A option to make PSG instrument rest it's phase when triggered in the instrument window. And maybe lock in different phase for CS?

[gtr3qq]

CS = Composite(additive) synthesize. More explaining later.
I kinda understand why Yamaha rests Phase every trigger on OPL2 now.
Sure it created more pops. But it's better than this.

VERA Sawtooth would unlock its phase and float(oscillating) around after playing some notes.
(this is the bug report I closed, which contains files needed to understand this)

The problem is VERA Sawtooth would unlock its phase and float(oscillating) around after playing some notes.
The word counterintuitive was used. I guess I seldom work on 2A03 or VCR6 or any PSG to notice this exists on at less 2A03.
Expect Phase would lock like Yamaha chips do.

But none the less, this feature is annoying. And I've been told there's a fix on the way?

If so, here's how I wish it was added.

A tick box in the Instrument window.
e.g.
[ ] Phase Lock (when hover over says : Rests this instrument phase when triggering.)

Or if rest one channel's phase can't be done, a effect to rest all channel's phase at the expense of one silent sample, and let the composer decide.
Currently, I can't turn off all channels for only one tick, let alone one sample. It's too costly to rest phase with current set of effect.

On a different note(pun intended), There might be a way to utilize this feature if channel's phase can be locked off-phase of each-other.

Entering Composite synthesize.
You can de-phase two or more channels and trigger them at the same(or shall I say different) times, then the two waves form would add together, giving more possibilities to create more complex waveform with rich harmonicas.
Additive Synthesizing 101.

VERA has enough channels to pull this off. And not enough DSP effects (ring mod, filters like SID).
So it seems fair to do Composite synth.

I'm sure this is a programing HELL to pull it off. But I don't even think I need to stress how cool this will be if done proper.

[Toonlink8101]

Ignoring the specifics of the VERA chip, you can have additive synthesis without the waveforms having the same phase.

If you're wanting to have rich harmonics by having the phase difference change over time, this can be accomplished simply by detuning. The more channels used, the more complex the harmonics are.

If you are just wanting additive synthesis with harmonics of the root, then you can also do that by just having one note be a multiple of another. For example, assuming the root harmonic is C-3, then the second harmonic would be C-4 and the third G-4, etc. The phase of the frequencies does not matter as much, most of the time

Here's a quick example that demonstrates both techniques on the VERA:
VERA additive synth test.zip

[gtr3qq]

Wow! these are awesome! Cool! Spectacular!
Saying that, I don't really know much about additive synth.
The main thing of this discussion is about the phase problem, and how to solve it.
Because the phase of saw would float and change both the loudness of it and how it sounds.
This is so bad that if I use more than two channels to do a little Triangle wave bass drum like you would on 2A03, the wave will periodically cancel each other out result in complete silence.
In the end, I added four more channels of square and triangle wave which is on saw's harmonic frequency to kinda swipe it under the rug. And some how, It sounds like the Sawtooth pads that those mass-puduced dance tracks use.

The CS just a way to utilize it.
I think I didn't say you can't do additive synth with currently behavior.
Detune will give the sound a controllable tremolo to it and making it more "alive" more close to real instrument/analogue synth.
Which is superior.
I only bring up CS to say that if phase can be lock, then when doing CS, the characteristics of the sound will be stationary and more punchy for a bass sound.

[Toonlink8101]

In the end, I added four more channels of square and triangle wave which is on saw's harmonic frequency to kinda swipe it under the rug. And some how, It sounds like the Sawtooth pads that those mass-puduced dance tracks use.

It sounds like you made some pretty cool sounds, too!

I only bring up CS to say that if phase can be lock, then when doing CS, the characteristics of the sound will be stationary and more punchy for a bass sound.

I see. That makes sense

The main thing of this discussion is about the phase problem, and how to solve it.

Try not to think of these hardware quirks as problems. Instead, think of them as limitations. Chiptune is not about "fixing" the hardware; it's about working within the limitations of the hardware

[gtr3qq]

Yeah. But this is one of those times when "fixing the hardware" is happening, there is a way to fix it at a cost of one silent sample. Only furnace don't support it yet.
By all means, I enjoys the limitations. You give me a rack full of OSC and envelope-gen, I probably won't even make a brass sound out of the FM. (...I could.)