Using Studies

Studies is two plugins: Studies Effects goes on an audio track, Studies Instruments on a MIDI track. Each holds its whole shelf: pick a plugin with BROWSE or the ‹ › arrows at the top and it loads in place, with its own panel. Names in grey in the browser are locked until you sign in.

The bottom bar

PRESETS

The box on the left. Pick a preset; a knob move keeps the name until you pick another.

?

Opens this handbook at the loaded plugin.

ZOOM

Scales the whole window.

JUMBLE

Randomises the sound-design knobs and faders. BLEND, the output level, switches and the step sequencer are left alone.

SIGN IN

Opens a page in your browser. Enter the email you subscribed with, then the code we email you. One sign-in covers Studies Effects, Studies Instruments and every project.

Logic Pro and GarageBand

Logic only runs a plugin while audio is reaching its track. When nothing plays, Studies Effects cannot respond: clicks are ignored and the panel may wait on “loading...”. Press play over a region, or select the track and turn on Input Monitoring. Studies Instruments responds whenever its track is selected.

Collections

The browser's collections. A plugin can sit in more than one.

A–Z

Antoka is a bit crusher, foldover resampler and AM/FM ring modulator that annihilates anything you throw at it. Inspired by guitar pedals that combine ring modulation, envelope following and distortion, it follows the input and sweeps the crushing in on every new transient. Dial up complete destruction or trim in some subtle AM overtones.

Cipher LFO

CIPHER

Sets the rate of an LFO that wobbles the foldover amount, from a slow 0.001 Hz drift up to 10 Hz. Higher values make the crushing flutter and stutter.

Pitch Tracker

TRACK

Turns pitch tracking on in the upper half of its travel. When on, the FM side of the ring modulator follows the incoming pitch (one octave up) instead of PROCESS.

Downlink Envelope

DOWNLINK

Envelope time for RESOLUTION, from 0 to 1 second. Each new transient resets the crushing to clean and sweeps it back in over this time; at zero the crushing stays fully on.

Foldover

RESOLUTION

Sets the depth of the sample-rate foldover crushing. Fully left is the most extreme crushing; fully right leaves the signal clean.

AM/FM Ring Mod

PROCESS

Ring modulation rate: 0.01 to 50 Hz for the AM side and 0.001 to 1000 Hz for the FM side. With TRACK on, the FM side follows the input pitch instead.

AM/FM

Crossfades between amplitude modulation by an LFO (left) and ring modulation by a triangle oscillator (right).

Master

BLEND

Mixes the dry input with the processed signal. Fully right is 100% wet.

GAIN

Output level, from silence up to double gain. Noon is unity.

Arkinaut is a fictitious electroacoustic instrument, inspired by ancient sounds and materials (zither, wood, stone, glass and crystal) while employing modern synthesis techniques. Karplus-Strong strings and a bowed bar resonator feed a soft overdrive, a ring modulator and a Moog-style low-pass, then a fixed doubling delay and stereo ambience. It ranges from plucked and bowed strings to mallets, idiophone transients and chaotic modulated tones.

Pluck String

PLUCK | BOW

Sets the articulation and envelope. Low values give a sharp, short pluck; high values give a slow, bowed swell with a long decay. Takes effect on the next note.

TIMBRE

Selects one of seven waveforms that excite the string, from odd partials and saw to pulse shapes. Takes effect on the next note.

BODY

Selects the resonator material in three steps: METAL, WOOD or ELASTIC. Takes effect on the next note.

Bowed Bar

MALLET

Sets the level of a bowed bar resonator layered with the string, adding the bar tones of a vibraphone or marimba. At zero you hear only the string.

Shaper

SHAPER

Blends in the soft overdrive circuit, from the clean resonators to a fully saturated tone.

Ring Mod

MOD AMT

Sets the modulator volume. The modulation follows each note's envelope, so it is strongest at the attack.

MOD RANGE

Sets the modulator pitch, up to 10 kHz. Low settings give tremolo and beating; high settings give metallic, inharmonic tones.

Moog Filter

TONE

Sets the cutoff of the Moog-style low-pass filter, from dark and muted to fully open.

Double

DOUBLE

Sends the instrument into a fixed, slightly detuned stereo doubling delay that simulates string loosening.

DOUBLE MIX

Sets the feedback of the doubling delay, from a single double to a dense, metallic flutter.

Space

SPACE

Sends the instrument into a stereo ambience.

Master

OUTPUT

Output level, from silence to double. Unity sits at the centre of the knob.

Auras is a texture shaper that turns your sound into ambient spaces. It runs your signal through a reverb, adds a spectral sub-octave to the tail and treats it in one of three modes: spectral freeze, dark distortion or dial-up lo-fi. A modulator with random interruptions keeps the result moving.

Modulator

MOD

Sets the depth of the modulator. In SUB + FRZ mode it also sets the level of the ring modulator; in DARK and DIAL-UP it animates the filter and crush that CHARACTER sets.

SPEED

Sets the modulator rate, from about 1 Hz to 10 Hz. In SUB + FRZ mode it also tunes the ring modulator's oscillator.

INTERCEPT

Adds random interruptions to the modulator. Higher values duck it deeper and more often, so the movement stutters instead of cycling evenly.

Reverb

DECAY

Sets the length of the reverb, from short, tight spaces to long, washed-out tails.

TONE

Sets the brightness of the reverb. Turn it down to darken the tail.

Sub Octave

SUB

Adds a spectral copy of the reverb tail one octave down. Use it for depth and low-end weight under the texture.

Character

CHARACTER

Sets the amount of the active mode's treatment: spectral blur in SUB + FRZ, a darker filter on the clipped tail in DARK, and heavier bit crushing and filtering in DIAL-UP.

MODE

Picks one of three treatments. SUB + FRZ ring-modulates the input and smears the reverb spectrally; DARK clips and low-passes the reverb; DIAL-UP low-passes and bit-crushes it for lo-fi digital tones.

Master

BLEND

Sets the mix between your dry signal and the processed texture.

GAIN

Sets the output level, up to double. The centre position is unity.

Balloon is a modulation processor inspired by the Caroline Somersault pedal. A dual LFO sweeps a short stereo delay, so a few controls take you from spacious chorus to slap-back, vibrato and a lo-fi echo. Use it on guitar, voice and synths to widen the stereo image and add ever-moving life.

Dual LFO

SPEED

Rate of the modulation, from a slow 0.01 Hz drift up to 5 Hz.

WAVE

Shape of the LFO: triangle, square or saw. Square gives hard jumps in pitch; saw gives a rising sweep that snaps back.

SHIFT

Speeds up the right channel's LFO by up to 1 Hz against the left. The two sides drift in and out of phase, spreading the effect across the stereo field.

Swept Delay

DEPTH

Amount of modulation: how far the LFO sweeps the delay time, up to 5 ms. Low values give a subtle chorus; high values give a seasick vibrato.

OFFSET

Adds a fixed delay in front of the modulation, turning the chorus into a slap-back or a modulated echo. The wet signal fades back in gradually after you move it.

Tone Filter

TONE

Low pass filter on the modulated signal only, from 200 Hz to 10 kHz. Turn it down for darker, tape-like repeats.

Wet Mix

MIX

Level of the modulated signal added to the dry signal inside the effect. The sum is then balanced back to the input level.

Master

BLEND

Dry/wet balance between your untouched input and Balloon's output.

GAIN

Output level, from silence to double. Noon is unity.

Barber is a multi-dimensional processor for slicing, distorting, chopping and forming new harmonic structures. Your signal passes through a spectral pitch shifter and a Chebyshev waveshaper, then a rhythmic dry/wet slicer, with every rate locked to your host tempo. Use it as an octaver, a fuzz, a tremolo or an arpeggiator, or combine all of them for animated melodic modulations.

Pitch Shift

SEMI

Transposes the input in fixed steps from two octaves down to two octaves up (-24, -12, -10, -9, -8, -7, -5, 0, 2, 3, 4, 5, 7, 12, 24 semitones). Active when PITCH MODE is SEMI and SEQ MODE is OFF.

PITCH

Scales the incoming frequency by a free ratio from 0.25 (two octaves down) to 2 (one octave up). Active only when PITCH MODE is HZ.

PITCH MODE

Selects SEMI (lower half) for semitone transposition and scale animation, or HZ (upper half) for free frequency scaling with PITCH.

Scale Sequencer

RANGE

Sets how many scale steps the animation can jump across: root, 3rd, 5th, octave, 7th, then the 5th, 7th and octave below. Low values keep the movement close to the incoming pitch.

RATE

Sets the animation step rate as a fraction or multiple of the host tempo. At zero the animation holds still.

SEQ MODE

Selects OFF, MAJOR or MINOR across the knob's range. MAJOR and MINOR replace SEMI with a randomly stepping voicing from that scale, in SEMI pitch mode only.

Chebyshev Fuzz

BUZZ

Sets the amount of Chebyshev waveshaping, adding rich harmonics and distortion to the pitch-shifted signal.

FILTER

Sets the crossover between 80 and 700 Hz. Only the band below it is fuzzed; everything above passes through clean.

Fuzz LFO

SHARPEN

Sets how deeply the LFO pulls the BUZZ amount down. Combine it with SPEED for rhythmic fuzz swells.

SPEED

Sets the fuzz LFO rate in tempo-synced steps. At zero the LFO stops.

Slice LFO

SLICE

Sets the rate of a tempo-synced LFO that chops the wet signal back toward dry, for tremolo and slicing effects. At zero slicing is off.

Master

BLEND

Blends the dry input with the processed signal. SLICE modulates within this amount.

GAIN

Sets the output level, from silence to double, with unity at the centre.

Bitfight 83 is part distortion machine, part lo-fi chip emulator, inspired by 1980s video games and the Commodore 64. It runs two parallel bit crushers whose foldover is modulated by a shared LFO, offset from each other. As the two chains interact they produce alias harmonics, phase effects and other strange artifacts.

Cascade LFO

CASCADE

Sets how deeply the LFO modulates the foldover of both crushers. At zero the fold amount stays fixed; turn it up for shifting, unstable aliasing.

RATE

Sets the speed of the cascade LFO, from 0.01 to 4 Hz. It also sets the VIBRATE tremolo speed, which runs 11 times faster.

Crusher A

BITS

Sets the bit depth of both crushers, from 16 bits fully clockwise down to 2 bits. Lower values give coarser, noisier quantization.

FOLD

Sets the sample rate foldover in whole steps from 1 to 8 by holding samples. Higher values reduce the effective sample rate for harsher, brick wall aliasing.

Crusher B

SPREAD

Offsets the second crusher's foldover modulation from the first, so the two chains drift apart and interact. It also offsets the right channel's tremolo from the left.

Vibrate

VIBRATE

Sets the depth of a fast amplitude tremolo applied after the crushers are summed. Its speed follows RATE.

Master

BLEND

Blends the dry input with the processed signal.

GAIN

Sets the output level, from silence to double. Unity is at the middle.

Bunkir is a gated ambience processor that takes inspiration from the Elektron Machinedrum Gatebox reverb. A pre-delay, a notch-damped reverb and a pair of filters feed a gate that listens to your input: when the input drops below the threshold, the reverb tail is pulled down. Use it for swells, gated reverbs and rhythmic spaces that follow your playing.

Pre-Delay

PRE D

Sets how long (0 to 2 seconds) the input waits before it reaches the reverb.

Level Detect

THRESH

Sets the input level (-30 to 0 dB) that opens the gate. While your input sits below THRESH, the reverb tail is cut by DELTA; above it, the tail plays at full level.

Damp Notch

DAMP

Widens a band-reject filter centred at 500 Hz in front of the reverb, so the space rings out less in the mids. At zero the notch is closed and the reverb hears the full signal.

Reverb

TIME

Sets the size of the ambience, from a 0.1 second room to a 10 second wash.

Filters

HI PASS

A high-pass filter on the reverb tail (80 to 2500 Hz) that thins out the lows.

LO PASS

A low-pass filter on the reverb tail (80 to 2500 Hz) that darkens the highs. Set it above HI PASS and the pair becomes a band pass for very specific frequency selection.

Tail Gate

DELTA

Sets how far the reverb tail drops (0 to -30 dB) while the input is below THRESH. At its maximum there is no gating at all; turn it down for harder, more obvious cuts.

ATTACK

Controls how quickly the tail swells back up (0.01 to 1 second) when the input crosses THRESH.

RELEASE

Controls how quickly the tail falls into the cut (0.01 to 2 seconds) once the input drops below THRESH.

Master

BLEND

Sets the balance between the dry input and the gated reverb.

GAIN

Output level, from silence to double. Unity sits at the centre of the knob.

