing through the resonator will have a long decay with less and less high (and possibly low) frequency.
Sending a trigger to the Trig input will send a short burst of noise to one of the voices. The Position knob controls the timbre and duration of this burst, roughly modelling the position on which the string is struck.
Each time a Trig is received, the module switches the active voice; therefore, you can get duophony. At any time, the knobs (pitch, chord, feedback, damping) control only the parameters of the resonators of the active voice; the other voice keeps the last parameters it was on. If you are satisfied with the sound of the current voice and want to keep it running (maybe as a drone, using the other voice for melody), press Freeze: it will instantly switch voice, and prevent Trig from automatically switching voice.
Decay (Density knob) Decay time of the current voice. Beyond approx. 3 o'clock, decay is infinite and the sound sustains forever (you can use it as a traditional oscillator).
Pitch (Pitch knob) Base pitch of the current voice. At 12 o'clock, the pitch is A3 (220Hz).
Chord (Size knob) Chord selection for the current voice. Morphs gradually between Unison, Fat, Superfat, Fat power, Fat octave, Octaves, Power, Major, Major7, Minor7, Minor, Sus2, Sus4, Minor9, Major9, Minor11, Major11, and Major11.
Dampening (Texture knob) Controls filtering in the feedback loop of the resonator. At 12 o'clock, no filtering is applied; CCW, a low-pass filter is applied with a increasingly low cutoff frequency; CW, a band-pass filter at the frequency of the resonator is applied with an increasingly high resonance.
Position (Position knob) Controls the timbre and duration of the noise burst. CCW, it will be longer and more dampened; CW, it will be shorter and more high pitched. At both ends of the knob, the burst will be inaudible (too damped or too short), which you can use to "mute" a voice.
Distortion (Mix knob) Randomly distorts the timbre of the voices by modulating each comb filter by low pass-filtered noise. Fully CCW, the modulation amount is maximum but the noise is filtered out entirely, so there is no effect. Fully CW, the noise is unfiltered, but the modulation amount is null, so there is no effect. In between, you get interesting effects, from subtle swaying to harsh distortion.
Stereo output (Pan knob) Assigns each part and voice to an output (Out L or Out R). Fully CCW, each voice goes to a different output. At 12 o'clock, both voices are equally mixed in both output. Fully CW, parts of both voices are distributed on both output for a wide stereo effect.
Harmonics (FB knob) Simulates striking the harmonics on a string. Fully CCW, it has no effect. Fully CW, the second harmonic will ring; at 12 o'clock, the third, at 10 the fourth etc.
Scatter (Verb knob) Controls the random delay times before the sound (input or burst) hits each resonator of the current voice. Used for K-S synthesis with a chord, this will give the impression that strings are struck sloppily. The delay times are randomized at each voice switch.