The video is well worth watching to understand what the main sections do. If you have some familiarity with analog synthesis, the components will be familiar (oscillators, filters, modulation, clock/envelope generators), but the magic is in how they're wired together and the design choices of what the potentiometers affect.
This really is an incredible piece of virtual electronic design. It's surprisingly deep, yet effortlessly responsive and playable.
Well, they will be familiar depending on how good is their written Japanese vocabulary or else understanding of the block diagrams.
I see that Giorgio used the word 頻度 (hindo) on a variable frequency low-pass filter; but that word is not frequency as in of a periodic signal measured in Hertz; it refers to frequency of occurrence, like how frequently an accident occurs at some intersection or whatever.
I think a PoS/lexical category mismatch in a translation like that ultimately comes to the fact that source and target are independently conceived languages.
Frequency is a fast-ness or intervals of an event. The wrong translation, 頻度, is likewise a likelihood in a regular occurrence.
The technical translations, 周波数, is “loop-wave count”, and 振動数 is “swing-move count”(used in context of acoustic energy — I’m aware you would be familiar with it but for the record).
There is clearly no etymological connection between Frequency and 周波数 or 振動数; one way to call it is it’s a domain knowledge, but it’s also true that one is adjective and one is noun, or one is single and the other is a composite word.
So I think it goes down to the fact that each language encodes human cognition differently, even though it is often argued that languages are universal in ability to express ideas, and that translation is “impossible”.
This really is an incredible piece of virtual electronic design. It's surprisingly deep, yet effortlessly responsive and playable.