Cloudmaster is a multifunction space processor, capable of everything from algorithmic reverb to glacial ambient washes. It records your input into a 3-second buffer, replays it through two segment loopers, then warps the result with a low-band waveshaper, spectral blur and reverb. For sound designers and ambient producers, it is a self-contained toolbox for building space out of fragments.

Window 1

WINDOW 1

Sets where the first segment looper sits in the 3-second buffer and how long it loops. Higher values start later and loop a longer phrase.

RANGE

Analog-style pitch scaling for both windows. Noon is original pitch, fully right is an octave up, and lower values slow the loops down toward a standstill.

Window 2

WINDOW 2

The second segment looper, set the same way as WINDOW 1. Offset the two to get overlapping phrases of the incoming audio.

Low Fuzz

FUZZ

Chebyshev waveshaper on the low band of the window sum, before the blur and reverb. It works in reverse: fully left gives the most grit, turning it up thins it out.

XOVER

Waveshaper crossover, 80 to 700 Hz. Everything below it goes through FUZZ; sweep it up to drive more of the signal into the shaper.

Spectral Blur

BLUR

Spectral blur time, 0.01 to 1 second, smearing amplitudes and frequencies before the reverb.

Freeverb

BOOST

Gain into the reverb, from unity up to three times. Push it for a denser, louder wash.

SIZE

Reverb room size and depth.

DAMP

Reverb high-frequency dampening.

Space Mix

SPACE

Crossfades between the dry window loops and the fuzzed, blurred reverb. FUZZ, XOVER, BLUR, BOOST, SIZE and DAMP are only heard as SPACE comes up.

Master

BLEND

Mixes the dry input with the processed signal.

GAIN

Output level, from silence up to double gain. Noon is unity.

Clusters is a harmonic tremolo that shapes your audio to pulsate, shimmer and fluctuate. It splits the signal at a crossover and modulates the low band at half the speed of the high band, so the two parts move together at slightly different rates. Overclock, flux and an animated crossover push it from gentle throb into ring modulation and phasing.

Rate Clock

RATE

Sets the tremolo rate in free mode, from 0.005 Hz to 10 Hz.

SYNC

Sets the tempo-synced rate as a multiple of the host beat, from one cycle every four beats up to 16 cycles per beat. Active when MODE is set to sync.

MODE

Switches the rate source. In the lower half the tremolo follows RATE; in the upper half it locks to host tempo through SYNC.

OVERCLOCK

Multiplies the tremolo rate by up to ten. Higher settings push the tremolo into audio-rate territory for ring-modulation tones, sidebands and overtones.

Tremolo LFO

AMOUNT

Sets the depth of the tremolo.

SHAPE

Picks the tremolo waveform for the high band: triangle, saw, square or random.

FLUX

Modulates the tremolo amount with a second LFO running just below the tremolo rate. Turn it up for shifting syncopations and rhythmic variation.

Crossover Split

CROSSOVER

Sets the split frequency between the low and high bands, from 200 Hz to 1.5 kHz. The low band pulses at half speed with a triangle wave; the high band follows SHAPE.

Animate LFO

ANIMATE

Modulates the crossover frequency at the tremolo rate. Small amounts give subtle phasing; high amounts sweep the split hard for more drastic movement.

Master

BLEND

Sets the mix between your dry signal and the tremolo. It defaults to fully wet.

GAIN

Sets the output level, up to double. The centre position is unity.

Darklands is a hybrid FM synthesizer for futuristic soundscapes, tension-building washes and dissonant, bowed atmospheres. It is part FM engine, part ambience processor: two FM operators and a square sub run through a tempo-synced swell filter and a stereo pair of delay and reverb spaces. Use it for anything from chromatic percussion to intense atonal synth-scapes.

FM Operators

FM

Modulator frequency ratio for both operators, from 1 to 2. In-between values give inharmonic, metallic overtones.

SHAPE

Waveform for both operators: sine, square, saw or white noise. Applies to the next notes you play.

INDEX

Modulation index of the primary operator, in whole steps from 1 to 20. Higher values are brighter and harsher.

OFFSET

Modulation index of the second operator: RAND (a new random index on every note) or a fixed value from 1 to 6. Applies to the next notes you play.

ORBIT

Carrier ratio of the second operator. Unlike a conventional FM synth, it moves continuously, for detuned overtones and FM artifacts.

+ Sub

SUB

Level of the square-wave sub-oscillator.

SUB OCT

Sets the sub-oscillator one (-1 OCT) or two (-2 OCT) octaves below the note.

Swell Filter

SWELL

Tempo-synced lowpass modulation rate, in steps from off through quarter, half and whole beats up to 15 cycles per beat. Use low settings for rhythmic pulsations or turn it up for an AM-type effect.

Darkness

DARKNESS

Cutoff of a secondary 4-pole lowpass for tonal adjustments. Low values are dark and muffled; turn it up to open the filter.

Envelope

ONSET

Attack time, from 1 ms to 4 seconds.

TRAIL

Release time, from 50 ms to 3 seconds.

Planets

PLANET 1

Space macro for the left channel: it sets the delay feedback and the size and tone of the room. Set it apart from PLANET 2 for a wide, shifting stereo image.

PLANET 2

The same space macro for the right channel.

Master

OUTPUT

Output level, from silence up to double gain. Noon is unity.

Drejin is a granular processor that triggers a grain cloud whenever your input crosses a threshold. The cloud follows an amplitude envelope, creating granular echoes or silhouettes of the original signal, then feeds a modulated delay. Use it for textural swells, ambient spaces and granular slap-back reflections.

Threshold Trigger

THRESH

Sets the input level that fires the envelope. Set it just short of where your signal peaks; each crossing restarts the silhouette.

Silhouette

ATTACK

Sets the onset of the grain cloud's envelope, from 0.05 to 1 second.

DUR

Sets how long the cloud holds at full level after the attack, from 0.1 to 5 seconds.

DECAY

Sets the fade-out of the cloud once the hold ends, from 0.05 to 0.7 seconds.

Grain Cloud

LENGTH

Sets how much of the recording buffer the grains read from, up to about 3 seconds. Use short values for stutters and longer ones for extended buffer playback.

SIZE

Sets the grain particle size between 0.01 and 2 seconds.

DENSITY

Sets how many grains start per second. Higher values thicken the cloud.

CLOUD

Sets the rate the grains move through the buffer without changing pitch. Low values smear and slow the sound; high values race ahead for glitches.

Space Delay

REPEAT

Sets the delay feedback amount.

SPEED

Sets the delay time of the grain cloud, from 80 ms to 2 seconds. The right channel drifts slightly against the left for width.

ECHO

Sets how much of the delayed cloud is mixed in with the direct grains.

Master

BLEND

Blends the dry input with the grain cloud and its echoes.

GAIN

Sets the output level, from silence to double, with unity at the centre.

Driftmaker is a delay disintegration device that parses incoming audio, recalls parts of it and adds analog deterioration to the signal. It was designed to capture the faded, time-worn character of BlankFor.ms's Works for Tape and Piano, and its presets were developed by BlankFor.ms. A grain looper replays a rolling three-second buffer of your input through tape warble, tone shaping and a chopped delay.

Tape Warble

DRIFT

Ages the signal. Higher values add random pitch wobble and shift the loop start point, mix in dust and hiss, close down a driven low-pass filter and raise a high-pass filter.

Grain Looper

PARSE

Sets how much of the recorded buffer the grain looper recalls, from a tiny fragment up to about three seconds. Short settings stutter on recent material; long settings replay older passages.

Tape Delay

CHOP

Sets the delay time, up to 4 seconds on the left and 1 second on the right. Lower values also let the looper's playback rate wander more; after you move CHOP the echo fades back in over a few seconds.

TIME

Sets the level of the delayed echo mixed back in with the aged signal.

Master

BLEND

Blends the dry input with the processed signal.

GAIN

Sets the output level, from silence to double. Unity is at the middle.

Ember is a microsound collage console that uses granular resynthesis to build complex sound composites. Inspired by the musique concrète pioneers, it pairs modern digital algorithms with classic splicing techniques. Point it at a folder of sounds and Ember draws a random set, slices each one and layers them as evolving granular textures, each with its own drifting filter, pan, delay and reverb. In Studies it plays live: record it in your DAW.

Orbit Field

LEFT SHAPE

Drag the left sphere to shape the grains in real time. Left to right sets grain density, from sparse to dense; bottom to top sets pitch, from far below the original to about three times above it.

RIGHT SHAPE

Drag the right sphere to set grain rate and size. On the X axis the far left plays grains forward at double speed, the centre holds them still and the far right plays them in reverse; on the Y axis grains range from 0.1 s to about 2 s.

PLAY

Starts the collage; the button reads STOP while it plays. Ember draws a set of sounds from your folder and starts layering them. Press it again to stop drawing new sounds; sounds already playing finish on their own.

SAMPLES

Picks the folder of sounds Ember draws from (WAV or AIFF). The button shows the folder's name, PICK FOLDER when none is chosen, or NO AUDIO when the folder holds no readable files.

Composer

COMPOSITE

Sets how long each composite lasts before Ember draws a new set of sounds from the folder, from 5 seconds up to almost two hours. Short times keep the palette changing; long times stay with one set.

MIN DUR

Sets the minimum length of each sound slice, from 0.5 to 10 seconds.

MAX DUR

Sets the maximum length of each sound slice, from 1 to 20 seconds. Setting it below MIN DUR pulls MIN DUR down with it.

Pan

BINAURAL

Places each new sound on a drifting path around your head with an HRTF binaural mix; listen on headphones. Off, sounds drift across a regular stereo pan. The button reads NO HRTF at sample rates other than 44.1, 48 or 96 kHz, where the regular pan plays instead.

Master

OUTPUT

Sets the output level, up to double. The centre position is unity.

Expanse is a noise and drone generator that you can spectrally blur, pitch and filter. It was inspired by Larum's field-recording album "Into a Bright Land" on Puremagnetik Tapes. Expanse sounds as soon as it loads, with no MIDI needed, and produces sweeping backdrops, resonating low drones and many other textural canvases.

Ladder Filter

FILTER

Cutoff of the low pass ladder filter on the noise source, from 80 Hz to 5 kHz. Turn it down for deep rumbles, up for airy washes.

Spectral Shift

SHIFT

Spectrally transposes the texture up or down two octaves in semitone steps, keeping its formants. Noon is no shift.

Spectral Blur

STASIS

Spectral blur time, from 10 ms to one second. Higher values smear the noise into a still, sustained drone.

Reverb

SPACE

Level of the shifted and blurred texture sent into the reverb. This is the only way that texture reaches the output, so turn it up to hear SHIFT and STASIS.

SIZE

Room size of the reverb, from small to vast.

Master

BLEND

Crossfades from the plain filtered noise to the shifted, blurred reverb texture. It also raises the level of occasional dust clicks in the spectral path.

GAIN

Output level, from silence to double. Noon is unity.

Fathoms is an ambient processor that can turn anything into a glacial soundscape, harmonic drone or endless pitch-shifted space. Your audio swells through a feedback delay, is spectrally analysed so you can pitch shift, sweep or freeze it, and then resonates in a physically modelled room. Dive into deep sound design or simply use it as a reverb.

Vector Sweep

VECTOR

Sets the speed of the pitch sweep, from one cycle every 1000 seconds up to 1 Hz. Only heard when MODE is UP or DOWN.

MODE

Three positions. OFF (fully left) holds the shift at PITCH; UP (centre) repeatedly glides the spectrum from the bottom up to the PITCH setting; DOWN (fully right) glides it back down.

Swell Tremolo

SWELL

Sets the rate of a slightly randomised amplitude modulation on the input and, at the same time, the delay time (up to 3 seconds). Low values give slow, short swells; high values give faster pulsing and longer echoes.

Feedback Delay

FEEDBACK

Sets how much of the delay is fed back into itself, for more repeats before the spectral stage.

Spectral Shift

PITCH

Shifts the delayed signal spectrally, up to an octave down or up (-12 to +12 semitones).

FREEZE

Turn past the halfway point to freeze the current spectrum into a sustained drone; turn back below halfway to release it.

Dimension Room

DIMENSION

Sets the size of the physically modelled room the shifted sound resonates in, from a small box to a vast space.

Tone Filter

DEEP

A high-pass filter (20 to 500 Hz) that clears low end from the processed sound.

SHALLOW

A Moog-style ladder low-pass (5 to 10 kHz) that softens the top of the processed sound.

Master

BLEND

Sets the balance between the dry input and the processed sound.

GAIN

Output level, from silence to double. Unity sits at the centre of the knob.

Flare is a spectral ensemble processor based on the bucket-brigade delay line. It chains an auto-panner, a waveshaper, a Moog-style lowpass, spectral blur, tremolo, a four-tap ensemble and a feedback delay into one compact tool. Dial in a dreamy chorus reminiscent of classic string machines, smeared distortion, auto-tremolo and long echoes.

