A little further down the waveform rabbit hole: I revisited Biminiroad’s morphing version of Robert Syrett’s 7 Waves VCO, and experimented a little with the order in which the waveforms are placed. Robert’s original setup had them organized in terms of all, odd, and even harmonics – with the inclusion of some new neighbouring waveforms invented by Don Tillman. I’ve rearranged them so as to provide the smoothest transitions – at least to my ears – when morphing between the waveforms. I‘ve placed the square wave last, not only because it provides better transitions for the sawtooth, but also because it does indeed (subjectively) seem to be louder, even though the sawtooth has greater overtone content. It seems that Jerobeam Fenderson was right in his explanation that it is the amount of (abrupt) change that catches our attention – the square has two vertical edges while the sawtooth only has one.