Shake LFO

SHAKE

Tremolo depth. The tremolo is applied after the spectral blur, before the ensemble.

RATE

Tremolo rate, from 0 to 5 Hz.

Revolve Auto-Pan

REVOLVE

Auto-panning that swings the left and right channels in opposite directions. Turning it up increases both the depth and the speed of the movement.

Fuzz

FUZZ

Waveshaping distortion amount. Low settings add warmth and harmonics; high settings saturate hard.

Sweep Filter

SWEEP

Cutoff of a lowpass filter modelled on the Moog ladder, from 150 Hz to 20 kHz. Use it to taper the fuzz.

Spectral Blur

BLUR

Smears the signal across the spectral domain, with a blur time from 5 to 300 ms.

BBD Ensemble

DEPTH

Modulation depth of the four-tap bucket-brigade ensemble. Low values give a gentle chorus; high values give a wide, detuned string-machine shimmer.

Feedback Delay

DELAY

Echo time, from 0 to 2 seconds. Changes glide smoothly, so moving it bends the repeats.

REPEAT

Delay feedback, up to half the signal fed back per repeat.

Master

BLEND

Mixes the dry input with the processed signal.

GAIN

Output level, from silence up to double gain. Noon is unity.

Foam is a low-end machine for detailed bass drum sculpting: an analog-style kick synthesizer with a dub-inspired echo and tape saturation. Two sound engines, a sustained body and an attack click, let you move from purely electronic to acoustic-style kicks, or build hybrids such as an 808-style sustain with an acoustic beater attack. Play it from MIDI as a drum voice, for low-frequency support or for drum replacement.

Body Osc

PITCH

Sets the sustain frequency of the kick, from 50 to 300 Hz, when PITCH MODE is MAN.

SUS WAVE

Selects the sustain waveform across the knob's range: SINE, HALF (half sine) or SQR.

PITCH MODE

MIDI tunes each kick to the note you play; MAN uses the PITCH knob whatever note triggers it.

Kick Env

LENGTH

Sets the overall sustain length of the kick, from 0.5 to 8 seconds. Each kick plays out its full length after note-off.

SNAP

Sets the attack duration, from 5 to 50 ms: the length of the click and of the opening pitch sweep.

SLIDE

Sets the starting point of the pitch envelope. Low values start below the body pitch and rise into it; high values start far above and drop.

SLIDE X

Sets the pitch envelope decay: how long the body takes to fall away after the attack.

+ Click

TONE

Sets the frequency of the attack oscillator, from 50 to 400 Hz.

ATTACK

Sets the overall attack level.

ATK WAVE

Selects the attack waveform across the knob's range: PART (odd partials), HARM (odd harmonics), SAW or NOISE.

Moog Filter

SPIKE

Sets the starting frequency of the filter envelope, from 1 to 16 kHz. The filter sweeps down from here over the first quarter of the kick; higher values give a brighter, sharper hit.

RESO

Sets the filter resonance.

Echo

SYNC

Lower half is TIME, with the echo time set in seconds; upper half is TEMPO, with the echo synced to host tempo.

TIME

Sets the echo time: 0.1 to 1 second in TIME mode, or a tempo division from 1/16 of a beat to 4 beats in TEMPO mode.

ECHO

Sets the echo feedback. The two channels cross-feed slightly for a wider dub tail.

MOD

Sets how much a slow, drifting LFO shortens the echo time, for tape-style wobble.

Master

TAPE

Sets the amount of tape character: pitch drift, saturation, low-pass darkening, hiss and compression all rise together.

TAPE ON

Turns the tape stage on or off. With it OFF, TAPE has no effect.

BLEND

Sets the echo mix: the balance between the dry kick and its echoes.

LEVEL

Sets the overall output gain.

Fog is a drone sampler for vast shimmering soundscapes, granular textures and endlessly time-stretched drones. It records a snippet of incoming audio, up to about 11 seconds, and replays it as a granular cloud you can stretch, freeze and pitch. The cloud then runs through an algorithmic space and a multimode filter, so a few moves sculpt it from a grainy loop into an endless wash.

Record Buffer

DURATION

Sets how much of the recorded snippet plays. Playback always starts from the beginning of the recording.

SAMPLE

Records incoming audio while engaged; the button reads REC. Release it to play the recording back as a grain cloud. Each new take records from the top of the buffer, and the wet signal is silent while recording.

Grain Cloud

STRETCH

Sets the granular playback speed. The centre freezes the sound in place; turn right to move forward slowly, left to move backward.

PITCH

Transposes the grain cloud in musical steps, from two octaves down to two octaves up. The centre is the original pitch.

Reverb

DEPTH

Sets the amount of algorithmic space. Dial it down for the bare granular effect, or max it out to craft an endless drone.

TONE

Sets the darkness or brightness of the space, from 80 Hz to 15 kHz.

State Filter

FILTER

Sets the cutoff of the final filter, from 60 Hz to 8 kHz.

MODE

Picks the filter type: low-pass, band-pass or high-pass.

Master

BLEND

Sets the mix between your dry signal and the drone.

GAIN

Sets the output level, up to double. The centre position is unity.

Foomph is a deep drum synthesizer designed for detailed bass drum sculpting. Its synthesis is split into two engines, a pitched body and a short attack, so you can move from purely electronic to acoustic-style kicks. Combine them for hybrids classic drum machines lack, such as an 808-style sustain under an acoustic-style beater attack.

Pitch Env

SLIDE

Sets where the body's pitch starts relative to its target. High values start above the pitch for a classic kick sweep down; low values start below it for a rising chirp.

SLIDE X

Sets how long the pitch takes to fall away after the attack, as a share of LENGTH. Low values give a fast pitch dive; high values keep the body tonal for longer.

Body Osc

PITCH

Sets the body frequency from 50 to 300 Hz when PITCH MODE is set to MAN.

BODY WAVE

Chooses the body waveform: sine, half sine or square, in that order.

PITCH MODE

MAN tunes every kick with the PITCH knob. MIDI tunes each kick to the note you play, and each kick keeps its own pitch while it rings.

Decay

LENGTH

Sets the decay of the kick, from half a second to 8 seconds. Each kick rings out its full LENGTH after the note ends.

+ Attack

SNAP

Sets the duration of the attack transient, from 5 to 50 ms. It also sets how quickly the body's pitch envelope reaches its target.

TONE

Sets the frequency of the attack oscillator, from 50 to 400 Hz.

AMOUNT

Sets the level of the attack transient against the body.

ATK WAVE

Chooses the attack waveform: odd partials, odd harmonics, saw or noise, in that order. Noise gives the most acoustic beater click.

Moog Sweep

RESO

Sets the resonance of the Moog-style low-pass filter that both engines run through.

SPIKE

Sets where the filter sweep starts, from 1 kHz to 16 kHz. The cutoff falls to 20 Hz over the first quarter of LENGTH, so high values give a brighter, spikier hit.

Master

LEVEL

Sets the output level, from silence to 1.5x.

Fusia is a spectral multi-tool for sculpting sounds that shimmer and reflect, freeze and distort, delay and scatter. It shifts your signal up to an octave up or down in the spectral domain, then routes it through a spectral freeze, a waveshaper, a feedback delay and a random function. Use it for subtle pitch-shifted delays, frozen distortion drones, octave layering and chaotic re-pitching.

Speed LFO

SPEED

Sets the rate of Fusia's modulation: how fast SCATTER picks new pitches, and how fast and deep the dry/wet mix wobbles. At zero the mix holds steady.

Spectral Freeze

FREEZE

Turn past the halfway point to freeze the current spectrum into a sustained drone; turn back below it to release. Everything after the freeze keeps processing the held sound.

Pitch Shift

PITCH

Shifts the pitch continuously from one octave down to one octave up, with no shift at the centre.

SCATTER

Lower half is STATIC; upper half is RANDO, which re-pitches the signal to random values between an octave down and the PITCH setting, at the SPEED rate.

Fuzz Shaper

FUZZ

Sets the amount of waveshaping distortion. The signal passes through a sawtooth shaper, then a Chebyshev shaper on the low band.

FILTER

Sets the Chebyshev crossover between 80 Hz and 5 kHz. Content below it is shaped further; content above passes from the first shaper only.

Feedback Delay

DELAY

Sets the delay time, up to 2 seconds.

REPEATS

Sets the delay feedback amount.

DELAY SEND

Crossfades between the direct processed signal and the delay output.

Master

BLEND

Blends the dry input with the processed signal. SPEED wobbles within this amount.

GAIN

Sets the output level, from silence to double, with unity at the centre.

Gales is a warped cartridge echo that combines vintage tape processing with a modulated comb filter. Its micro-delay comb gives you control over comb filtering and short echoes, then a tape stage adds wow, flutter and hiss. Use it for smooth chorusing, deep modulated spaces or nostalgic cassette aging.

Stability Drift

STASIS

Adds "drunk walk" randomness to OFFSET, creating naturally interpolated modulation of the comb's loop time. At zero the loop time holds still.

Shuffle Drift

SHUFFLE

Gives slight random variations to DREDGE, animating the comb's decay around its current setting.

Comb Filter

DREDGE

Sets the decay time of the comb filter, from a short tap up to about four seconds of ringing.

OFFSET

Sets the comb's loop time, from 80 to 200 milliseconds. This sets the spacing of the repeats and the pitch of the comb resonance.

Split Delay

SPLIT

Mixes in copies of the comb output delayed by a few milliseconds, 10 ms on the left and 20 ms on the right. This separates the channels for wide space and phase reflections.

Comb Mix

GALE

Sets how much of the comb and split stage reaches the tape stage, against the clean input. It is the master amount for everything DREDGE, OFFSET, STASIS, SHUFFLE and SPLIT do.

Tape Aging

TAPE

Adds analog cassette-style age after the comb: random pitch wobble, a driven low-pass filter that darkens as you turn it up.

NOISE

Adds tape hiss. Its level is scaled by TAPE, so it is silent while TAPE is at zero.

Master

BLEND

Blends the dry input with the processed signal.

GAIN

Sets the output level, from silence to double. Unity is at the middle.

Gelm is an FM-inspired drone synthesizer for ambient soundtracks, synthwave pads and space-infused drones. Two oscillators are either summed or multiplied together, and a crossfade lets you move between the additive and the modulated tone. Two ANIMATE buttons set the key timbre knobs drifting on their own for evolving variations with smooth transitions.

Drone 1

DRONE 1

Sets the shape of oscillator 1, from a bright sawtooth toward a softer triangle. Its effect is heard through ENTWINE: with ENTWINE at zero, oscillator 1 follows DRONE 2.

FM

Sets the frequency ratio of oscillator 1 to the played note, from 0.1x to 3x. Combined with MOD MIX this sets the sidebands of the modulated tone.

PULSE

Adds a random, stepped vibrato to oscillator 1, from a 1 cent shimmer up to 23 cents of wobble.

ANIM RATE

Sets the speed of both ANIMATE drifts, from still to fast.

ANIMATE

OFF / ON. When on, DRONE 1 and DRONE 2 wander smoothly across their full range at ANIM RATE; you will see the knobs move.

Drone 2

DRONE 2

Sets the shape of oscillator 2, from a bright sawtooth toward a softer triangle.

ENTWINE

Sets the depth of two slow LFOs that pull the oscillator shapes against each other, so the drones weave and interact over time.

Mod Mix

MOD MIX

Fades between the additive tone (the two oscillators summed) and the modulated tone (the two oscillators multiplied).

ANIMATE

OFF / ON. When on, MOD MIX and ENTWINE wander smoothly across their full range at ANIM RATE.

Envelope

ATTACK

Sets the amp envelope attack, from 0.01 to 4 seconds. Takes effect on the next note.

RELEASE

Sets the amp envelope release, from 0.1 to 5 seconds. Takes effect on the next note.

Reverb

SPACE

Sets the reverb send amount. The dry synth always plays; SPACE adds a long, bright reverb behind it.

Master

OUTPUT

Output level, from silence to double. Unity sits at the centre of the knob.

Goestcopy is a digital delay processor that pairs waveshaping with tape-echo style time modulation. Its core is a distortion stage feeding a delay whose time is bent by a shapeable LFO. It can add sharpness to your audio or smear it into a dreamy wash.

Waveshaper

SHAPE 1

Shapes the positive half of the waveform. Low values clip hard; higher values round it off into softer saturation.

SHAPE 2

Shapes the negative half of the waveform. Set it apart from SHAPE 1 for asymmetric distortion and extra even harmonics.

Drive Mix

EDGES

Blends the waveshaper into the signal, from subtle harmonics to sliced-off tops. At zero the delay hears your clean input.

Wave LFO

ENERGY

Sets the speed of the delay-time modulation (0.001 to 1 Hz), like the wow of an old echo tape.

AURA

Sets the modulator wave shape, a variable oscillator that morphs from sawtooth to triangle to ramp.

GOEST

Sets the depth of the delay modulation, up to 30% of the delay time. Lower settings are the most classic; turn it up for more extreme pitch warble.

Modulated Delay

SPACE

Sets the delay time, from a few microseconds (chorus and flanger territory) up to one second.

Feedback Sum

FADE

Sets the level of the delayed copy summed back with the shaped signal. At zero you hear only the waveshaper.

Master

BLEND

Sets the balance between the dry input and the processed sound.

GAIN

Output level, from silence to double. Unity sits at the centre of the knob.

Hewn is an experimental processor for uncovering new artifacts and circuit-bent sounds. It modulates your input as if it were being dialed into a transmitter, then pushes it through a band-pass filter and a waveshaping distortion. It works great on drums, guitars and synths, and will deteriorate and splay any input in new directions.

Warble Spline

WARBLE

Adds a random, drifting wobble to TUNE. Higher values pull the modulator frequency further and more erratically below its set value.

Modulator Sine

TUNE

Sets the base frequency of the modulator, from 50 Hz to 10 kHz. The right channel runs 1% higher for a slight stereo spread.

DRIVE

Changes the amplitude of the modulator. At zero the input passes through unmodulated.

Ring Mod

RANGE

Sets the modulation index, from 1 to 20. Higher values multiply the effect of DRIVE for harsher, more broken results.

Scoop Band-Pass

SCOOP

Centre frequency of a 200 Hz-wide band-pass filter, from 20 Hz to 2 kHz.

SCOOP ON

Turns the band-pass filter on in the upper half of its travel and bypasses it in the lower half.

Slam Waveshaper

SLAMS

Applies a tanh waveshaping distortion. Higher values drive the signal harder into saturation.

Master

BLEND

Mixes the dry input with the processed signal.

GAIN

Output level, from silence up to double gain. Noon is unity.

Klamur is an always-on lookback recorder and loop processor. It continuously captures the last 90 seconds or so of your input, then lets you pull two loops out of that scratchpad and process them with spectral smearing and a dub echo. Use it as an audio sketchpad, a glitch recorder or a sound design tool for ideas that would be hard to reproduce.

Lookback Buffer

PAUSE

Klamur writes your input into its buffer all the time. Turn PAUSE past noon to stop writing and keep what you have captured; turn it back down to resume.

Track 1

LOOKBACK 1

Chooses where in the buffer track 1 starts reading, anywhere across its full length.

WINDOW 1

Selects how much of the material after the start point loops, from a tiny slice to the rest of the buffer.

SHUTTLE 1

Modulates WINDOW 1 at random, shortening the loop by varying amounts so the loop points keep changing. Keep it slight or turn it up for intense, faster variations.

Track 2

LOOKBACK 2

Start point of track 2 in the buffer.

WINDOW 2

Loop length of track 2.

SHUTTLE 2

Random modulation of WINDOW 2, independent of track 1.

Smudge 1

SMUDGE 1

Spectral blur for track 1 that smears its spectral components over up to one second. Turn it up for ambient textures and drones.

ENABLE

Switches SMUDGE 1 on or off. When off, track 1 plays unprocessed.

Smudge 2

SMUDGE 2

Spectral blur for track 2, up to one second.

ENABLE

Switches SMUDGE 2 on or off.

Split

SPLIT

Crossfades between track 1 and track 2. Pro tip: automate it to interleave phrases of captured audio.

Echo

ECHO

Delay time of the echo line, from about 10 ms to one second, slightly offset between left and right. At minimum the loops play almost undelayed.

SIZE

Feedback of the echo line, from a single slap to long dub repeats.

Master

BLEND

Dry/wet balance between your live input and Klamur's loops.

GAIN

Output level, from silence to double. Noon is unity.

Klome is a generative texture synthesizer that creates cluster pulses of wooden and metallic idiophones. It combines physically modelled marimba and bar voices with filtered saw spurs and a subtractive drone, all triggered on their own from the host tempo. Play it as a texture source to record, or put it in AUTO mode for an endless sequence of ambient sci-fi-scapes.

Orbit Field

LEFT CRYSTAL

A draggable sphere. Move it right (SPUR SWEEP) to deepen the sawtooth filter sweep on the spurs; move it down to slow the hits and spurs, lower the spur filter ceiling and add phase modulation to the drone.

RIGHT CRYSTAL

A draggable sphere. Its horizontal position blends the hits from wooden marimba (left) to metal bar (right); its vertical position is unused.

AUTO

Lets both crystals drift slowly on their own, so the texture keeps evolving. The spheres move on screen to show where the sound is.

SYNC

In SELF, Klome plays continuously. In SYNC, it plays only while the host transport is running.

+ Spur Saws

BUBBLES

Rate of the sawtooth LFO that sweeps the spur filter, from a slow drift up to 80 Hz for bubbling, buzzing textures.

Auto Pan

WIDTH

How far the hits and spurs wander across the stereo field.

+ Drone

DRONE

Level of the low subtractive drone that sits under the clusters, tuned to the root note.

Space

SPACE

Sets the delay feedback on the hits and the size of the reverb on the spurs and drone.

Master

OUTPUT

Output level, from silence up to double gain. Noon is unity.

Later is a modulation box designed to bring warm modulations to a sunny day. It splits incoming audio through two band-pass filters swept by an LFO, then doubles each band through modulated delay lines for lush, time-based effects. Some settings give tape warbles, vibratos and flutters; others give filtered radio modulations, tremolo pulses and dramatic space effects.

Sweep LFO

SHIFT

Sets how far the LFO sweeps the two band-pass filters upward, up to 400 Hz on COLOR 1 and about 140 Hz on COLOR 2.

SLIP

Sets the sweep LFO rate, from 0.01 to 5 Hz. COLOR 2 is swept at a slightly slower rate, so the two bands drift against each other.

Chorus LFO

SPACED

Sets the chorus depth: how far the modulated delay lines move.

SHAKE

Sets the chorus rate, a slow modulation from 0.01 to 0.12 Hz. It also scales the delay time, so higher settings push the delayed copies further out, up to over 100 ms.

Dual Band-Pass

COLOR 1

Sets the centre frequency of band-pass filter 1, from 50 Hz to 2 kHz before EDGE.

COLOR 2

Sets the centre frequency of band-pass filter 2, from 100 Hz to 1 kHz before EDGE.

BREATH

Sets the bandwidth of both filters, from a narrow 20 Hz to 200 Hz.

EDGE

Sets the depth of the COLOR controls by multiplying both centre frequencies, from 0.1x to 5x. Low settings pull both bands into the bass; high settings lift them into the upper mids and treble.

Master

BLEND

Blends the dry input with the processed signal.

GAIN

Sets the output level, from silence to double. Unity is at the middle.

Mimik OD is a temporal and tonal manipulation machine, the MK2 incarnation of Puremagnetik's variable time and pitch processor. It records your incoming audio to a short circular buffer and replays it as a granular loop you can truncate, stretch, reverse and repitch. Use it for subtle articulation nuances or extreme beat processing.

Grain Repeater

LENGTH

Truncates the replayed loop, from a tiny slice up to the full buffer of about three seconds.

TIME

Granular time stretch, compress and reverse, from 4x backwards to 4x forwards. The centre freezes the loop in place; left of centre plays it in reverse.

PITCH

Repitches the loop in common intervals without changing its speed: -24, -12, -10, -9, -8, -7, -5, 0, +2, +3, +4, +5, +7, +12 and +24 semitones.

Skip LFO

SKIP

Sets how far an LFO moves the LENGTH setting, so the loop end keeps shifting.

SKIP RATE

Sets the speed of the SKIP modulation, from still to 8 Hz.

Jump LFO

JUMP

Sets how far an LFO moves the TIME setting, so the playback speed surges and slows. It has no effect while TIME sits at the centre.

JUMP RATE

Sets the speed of the JUMP modulation, from still to 8 Hz.

Overdrive Jitter

OD

The Mystery Overdrive. Turned past halfway, every grain parameter (pitch, grain size, speed, loop points and LFO depths) is scattered by a fresh random amount many times a second, for chattering, unpredictable textures. Below halfway it is off.

Master

BLEND

Mix between the dry and effect signals.

GAIN

Output level, from silence to double. Unity sits at the centre of the knob.

Nighthawk is a 1980s-inspired pad synth for complex, evolving sounds in the spirit of the Yamaha CS-80 and Oberheim Xpander. Each voice runs through a supersaw matrix of seven oscillators detuned against each other, with a sub-octave, a tempo-synced Moog filter and a reverb bus. Morph the pulse width and animate the filter to build the wall of lasers that scores dystopian '80s cinema.

Saw Matrix

SHADE

Sets the waveform character. With SHAPE on MULTI it morphs between saw and triangle; on SQR it sets the pulse width. Harder-played notes shade slightly further.

MORPH

Sets the rate of a tempo-synced LFO that modulates SHADE, from off up to four cycles per beat in half-beat steps.

MORPH SHAPE

Picks the waveform of the MORPH LFO: triangle, saw or square. It applies to notes played after the change.

BUILD

Sets how far the matrix oscillators detune against the primary oscillator. Low values give a gentle chorus; high values a wide, beating wall.

BLEND

Sets the level of the six detuned oscillators against the primary one. Turn it down for a single, focused oscillator; up for the full supersaw.

SHAPE

Switches the oscillator waveform family between MULTI (saw to triangle) and SQR (pulse). It applies to notes played after the change.

+ Sub

SUB

Adds a square-wave sub-oscillator one octave below each note.

Envelope

ONSET

Sets the attack time, from instant to six seconds.

TRAIL

Sets the release time, from instant to six seconds.

Moog Filter

ANIMATE

Sets how far an LFO sweeps the Moog low-pass filter down from fully open. At maximum the filter closes completely at the bottom of each sweep.

SPEED

Sets the animation rate in whole steps synced to host tempo, from still up to eight cycles per beat.

Reverb

SPACE

Sets the send to the algorithmic reverb bus.

Master

OUTPUT

Sets the overall output level of the synth.

Octavlord is an octave conjuring machine that generates three simultaneous octaves from any input. Taking cues from a legacy of famous guitar pedals, it reproduces sub, minus one and plus one octaves spectrally, then embellishes them with fluttery tremolo and a Moog-style filter. Use it for subliminal bass pulsations or extreme, multi-octave aberrations.

Octaves

SUB

Level of the sub voice, two octaves below the input.

MINUS ONE

Level of the voice one octave below the input.

PLUS ONE

Level of the voice one octave above the input.

Flutter Tremolo

FLUTTER

Modulates the amplitude of the octave harmonies. Turning it up raises both the depth and the rate, from slow pulsations to fast tremolo at up to 10 Hz.

Moog Low-Pass

FILTER

Cutoff of a Moog-style 4-pole lowpass, from 20 Hz to 10 kHz. It sits in series with the octaves only, so you can tone-sculpt the harmonies while your original signal stays untouched.

Master

BLEND

Mixes the original signal with the octave harmonies. Turn it fully right to hear only the octaves.

GAIN

Output level, from silence up to double gain. Noon is unity.

Olden is a worn tape doubler that thickens your sound with two short, wobbling delay voices. Each voice drifts in time like a pair of tape machines running slightly out of step, then passes through tape-age filtering, a low-body boost and soft saturation. Use it for subtle doubling and width, or push it into seasick, lo-fi chorus.

Wow & Flutter LFO

FLUTTER

Sets the depth of the tape wobble on both voices: slow, random wow plus a faster flutter. Low values add gentle movement; high values give an unsteady, seasick pitch.

WEAR

Speeds up the wow and flutter, as if the transport were more worn. Turn it up for a more nervous, jittery wobble.

Dual Voice Delay

DRIFT

Detunes the two voices against each other, one slightly ahead and one slightly behind. Higher values widen the doubling.

PAIR

Sets the base delay time of the voice pair, from 8 ms to 30 ms. Short times read as thickening; longer times as a distinct double.

Tape Age Filter

AGE

Rolls off the high end of the doubled voices, from bright and open down to a dull, worn-tape tone around 400 Hz.

Body EQ

BODY

Boosts the voices around 200 Hz for low-mid weight.

Tape Saturation

HEAT

Drives the voices into soft tape saturation and blends it in. Saturation applies to the wet signal only.

Stereo Spread

SPREAD

Sets the stereo placement of the voices. At zero both voices are fed from a mono sum; turn it up to feed each voice more of its own side of the input.

Master

BLEND

Sets the mix between your dry signal and the doubled voices, with an equal-loudness curve.

TRIM

Sets the output level from -12 dB to +12 dB. The output is limited just below full scale.

Omiharp is an electronic strumming instrument inspired by the legendary 1981 Suzuki Omnichord. Each key you hold is strummed as a chord through a physically modeled pluck voice, then shaped by a tremolo, a Moog-style filter and an echo. Beyond the original's up and down strums, it adds finger-picking patterns, a mirror mode and random strums across seven chord types.

Strummer

PATTERN

Chooses the strum pattern, played once per key press: UP, DOWN, UP/DN (up then down), 1ST-UP (alternating between the root and each next note upward), MIRROR (alternating between the lowest and highest notes, moving inward) and RANDOM (a new random order every second).

SCALE

Chooses the chord the strum is built from, spread over two octaves: Major, Minor, Dom 7th, Major 7th, Min 7th, Diminished or Augmented.

RATE

Strum speed. In HZ it sets notes per second, from 0.5 to 20; in TEMPO it steps through divisions and multiples of your host's quarter note.

SYNC

Switches RATE between free-running HZ and host-synced TEMPO.

Pluck String

PLUCK

Alters the initial attack timbre of the string, from darker to more brittle and pronounced. Applies to the next note strummed.

PICK

Slightly alters the sound from fingered to picked.

REFLECT

Controls the string's damping and internal resonance. Higher values ring brighter and longer.

DECAY

Amplitude envelope decay of each plucked note. Applies to the next note strummed.

Tremolo

TREM

Tremolo rate, from a slow 0.5 Hz pulse up to 4 Hz. The depth is fixed, so some tremolo is always present.

Moog Filter

TONE

Cutoff of the low pass ladder filter. Most of its travel sits in the lower range for fine control over dark tones.

RESO

Resonance of the low pass filter.

Echo

ECHO TIME

Delay time of the echo, up to 2.5 seconds, slightly offset between left and right.

REPEATS

Feedback of the echo, from a single repeat to long trails.

ECHO SEND

How much of the harp is sent to the echo. The dry harp always stays in the mix.

Master

OUTPUT

Level of the harp voice. High settings drive it into a soft clipper for a little saturation.

Paradigm is a generative synthesizer that creates a world of texture: soft, glassy resonances and inter-folding synth-scapes. It plays itself in time with your host, layering bowed tones, filtered noise, PWM pulses and chimes through a delay and reverb. You move two spheres to change timbre, color and density, or let them drift for an endless ambient soundscape; MIDI notes set the root.

Orbit Field

LEFT SPHERE

Shapes the chimes. Left to right fades the chime timbre from a filtered square to a pure sine; moving down opens the chime low-pass filter for a brighter tone.

RIGHT SPHERE

Left to right raises the chime rate, up to twice the pulse clock, and brings more PWM pulses into the mix. Moving down fades out the second bowed string and brings in filtered noise with wider pulse-width modulation.

SCALE

Chooses the scale or mode the generator picks notes from, out of 16: major, minor, major and minor pentatonic, harmonic and melodic minor, Hijaz, Hirajoshi, Yo, Hungarian, Lydian, Mixolydian, Dorian, Aeolian, Phrygian and Locrian.

AUTO

When on, both spheres drift slowly around the field on their own. Turn it off to place them by hand.

SYNC

SELF generates continuously. SYNC generates only while your host transport is running. Either way the pulse clock follows the host tempo.

+ Noise / PWM

PULSES

Sets the level of the PWM pulse voices, which play notes from the scale and feed the delay.

Pan + Space

SPREAD

Sets how widely the noise, pulses and chimes are scattered across the stereo field. At zero they sit in the centre.

SPACE

Sets the size of the reverb that the voices and the delay feed into.

Master

TONE

Sets the cutoff of a master Moog-style low-pass filter, from 50 Hz to 10 kHz. Turn it down for a darker, more distant texture.

OUTPUT

Sets the output level, from silence to double. Unity is at the middle.

Parallax is a processor that is part vocoder and part echo and reverb space. At its heart is a 10-band filterbank that shapes a noise carrier with your audio, and you can shift and sweep it in real time to bring out resonances and animate specific frequencies. An echo and an algorithmic reverb follow, so you can resculpt a sound in both frequency and space.

Velocity Sweep

VELOCITY

Sweeps the filterbank's frequency range with an LFO. As you turn it up, the sweep gets both deeper and faster, up to 2 Hz.

Band Vocoder

INSPECT

Sets where the ten bands sit. Low values cluster them in the low end; high values spread them from about 500 Hz up to 7 kHz, so the lows drop out like a high-pass filter.

VECTOR

Sets the bandwidth of the filters. Low values give wide, breathy bands; high values give narrow, resonant ones.

Quarter-Note Echo

ECHO

Level of an echo added to the filterbank output, timed from your host tempo. Turn it down for no echo.

Abyss Reverb

ABYSS

Amount of a large, dark algorithmic reverb that blurs the vocoded signal and its echo. Use it with ECHO to sculpt new spaces.

Master

BLEND

Dry/wet balance between your untouched input and Parallax's output.

GAIN

Output level, from silence to double. Noon is unity. A limiter before the output keeps peaks in check.

Parsec is a spatial processor that scatters sounds through the stereo field in three dimensions. Using minute phase offsets and filtering for speakers, or HRTF encoding for headphones, it places sounds along the X, Y and Z coordinates of spatial perception. Set a precise location, or let the modulator throw them around the room.

Imaging LFO

MOD

Sets how much a sine LFO moves the imaging controls. In SPEAKERS mode it shortens the SHIFT delay and pulls both TRANSFER filters down; in BINAURAL mode it swings AZIMUTH and, more gently, ALTITUDE. At higher rates and amounts the quick offsets turn into tremolo-like effects.

RATE

Sets the LFO rate, from 0.001 to 5 Hz.

3D Imager

SHIFT

SPEAKERS mode. Delays one channel by up to 3 ms: left of centre delays the left side, right of centre the right. It is very sensitive, so start with small moves.

TRANSFER

SPEAKERS mode. Sweeps opposed low-pass filters across the two channels, darkening the left as you turn left and the right as you turn right. Combine it with SHIFT for a wide variety of spatial effects.

AZIMUTH

BINAURAL mode. Sets the horizontal angle from -720 to +720 degrees, with straight ahead at the centre.

ALTITUDE

BINAURAL mode. Sets the vertical angle from -40 degrees (below the horizontal plane) to 90 degrees (straight over your head).

MODE

Switches between SPEAKERS for a standard stereo setup and BINAURAL for headphones; the change crossfades smoothly. BINAURAL sums the input to mono and works at 44.1, 48 and 96 kHz only; at other sample rates the switch reads NO HRTF and Parsec stays in SPEAKERS.

Spread

SPREAD

Adds a subtle, independent layer of high-frequency phase and filter offsets in either mode. Use it for extra sparkle on guitars, foley and percussive material.

Master

BLEND

Blends the dry input with the spatialised signal. It defaults to fully wet.

GAIN

Sets the output level, from silence to double, with unity at the centre.

Partikl is a granular delay and temporal shifting processor that turns your audio into unexpected musical forms. A granular engine chops, time-stretches, reverses and reorganizes a live three-second buffer of your input, then a delay line and a spectral pitch shifter add space and transposition. Random and LFO modulators animate the engine as it plays.

Particle Grains

CHOP/RATE

Sets the speed of the modulators that drive RANDOM, LFO and CHANCE. Turn it up for faster, choppier animation of the grain engine.

DENSITY

Sets the grain cloud density, from 2 to 20 grains per second.

LENGTH

Sets how much of the buffer, from its start, the grains loop through: from 10 ms up to the full three seconds.

STRETCH

Sets how fast the grains move through the buffer. Low values stretch and nearly freeze the audio; high values scan through it quickly. Grain pitch stays the same.

Blend Random

RANDOM

Sets a sample-and-hold modulation that randomly pulls the wet level down in steps, at the speed set by CHOP/RATE. At zero the wet level stays where BLEND puts it.

Length LFO

LFO

Sets how deeply an LFO shortens LENGTH, so the grain loop breathes in and out. Its speed follows CHOP/RATE.

Reverse Chance

CHANCE

Sets the probability that grains play backward. At minimum grains play forward almost always; at maximum they play in reverse.

Feedback Delay

TIME

Sets the delay time, from 1 ms to 3 seconds. The right channel runs slightly shorter for width; after you move TIME the echo fades back in over a few seconds.

FEEDBACK

Sets the level of the delayed echo mixed in with the grains.

Pitch Shift

PITCH

Shifts the pitch spectrally in common intervals, from -24 to +24 semitones. The steps are -24, -12, -10, -9, -8, -7, -5, 0, +2, +3, +4, +5, +7, +12 and +24; the middle is no shift.

Master

BLEND

Blends the dry input with the processed signal.

GAIN

Sets the output level, from silence to double. Unity is at the middle.

Pastfabric II is a granular reverb processor that splices fragments of your recent past back into the present. Influenced by microsound techniques and experimental tape splicing, it records your input to a short memory buffer, pulls granulated splices out of it, ages them like worn tape and diffuses them through two reverbs. It can turn a simple input into nostalgic glitches, repeating patterns or shimmering ambience.

Memory Placement

PAST

Sets how far back in the memory buffer (up to about three seconds) the splicer can reach. Low values stay close to what you just played; high values pull from further back.

MOTION

Sets how often the splicer jumps to a new random spot in memory, from almost never to ten times a second.

Memory Grains

DUR

Sets the duration of each splice, from 0.1 to 1 second. Short values chop and glitch; long values sustain into blurred ambience.

LENGTH

Randomly shortens each splice. At zero every splice plays its full DUR; turn it up for a more broken, stuttering texture.

DENS

Sets the density of splices, from 2 to 10 per second.

Haze Reverb

HAZE

Diffuses the splices through an algorithmic reverb and, at the same time, sets how much of the ROOM reverb you hear at the output. Low values keep the splices dry and present; high values wash them out.

Tape Ageing

FABRIC

Ages the splices like worn tape: wow and flutter, saturation, a closing low-pass, a thinning high-pass, hiss and dust crackle all grow together.

Room Reverb

ROOM

Sets the size and decay of the final reverb, which sits after the dry/wet blend. HAZE sets how much of it is heard.

Master

BLEND

Sets the balance between the dry input and the aged splices. The blend feeds the ROOM reverb, so the dry signal also picks up some room.

GAIN

Output level, from silence to double. Unity sits at the centre of the knob.

Permute is a buffer modulation matrix for granular looping, filtering and spatial processing. It records your input into a 3-second buffer and loops a granular window of it, while tempo-synced modulators move the filter, the loop position, the window size and the mix. Drive, delay and reverb follow, so loops evolve and shift into intricate rhythmic textures.

Modulation Matrix

FILTER

Centre frequency of a 2 kHz-wide band-pass filter on the looped signal, from 80 Hz to 10 kHz.

PLACEMENT

Sets where in the 3-second buffer the loop starts. Low values play the oldest audio in the buffer, high values the most recent.

WINDOW

Length of the loop window, from 80 ms to 1 second. Short windows stutter, long windows replay whole phrases.

MIX

Crossfades your dry input with the processed signal. Unlike BLEND, this mix is modulated by its own column.

FILTER SPEED

Rate of the triangle modulator on FILTER, from 0 to 8 cycles per beat in half-step increments, synced to the host tempo.

PLACE SPEED

Rate of the triangle modulator on PLACEMENT, from 0 to 8 cycles per beat, synced to the host tempo.

WINDOW SPEED

Rate of the random modulator on WINDOW, from 0 to 8 cycles per beat, synced to the host tempo.

MIX SPEED

Rate of the sawtooth modulator on MIX, from 0 to 8 cycles per beat, synced to the host tempo.

FILTER AMT

How far the modulator pulls FILTER down from its set value.

PLACE AMT

How far the modulator pulls PLACEMENT back from its set value, moving the loop through the buffer.

WINDOW AMT

How far the random modulator shortens WINDOW, for loops that change length unpredictably.

MIX AMT

How far the modulator pulls MIX toward the dry signal, for rhythmic dry/wet pulses.

Drive & Delay

DRIVE

Analog-style tanh drive on the filtered loop. Adds warmth at low settings and saturation at high ones.

DELAY

Selects one of eight tempo-linked delay times. The echoes cross between the left and right channels.

FEEDBK

Delay feedback, up to 70%, for evolving echoes.

SPACE

Send level into a large, lush reverb.

Master

BLEND

Master dry/wet, after the modulated MIX. Fully right (the default) leaves Permute's own MIX in charge.

GAIN

Output level, from silence up to double gain. Noon is unity.

Phanes turns your sound into cascading, pitch-shifted reflections with a worn tape character. It keeps the last few seconds of your input in a buffer and plays them back as a cloud of grains, which you can morph into a frozen, blurred spectral copy. The result runs through a network of reflections that climb in pitch, a tape ageing stage and a diffuse reverb haze.

Grain Cloud

DEPTH

Sets how far back in the buffer the grains reach, up to about three seconds of your recent input. Low values stay close to what you are playing; high values scatter older material through the cloud.

CLOUD

Sets the density of the grain cloud. The grain rate also wanders on its own, so the cloud breathes rather than ticking evenly.

CRYSTAL

Transposes the grains upward in semitone steps, from the original pitch to an octave up.

GRAIN

Sets the length of each grain, from 20 ms for a fine, glassy texture to half a second for smeared fragments.

Spectral

BLUR

Smooths the spectral copy of the grain cloud over time, softening it into a smeared wash.

FREEZE

Holds the current spectrum of the spectral copy; the button reads FROZEN. It only affects the spectral side, so turn MORPH toward it to hear the freeze.

Morph

MORPH

Crossfades between the grain cloud and its spectral copy. Left is pure grains; right is the frozen, blurred spectrum.

Reflections

REFLECT

Sets the feedback of the four reflection taps, spaced at golden-ratio intervals. Higher values make each reflection repeat longer.

SHIMMER

Feeds pitch-shifted copies into the later reflections, a fourth, a fifth and an octave up, each building on the one before for a rising cascade. At zero the reflections stay at their original pitch.

Tape Age

AGE

Adds tape wear to the reflections: pitch warble, dust, hiss, a darker top end and a thinner low end. At zero the reflections pass clean.

Haze

HAZE

Sets the amount and length of a diffuse reverb tail behind the reflections.

Width

WIDTH

Sets the stereo width of the processed sound. Left is mono, the centre is the natural stereo image and right widens it.

Master

BLEND

Sets the mix between your dry signal and the processed sound.

GAIN

Sets the output level, up to double. The centre position is unity.

PM-202 is a hybrid synthesizer inspired by the sound engines of the early '80s, including the SH-101 and MC-202. It adds a Buchla-inspired complex modulator, an 8-step modulation sequencer, delay and reverb, combining west and east coast synthesis for a wealth of sound design possibilities. Use it for anything from tight basslines and plucks to evolving, modulated tones.

LFO

RATE

Sets the LFO rate, from 0.2 to 10 Hz. The LFO drives the pulse width (in PW MODE LFO) and the filter (via the LFO knob).

SHAPE

Switches the LFO between TRI (triangle) and SQR (square).

Source Mixer

SQUARE

Sets the level of the pulse oscillator.

SAW

Sets the level of the sawtooth oscillator.

SUB

Sets the level of the sub oscillator.

NOISE

Sets the level of the noise generator, for grit and texture.

WIDTH

Sets the pulse width of the SQUARE oscillator. In PW MODE LFO, the LFO sweeps the width below this setting.

SUB OCT

Sets the sub oscillator one octave down (-1), two octaves down (-2), or two octaves down with a narrower pulse (-2P).

PW MODE

LFO lets the LFO modulate the pulse width; MAN holds it at the WIDTH setting.

Delay

DLY MIX

Sets how much of the synth is sent to the delay.

TIME

Selects one of eight tempo-related delay times.

FDBK

Sets the delay feedback.

Reverb

VERB MIX

Sets how much of the synth is sent to the reverb.

DEPTH

Sets the reverb's size and decay.

Modulator

TIMBRE

Morphs the modulator's waveform from a sine toward the shape chosen with MOD SHAPE.

FREQ

Sets the modulator frequency as a ratio of the played note, from half to double. Its amplitude follows the envelope.

AMOUNT

Sets the modulation depth.

MOD SHAPE

Selects the target waveform for TIMBRE across the knob's range: triangle, sawtooth or square. It applies from the next note.

TYPE

FM modulates the pitch of the square and saw oscillators; AM modulates the amplitude.

ROUTE

PASS also sends the modulator itself to the output as a sound source; MUTE uses it purely as a modulator.

Filter

CUTOFF

Sets the cutoff of the resonant low-pass filter, from 10 Hz to 10 kHz.

RES

Sets the filter resonance. High values approach self-oscillation.

ENV

Sets how far the envelope opens the filter above CUTOFF.

LFO

Sets how far the LFO pulls the cutoff down, for wah and wobble effects.

Master

OUTPUT

Sets the output level, from silence to double, with unity at the centre.

Envelope

ATTACK

Sets the attack time, up to 3 seconds. The envelope shapes both the amplitude and the filter.

DECAY

Sets the decay time, up to 3 seconds.

SUSTAIN

Sets the sustain level.

RELEASE

Sets the release time, up to 5 seconds.

Step Modulator

TARGET

Assigns the 8-step pattern to FILTER (cutoff), SQUARE or SAW (oscillator level) or MOD (modulator amount), or turns it OFF. Each step scales the target, from nothing at the bottom of a bar to the full setting at the top.

RATE

Sets how fast the steps advance: 1/2X, 1X, 1.5X, 2X or 4X the quarter note at host tempo.

RETRIG

When on, each new note restarts the pattern from step 1.

STEPS

Draw the eight step values by clicking or dragging across the bars. A playhead shows the current step.

Quazotron is a cybertronic iterobuffer for glitchy repeated phrases, chiptune console sounds and cyberpunk nostalgia. A 22-algorithm stutter engine sits behind a bit crusher, a downsample foldover and a Moog-style filter. An 8-step modulation sequencer and a chance control add the eccentric, Max Headroom-style randomness of '80s lo-fi.

Step Sequencer

TARGET

Picks what the sequencer modulates: OFF, PITCH, FILTER or LO-FI (bit depth).

RATE

Sets the step rate relative to host tempo, in steps per quarter note: 1/2, 1, 1.5 or 2.

CLOCK

SELF runs the sequencer at host tempo whether or not the transport plays, which is useful for finding patterns while the host is stopped. SYNC runs it only while the host plays and restarts it on play.

SEQUENCER STEPS

Draw the eight step values. Each step scales the target relative to its current setting: with FILTER at 50%, a full step plays 50% and lower steps play less. On PITCH a full step keeps the pitch and a half step drops it an octave.

Bit Crush + Fold

FOLD

Sample-rate foldover in eight steps that emulates downsampling. Higher values give grittier, more aliased tones.

BITS

Sets the bit depth from 16 bits down to 4. Turn it down for crunchy, console-style reduction.

Moog Filter

FILTER

Sets the cutoff of a Moog-style low-pass filter, from 96 Hz to 20 kHz.

Stutter Engine

CHANCE

Sets the probability that each beat division triggers a stutter through the current ALGO. Between stutters the processed path is silent, so lower values leave more gaps.

ALGO

Picks one of 22 stutter algorithms. 1 turns the stutter off; 2 to 8 repeat once, twice, three, four, six, eight or sixteen times at the original pitch; 9 to 15 do the same an octave up; 16 to 22 an octave down.

RANDOM

When set to RAND, the algorithm wanders at random through the 22 settings at a drifting rate, ignoring the ALGO knob. ALGO 1 still bypasses the stutter.

Master

BLEND

Sets the mix between your dry signal and the processed signal.

GAIN

Sets the output level, up to double. The centre position is unity.

Replicas is a creative splice sampler that plays your audio back as three simultaneous looped segments. Inspired by vintage tape splicing techniques, it samples the incoming signal, then rephrases, pitch shifts and delays the recording. Craft intricate melodic patterns, glitch-wreck your beats or add repeating stutters to vocals; it can be pleasantly unpredictable.

Splice Control

RANDOM

Rate of random speed and length changes, in seven steps locked to your host tempo, from every 16 beats up to four times per beat. While it is on, each splice picks its own speed (between a fifth down and the original pitch) and a random fraction of its DURATION. Turn it to zero to disable.

XFADE

Crossfade time at the splice loop points. Low values give hard, clicky stutters; high values give smooth swells.

Record Buffer

RECORD

Press REC to start sampling your input, then STOP to end the recording and start the three splices looping. The buffer holds about 11 seconds.

TRANSPORT

In SELF, Replicas always plays. In SYNC, its output is muted while your host's transport is stopped.

Splice 1

SPEED 1

Playback speed of splice 1, in semitones from -12 to +12, with extra stops two octaves down and up. Noon plays it at the original pitch.

DURATION 1

Length of splice 1, as a fraction of the recording from 1% to the full take.

Splice 2

SPEED 2

Playback speed of splice 2, in semitones.

DURATION 2

Length of splice 2.

Splice 3

SPEED 3

Playback speed of splice 3, in semitones.

DURATION 3

Length of splice 3.

Echo

TIME

Delay time of each splice's echo, up to one second.

FEEDBACK

Level of the echo added to each splice. Turn it down for dry splices.

Master

BLEND

Dry/wet balance between your live input and the three splices.

GAIN

Output level, from silence to double. Noon is unity.

Rust is a hybrid metallic resonator and vintage analog aging processor. It runs two chains in series: Iron Oxide, a resonant filter feeding a "ball-within-the-box" physically modelled space, and Chromium, the analog age effect from Driftmaker and Verv. Make anything sound old and squeaky, time-worn with wow and flutter, or completely lost in time.

Motion Sweep

MOTION

Sets the rate of a slow LFO that sweeps the METAL frequency, up to 1 Hz. Lower values are slower; turn it up to move METAL faster.

Flux Drift

FLUX

Controls wow and flutter: random pitch drift as the tape loop is read back.

Metal Resonator

METAL

Sets the frequency and width of the resonant band-pass filter, with the right channel tuned slightly higher than the left. Tune it to your input; its effect depends on the RUST amount.

Metal Rooms

RUST

Mixes the resonator and its two physically modelled metal rooms against the clean input. At zero the Iron Oxide chain is bypassed and only the tape effects apply.

Tape Loop

DUST

Adds analog crackle and hiss.

Space Reverb

SPACE

Sends the aged signal to a long algorithmic reverb, added on top of the processed sound.

Master

BLEND

Blends the dry input with Rust's output. It defaults to fully wet, the original Rust sound.

GAIN

Sets the output level, from silence to double, with unity at the centre.

Shadow is a polyphonic pitch and delay processor that conjures everything from lush choruses to slapback lines. It casts two spectral pitch-shifted shadows of your input, a primary shadow and an octave shadow, behind an adjustable lag. Used minimally it widens and thickens; pushed further it can glitch, mangle and obscure your sounds.

Cast Modulator

CAST

Modulation wizardry. It delays the right channel's shadows further than the left, up to an extra half second, and adds an LFO that pulses the SHADOW 2 level, faster as you turn it up.

Follow Delay

FOLLOW

Sets the lag between the dry signal and the shadows, up to one second. Low settings give slapback or chorus effects; higher settings give repeat effects between the dry and pitch-shifted signals.

Primary Shadow

SHADOW 1

Sets the volume of the primary pitch-shifted signal.

PITCH

Sets the pitch shift, from a 4th below to a 3rd above, with every microtonal value in between. A small zone just below noon leaves the pitch unshifted.

Octave Shadow

SHADOW 2

Sets the volume of a second shadow. With PITCH above the centre zone it sits an octave above SHADOW 1; below it, an octave below, for rumbly sub frequencies. In the centre zone it becomes a subtle, slowly wobbling pitch LFO.

Master

BLEND

Sets the balance between the dry signal and the shadows.

GAIN

Sets the output level, from silence to double. Unity is at the middle.

Shrike is a shimmer processor that runs an octave-shifted reverb through a set of four tempo-synced LFOs to create pulsating, fluctuating space effects. Your input is spectrally shifted up an octave, thrown through a cross-fed slapback echo, then into a reverb whose level, length, tone and mix each have their own modulator. Set the LFOs to different rates and the pulses and swells overlap into patterns that rarely repeat.

Slapback Echo

FEEDBACK

Sets the slapback echo amount: how much of the cross-fed, repeating echo is mixed with the octave-shifted signal before it reaches the reverb.

Draw Mod

DRAW

Sets the depth of an LFO on the level going into the reverb, for a tremolo-like pulse through the space. At its lowest there is no modulation.

DRAW SPEED

Sets the DRAW modulation rate in sync with the host tempo, from stopped through 1/4 and 1/2 up to 15 cycles per beat.

Shimmer Reverb

DECAY

Sets the reverb length, from short to near-endless.

TONE

Sets the reverb's filter cutoff, from a dark 700 Hz to a bright 15 kHz.

DECAY SPEED

Sets the rate of the DECAY modulation in sync with the host tempo, from stopped up to 15 cycles per beat.

TONE SPEED

Sets the rate of the TONE modulation in sync with the host tempo, from stopped up to 15 cycles per beat.

DECAY AMT

Sets how far the LFO pulls the reverb length down from the DECAY setting.

TONE AMT

Sets how far the LFO sweeps the reverb filter down from the TONE setting.

Master

BLEND SPEED

Sets the rate of the BLEND modulation in sync with the host tempo, from stopped up to 15 cycles per beat.

BLEND AMT

Sets how far the LFO pulls the mix back toward dry from the BLEND setting.

BLEND

Sets the balance between the dry input and the shimmer reverb.

GAIN

Output level, from silence to double. Unity sits at the centre of the knob.

Speektra is a speech simulation synthesizer inspired by the VOSIM method developed by Kaegi and Tempelaars in the 1970s. Bursts of formant grains build robotic vowel sounds, and a tempo-synced modulator morphs between two vowels as you play. It excels as a lead voice synth, a percussive vocal or a choral drone.

Vowel Pair

VOC 1

Sets the starting vowel. The knob steps through a sequence of A, E, I, O and U vowels, blending smoothly between neighbours. Takes effect on the next note.

VOC 2

Sets the target vowel that MORPH travels toward. Takes effect on the next note.

METHOD

MAN / RND. On MAN the vowels follow VOC 1 and VOC 2; on RND every note picks both vowels at random, for inter-note variations.

Morph LFO

MORPH

Sets how far the modulator moves the voice from VOC 1 toward VOC 2 and beyond. At zero the vowel holds still.

SPEED

Sets the morph rate in sync with the host tempo, from still to two cycles per beat.

SHAPE

Selects the modulator waveform in three steps: a triangle that glides between vowels, a square that jumps either side of VOC 1, and a square that alternates between VOC 1 and VOC 2. Takes effect on the next note.

FOF Formants

REGISTER

Selects the voice register in five steps. The first four rise from tenor through countertenor and alto to soprano; the last step drops to bass. Takes effect on the next note.

Envelope

ATTACK

Sets the attack time, from 1 ms to 10 seconds.

DECAY

Sets the decay time, from 0.01 to 5 seconds.

SUSTAIN

Sets the sustain level, up to half the peak. At zero every note is percussive.

RELEASE

Sets the release time, from 0.01 to 5 seconds.

Master

OUTPUT

Output level, from silence at the left to full level at the right. A limiter keeps each voice from clipping.

Sphine is an echo harvester for designing bending spaces, shimmering atmospheres and endless sound washes. Its chain of a late-start delay, a cross-fed echo, a reverb and a comb resonator can produce everything from a quiet room tone to an ethereal spiral of echoes. Constantly wandering reflections let you craft spaces that breathe and evolve on their own.

Motion

MOTION

The control that makes Sphine move. It sets the depth of random wanders on the late-start send, the reverb feedback and level, SCAN and DIRECTION; at zero the space holds still.

Late Start

START

Delays the input by up to about 3 seconds before it reaches the effects. This creates a canon-like effect that is most distinct with MOTION up.

Cross Echo

TIME

Echo delay time, from 0 to 5 seconds. Changes glide, so moving it bends the echoes.

ECHO

Echo feedback. The repeats cross between the left and right channels.

ECHO MIX

Balance between the late-start signal and the echoes going into the reverb.

Reverb

LENGTH

Sets the size of the space: the reverb feedback, the comb decay time and how much reverb (versus the plain late-start signal) reaches the wet sum.

Comb

SCAN

Chooses what feeds the comb resonator, from the echoes (low) to the reverb (high). Higher values create more shifting, metallic reflections.

Direction

DIRECTION

Morphs between the two reverberation algorithms: the smooth reverb at the left and the ringing comb at the right.

Master

BLEND

Mixes the dry input with the wet signal. A limiter follows to keep long tails in check.

GAIN

Output level, from silence up to double gain. Noon is unity.

Strom is a generative micro-texture synthesizer that combines a physically modelled plucked string with a saw voice and a filtered noise generator. Its tempo-driven sequencer plays notes from your chosen scale and sums them into a granular processor for advanced micro-texture creation. Strom excels at tense, pizzicato textures and resonant scrapes.

Orbit Field

LEFT ORB

A draggable sphere. Move it right (LENGTH + GRAIN RATE) for longer notes and forward grain playback; at the far left the grains play in reverse, and near the centre they slow to a standstill. Move it down (REFLECT) to let the plucked string ring with more reflection.

RIGHT ORB

A draggable sphere. Move it right (NOISE) to raise the noise generator; move it down (DENSITY + DELAY) for denser grains and longer delay times.

SCALE

Chooses the scale the sequencer picks its notes from, among 16: major, minor, the pentatonics, harmonic and melodic minor, Hijaz, Hirajoshi, Yo, Hungarian and the church modes.

AUTO

Lets both orbs drift slowly on their own, so the texture keeps evolving. The spheres move on screen to show where the sound is.

SYNC

In SELF, Strom generates continuously. In SYNC, it plays only while the host transport is running.

Sequencer

DISTANCE

Strom plays a second, duplicate sequence; DISTANCE delays it by up to 2 seconds against the first.

OCTAVE

Transposes the duplicate sequence by -2 to +2 octaves.

Grain Loop

GRAIN

Crossfades between the natural voices (left) and the granular loop (right).

+ Delay

SPACE

Feedback of the wandering stereo delay. Higher values build longer, denser echo trails.

Master

OUTPUT

Output level, from silence up to double gain. Noon is unity.

Swarm is a particle sampler inspired by swarm intelligence and the particle masses of composer Iannis Xenakis. Each note you hold clones short segments of a sample into a flock of members that disperse in unified, sometimes stochastic, coordination, played at the pitch of the note. It excels at dense pizzicato clouds and spacey, randomized ambiences, with unpredictable and often wondrous results.

Swarm Clock

SHAPE

Sets how long the swarm takes to ramp up to DENSITY, in a loop, and how fast its members wander through the sample. Lower values reach full density faster; higher values take longer.

DENSITY

Sets the size of the swarm: how many new members spawn per second at the peak of each ramp, from 1 to 30.

Sample Grains

SAMPLE

Picks the source: one of five factory samples (GUITAR, DIST, RHODES, BUCHLA 1, BUCHLA 2) or FILE for your own.

SECTION

Sets how far into the sample the swarm reads. Low values keep the members near the beginning; higher values let them start further in.

SIZE

Sets the size (duration) of each swarm member, from 100 ms to 600 ms.

SOURCE

Choose your own .wav or .aif sample; picking a file switches SAMPLE to FILE. The button shows the file's name, PICK FILE when none is chosen, or MISSING when a saved file can't be found, in which case the default guitar sample plays.

Pitch Delay

SPLATTER

A pitch echo effect. One control sets the echo time, its feedback and the pitch of the repeats together, from short, low-pitched echoes to long, higher-pitched trails.

MIX

Blends between the pre-splatter swarm and the post-splatter echoes.

Master

OUTPUT

Sets the output level, up to double. The centre position is unity.

Taska is a modulation processor for everything from subtle overdriven shimmers to wildly animated textures. At its heart are two amplitude modulators, a musical distortion circuit and a band-pass filter, followed by an algorithmic reverb. Combine them to mold your input into something new and alive.

Tremolo

FAZE

Sets the depth of a slow sine modulator multiplied with the input, for vibrating, pulsing amplitude.

FAZE RATE

Sets the FAZE modulation rate, from 0.1 to 10 Hz.

Ring Modulator

MOD FREQ

Sets the ring modulator frequency, from 1 to 200 Hz. Low values throb; higher values add metallic sidebands.

MOD SCALE

Sets the ring modulation amount. It is summed with FAZE before the drive.

Edge Drive

EDGE

Sets the overdrive amount of the saturation stage.

Band Pass

SECTION

Sets the band-pass centre frequency, from 16 Hz to 8 kHz.

POINT

Sets the band-pass width, from 100 Hz to 4 kHz. Narrow settings give a focused, nasal band; wide settings keep more of the drive.

Mod Mix

MODMIX

Balances the modulated, driven and filtered signal against the clean input before the reverb.

Space Reverb

SPACE

Sets the reverb send, added on top of the MODMIX output.

TRAIL

Sets the reverb size and decay.

ROOM

Sets the reverb's damping frequency, from 100 Hz for a dark, muffled space to 7 kHz for a bright one.

Master

BLEND

Blends the dry input with Taska's output. It defaults to fully wet, the original Taska sound.

GAIN

Sets the output level, from silence to double, with unity at the centre.

Tensol is a sound shaping processor built on a string tension resonator, a granular segment chopper and a feedback delay. It runs your input through the resonator, records the result, then chops, stretches and reorganizes it into grains. You can transpose the grains in semitones or scale them tape-style, then send them through a cross-fed delay.

Grain Pitch

PITCH

Transposes the grains in semitones, from -12 to +12, when MODE is set to PITCH.

SCALE

Scales the grain playback speed by a factor from -2 to +2, tape-style, when MODE is set to SCALE. Negative values play grains in reverse; values near the centre slow them almost to a stop.

MODE

Chooses which pitch control is active: the lower half selects PITCH, the upper half selects SCALE.

String Resonator

STRING

Sets the resonator frequency, from 100 Hz to 5 kHz.

STRESS

Sets the resonator amount. At the centre there is no resonance; turning either way increases it, and the two sides ring with a different harmonic character.

Segment Grains

SEGMENT

Sets the segment density, from 0.5 to 3 one-second grains per second.

STRETCH

Sets how fast and in which direction the grains move through the recorded window. At the centre the read point freezes; left of centre it runs backward, right of centre forward.

LENGTH

Sets the processing window: how much recorded audio the grains loop through, from 0.1 to 1 second.

Feedback Delay

TIME

Sets the delay time of the repeats, up to 2 seconds. The two delay lines cross-feed, so repeats trade between the left and right channels.

FEEDBACK

Sets how much of each repeat feeds back into the delay, for longer trails.

Master

BLEND

Sets the balance between the dry and processed signal.

GAIN

Sets the output level, from silence to double. Unity is at the middle.

Timedream is a time recursion shaper for taking your recordings into the time sequence of dreams. A waveshaping fuzz on the front end feeds a delay whose time is bent by a smooth or sharp LFO. Use it for slow evolving choruses, fuzz flangers, springy glitch pitch-shifting or a simple modulated echo.

Fuzz Mix

FUZZ

Blends in a waveshaper distortion before the delay. At zero the delay hears your clean input.

Modulation LFO

ENERGY

Sets the modulation speed, from 0.001 Hz to 1 Hz.

DREAM

Sets the modulation depth, up to 30% of the delay time. Low values give gentle chorus drift; high values bend the pitch hard.

SHAPE

Picks the modulation waveform: SMOOTH (sine) below halfway, SHARP (square, with softened edges) above it. SHARP jumps between two delay times for a stepped, glitchy pitch effect.

Modulated Delay

TIME

Sets the delay time, from a few microseconds (flanger and chorus territory) up to one second.

Echo Sum

ECHO

Sets the level of the modulated echo summed back with the fuzzed signal. At zero you hear only the fuzz.

Master

BLEND

Sets the balance between the dry input and the processed sound.

GAIN

Output level, from silence to double. Unity sits at the centre of the knob.

Twine is a lo-fi, lossy multi-effects mixer with six effect algorithms in series. Each column has a fader for the effect amount, a MOOD control that alters the algorithm and a CHANCE control that sets the probability the effect comes through. The result is a constantly evolving, mutable effects chain that warps your sound in pleasantly unpredictable ways.

Warp

WARP

A classic analog tape warp with slight pitch wows and flutters. Higher values add more wobble and roll off more highs.

MOOD

Raises a high-pass filter and adds subtle filter distortion to the warped signal.

CHANCE

Probability that WARP comes through. Fully clockwise it is always on; at noon it passes about half the time.

Crunch

CRUNCH

Lo-fi digital distortion. Higher values add more of it and more sample-rate foldover.

MOOD

Amount of bit crushing, from 16 bits down to 3.

CHANCE

Probability that CRUNCH comes through.

Skip

SKIP

Granular buffer reprocessing that retriggers grains from random points in the last 3 seconds of audio.

MOOD

Changes grain rate and size. Higher values give more frequent, longer grains.

CHANCE

Probability that SKIP comes through.

Ghost

GHOST

A feedback delay that produces phase offsets and sonic doppelgangers, slightly offset between left and right.

MOOD

Sets the delay time and feedback together. Low values give short, light flanging; high values give long, dense repeats.

CHANCE

Probability that GHOST comes through.

Baud

BAUD

Spectral blurring with pitch shifting. Higher values blur more and mix more of it in.

MOOD

Pitch of the spectral voice. Around two-thirds of the way it is unshifted, lower values drop it (noon is an octave down), fully right is an octave up.

CHANCE

Probability that BAUD comes through.

Pulse

PULSE

A tempo-synced tremolo across the whole chain, from shimmering modulation to a pulse-driven effects bus.

MOOD

Pulse rate, in eleven steps from stopped to 10 pulses per beat of the host tempo.

CHANCE

Probability that PULSE comes through.

Master

BLEND

Mixes the dry input with Twine's output. Fully right is the original fully processed sound.

GAIN

Output level, from silence up to double gain. Noon is unity.

Vanisher is a granular processor and spatial effect that blurs the lines between the cosmic and the worldly. It washes any sound you feed it through a reverb, chops the tail into microscopic particles and reconfigures them in time and space. Use it for phase-induced 3D motion, granular blurring, glitching and much more.

Granular Playback

GHOST

Sets the particle size of each segment of buffered audio. Clockwise gives larger particles, up to about 400 ms; counterclockwise gives smaller, grainier ones.

TRANSCEND

Works directly on the granular engine and sets particle pitch and playback speed. Low settings play the particles backwards, the centre all but stalls them, and high settings play them forward at their original pitch.

Spectrum Filter

SPECTRUM

Sets the frequency range of the granular effect with a low-pass filter, from 200 Hz to 1.2 kHz. Turn it down for a darker, more distant haze.

Vanish Panner

VANISH

Sets the amount of random panning and amplitude modulation on the particles, and how far a fast modulator throws the granular playback speed. Turn it up for restless 3D movement and flickering dropouts.

Master

BLEND

Sets the mix between your dry signal and the granular texture.

OUTPUT

Sets the output level, up to double. The centre position is unity.

Verv is a synthesizer inspired by string machines, tape loops, Mellotrons and other time-worn analog recordings. Modeled after the 1970s Freeman String Symphonizer and ARP Solina, it pairs two morphable oscillators and a sub voice with an ensemble that gives every note its own modulator. A tape stage then bakes the result, as if you had recorded it to a loop and left it in a hot, sunny place all summer.

Twin Saws

VOICE

Level of the two main oscillators.

SHAPE

Morphs the oscillators from a bright saw to a soft triangle. Like a classic Buchla, you add or subtract harmonics as you turn it.

SPREAD

Ensemble thickening in the style of the old stringers. Each note gets its own random detune modulator, and a slightly delayed copy is layered in, so the fluctuations are never the same twice.

Sub Voice

SUB

Level of the sub oscillator, a pulse wave two octaves below the played note. Use it alone for MC-202 style bass.

Moog Filter

TONE

Cutoff of the low pass filter on all three oscillators, from about 3 kHz up to fully open.

Envelope

ONSET

Attack time, from instant to five seconds. Applies from the next note you play.

RELEASE

Release time, up to five seconds. Applies from the next note you play.

Tape Aging

BAKE

Sunbaked tape. Turn it up for pitch deviation, hiss, saturation and a narrower, duller band. At zero the whole tape stage is bypassed and you hear the clean synth.

Crackle

CRACK

Adds random pops and crackle, denser and louder as you turn it up. Needs BAKE above zero to be heard.

Master

OUTPUT

Output level of the baked signal. Like CRACK, it has no effect when BAKE is at zero.

Voga is a Karplus-Strong reso-pluck synthesizer that creates new musical phrases on its own. From just a few settings it generates variable yet musical strumming patterns at your host tempo, six plucked strings per strum, each picking a random note from the chosen scale. Use it for anything from plucked melodic phrases to ambient guitar arpeggios.

Orbit Field

LEFT MOON

Drag the sphere to shape the strum. Horizontal position (STRUM SPREAD) adds a little extra gap between the strings of each strum; vertical position sets the string reflection and the echo feedback, with feedback rising toward the bottom.

RIGHT MOON

Horizontal position (RELEASE + CUTOFF) lengthens each note's release and opens the low-pass filter as you move right. Vertical position sets the echo time, between 200 and 250 ms.

SCALE

Selects one of 16 scales the strings draw their notes from: MAJ, MIN, MAJ PENT, MIN PENT, HARM MIN, MEL MIN, HIJAZ, HIRAJOSHI, YO, HUNGARIAN, LYDIAN, MIXOLYD, DORIAN, AEOLIAN, PHRYGIAN and LOCRIAN.

AUTO

Puts the moons into control mode: both spheres drift around the field on their own.

SYNC

SELF generates continuously at host tempo. SYNC generates only while the host transport is running.

Strummer

STRUM

Sets the strum speed: the gap between the six strings, from a quarter of a sixteenth note to four sixteenths. Low values give a fast strum; high values spread it into an arpeggio.

Filters

BAND

Sets the width of a band-pass filter around 700 Hz. Low values give a narrow, nasal tone; high values let the full pluck through.

Pan + Space

SPREAD

Sets how far each string is randomly panned across the stereo field.

SPACE

Sets the reverb size and decay.

Master

OUTPUT

Sets the output level, from silence to double, with unity at the centre.

Wade is a polyphonic synthesizer with quirky tones and tape-aged character. Inspired by the "west coast" synthesis school, it is built around two complex oscillators, one of which can act as a modulator, and a lo-pass gate. It doesn't aim to compete with Buchla legends; its sound sits somewhere between a Casiotone and a Mellotron, baked through a lo-fi reverb and a drifting cassette stage.

Timbre 1

TIMBRE 1

Morphs oscillator 1 between saw and triangle.

MOD

Sets the frequency of oscillator 1 as a ratio of the played note, from 0.1x to 3x. With CARVE turned up, this sets the ring modulation sidebands.

SPREAD

Adds chorus and vibrato: random stepped pitch drift on oscillator 1, plus a short delayed copy mixed into the tape stage.

+ Timbre 2

TIMBRE 2

Morphs oscillator 2 between saw and triangle. Oscillator 2 always plays the note's pitch, slightly detuned per note.

Carve

CARVE

Crossfades between running both oscillators in parallel and oscillator 1 ring modulating oscillator 2.

Lo-Pass Gate

GATE

Chooses the lo-pass gate shape from ten steps. Counterclockwise gives a fast attack and staccato notes; clockwise gives a slow attack and sustained notes. The shape is set when each note starts.

+ Space

SPACE

Sets the send to a lo-fi plate-style reverb, placed before the tape stage.

Tape Aging

BAKE

Sets the tape effect amount: wow and flutter, hiss, a driven low-pass that darkens and a rising high-pass. Fully down, the tape stage is bypassed.

+ Crackle

CRACKLE

Adds dust and debris to the tape, denser and louder as you turn it up. It is heard only while BAKE is above zero.

Master

OUTPUT

Sets the output level, from silence to double. Unity is at the middle.

Woolren is a phase and filter programmer for intricate sound design. Each of its five phaser parameters has a dedicated LFO, and an 8-step sequencer synced to your host tempo can drive the filter, the notch spacing or the wet mix. From slow, sweeping ambiences to rapidly phase-shifting tremolos, Woolren adds subtle nuance or vast, spacious movement to any sound.

Step Sequencer

TARGET

Assigns the step sequencer to FILTER, DIST (distance) or BLEND, or turns it OFF. Each step scales the target's value, from nothing at the bottom of a bar to the full setting at the top.

RATE

Sets how fast the sequencer advances: 1/2, 1, 1.5 or 2 steps per quarter note at host tempo.

CLOCK

SELF runs the sequencer on its own at host tempo. SYNC advances only while the host transport is running and restarts the pattern each time playback starts.

STEPS

Draw the eight step values by clicking or dragging across the bars. A playhead shows the current step while a TARGET is active.

Phaser Matrix

FILTER

Sets the centre frequency of the first notch, from 20 Hz to 2 kHz. The other notches are derived from it.

WIDTH

Sets the bandwidth of each notch; higher values give narrower notches. The middle of the range gives the strongest phasing, while the extremes suit special effects.

FEEDBACK

Feeds the output back into the all-pass chain, positive above centre and negative below. More feedback brings out more prominent notches.

DISTANCE

Sets the scaling factor that spaces the additional notches across the spectrum.

BLEND

Sets the phaser's own wet mix. Unlike the master BLEND, it can be modulated by its LFO and by the sequencer.

FILTER SPEED

Sets the rate of FILTER's triangle LFO, from 0.001 to 4 Hz.

WIDTH SPEED

Sets the rate of WIDTH's triangle LFO, from 0.001 to 4 Hz.

FEEDBK SPEED

Sets the rate of FEEDBACK's triangle LFO, from 0.001 to 4 Hz.

DIST SPEED

Sets the rate of DISTANCE's triangle LFO, from 0.001 to 4 Hz.

BLEND SPEED

Sets the rate of the phaser BLEND's triangle LFO, from 0.001 to 4 Hz.

FILTER AMT

Sets how far FILTER's LFO pulls the notch frequency down from the fader setting. At full amount it sweeps all the way to zero.

WIDTH AMT

Sets how far WIDTH's LFO pulls the notch width down from the fader setting.

FEEDBK AMT

Sets how far FEEDBACK's LFO pulls the feedback toward zero.

DIST AMT

Sets how far DISTANCE's LFO pulls the notch spacing down from the fader setting.

BLEND AMT

Sets how far the phaser BLEND's LFO pulls the wet mix down, for tremolo-like pulsing between dry and phased sound.

Space

SPACE

Sends the phased signal to a long algorithmic reverb, mixed in with the phaser output.

DAMP

Sets the reverb's damping cutoff. Low values give a dark, muffled reverb; high values keep it bright.

Master

BLEND

Blends the dry input with Woolren's complete output. It defaults to fully wet, the original Woolren sound.

GAIN

Sets the output level, from silence to double, with unity at the centre.

Xodoi is a drone and texture synthesizer that uses classical granular synthesis to create dense, glassy washes of cascading sound. A primitive FM-style engine multiplies a carrier with a modulator, adds a harmonic oscillator and runs through a Moog-style filter; the result is recorded into a short loop and scattered into grains. Use it as a drone synth, a soundscape creator or, with the cloud turned down, a conventional dual-oscillator synth.

Contour

CONTOUR

Sets the attack and release of each note together, from 0.01 to 5 seconds. Takes effect on the next note.

Carrier

SHAPE

Morphs the carrier and modulator waveforms at the same time, in opposite directions, between sawtooth, triangle and ramp shapes.

ORBIT

Sets the depth of a very slow LFO (one cycle every 100 seconds) that pulls the carrier and harmonic waveforms away from SHAPE.

X Modulator

VARIANT

Sets the modulator frequency, from 50 to 500 Hz, independent of the note you play. Sweep it for shifting, inharmonic tones. Inactive when SYNC is FIXED.

SYNC

FREE / FIXED. On FREE the modulator follows VARIANT; on FIXED it locks to 1.5 times the played note, for a tuned, harmonic tone on every key.

Harmonic

HARMONICS

Sets the pitch of an added harmonic oscillator, from just above the note up to an octave above it.

Moog Filter

COLOR

Sets the cutoff of the Moog-style low-pass, from 80 Hz to 16 kHz.

EVOLVE

Sets the speed of an LFO that dips the filter cutoff, from a slow 0.001 Hz drift to 2 Hz.

Grain Cloud

CLOUD

Fades from the plain synth to the granular cloud. All the way down, Xodoi is a simple FM-style drone synth; all the way up you hear only the grains.

DENSITY

Sets the grain density. Higher values give more grains per second, longer grains and a wider random pitch scatter.

SPREAD

Sets the stereo image of the cloud, from the same grains in both channels to an independent cloud on each side.

Master

OUTPUT

Output level, from silence to double. Unity sits at the centre of the knob.

Zerone is an audio particle splitter that uses granular processes to dissect sound. Two parallel particle voices loop through a recorded buffer of your input, each with its own time compression or expansion, echo, reverb and stereo placement. At one end it is a repeat, timestretch and stutter effect; at the other it builds huge washes of evolving, cascading ambience.

Particle 1

SIZE 1

Sets the length of the time segment particle voice 1 loops through, from 10 ms to 2 seconds. Short settings stutter; long settings repeat whole phrases.

POS 1

Extends the loop further into the recorded buffer, adding up to 2 seconds on top of SIZE 1.

TIME 1

Sets how fast voice 1 moves through its segment, from 4x backward to 4x forward. At the centre the read point freezes; slow settings stretch time, fast settings compress it.

Echo & Pan 1

PAN 1

Places voice 1 in the stereo field, from left to right.

ECHO 1

Adds a 100 ms echo and blends voice 1 into a large reverb. Higher values move it from dry particles to ambient wash.

Particle 2

SIZE 2

Sets the length of the time segment particle voice 2 loops through, from 10 ms to 2 seconds.

POS 2

Extends voice 2's loop further into the recorded buffer, adding up to 2 seconds on top of SIZE 2.

TIME 2

Sets how fast voice 2 moves through its segment, from 4x backward to 4x forward, frozen at the centre.

Echo & Pan 2

PAN 2

Places voice 2 in the stereo field, from left to right.

ECHO 2

Adds a 100 ms echo and blends voice 2 into a large reverb.

Master

BLEND

Blends the dry input with the two particle voices.

GAIN

Sets the output level, from silence to double. Unity is at the middle.