BITS

Bit depth, 16 down to 1.

RATE

Sample-rate reduction — the converter's hold clock. Free: 0–100 %. Clocked (AUX): hold period as beat divisions, 1/1 down to 1/512.

DRIVE

Saturation into the crusher; 0 = clean.

DITHER

TPDF noise ahead of the quantizer — masks the stairsteps. In CODC it dithers the codec coefficients; in STOC it sets the internal noise level.

JITTER

Randomises the hold-clock timing (analog-converter warmth).

MIX

Dry / crushed blend.

MODEL

Quantizer character: CLAS (classic sample-and-hold), TRED (mid-tread — quiet signals gate to true silence), ULAW (µ-law companding, telephone / 12-bit sampler), FLOT (block-float — grit independent of level), DELT (1-bit delta modulation), GLID (slews between captures — rubbery portamento), ERR (noise-shaped — grit pushed up into hiss), CODC (MDCT transform codec — as BITS drops, quiet bands vanish, survivors “birdie”, the band limit closes in and noise smears ahead of transients; delays the effect by about 11 ms, dry included), STOC (stochastic 1–3 bit quantizer — noise tips quiet signal over the thresholds and a resonant filter pulls it back out; DITHER sweeps the noise through the sweet spot).

ROT

Acquisition failures per hold cycle — the converter re-holds a stale value (warble) or drops to zero (sputter).

SMOOTH

Post-hold reconstruction filter: 0 = raw stairsteps, up = rounded “vintage DAC”.

WIDTH

Decouples the left and right hold clocks (right runs up to 25 % slower with its own jitter and rot). 0 = mono-locked crush.

RANGE

Randomises the bit depth every hold cycle, within ±(RANGE × 10) bits of BITS.

TRACK

Locks the hold rate to the detected input pitch (OFF, ¼× … 8×) so aliasing partials land harmonically. Overrides RATE and the clock.

AUX

On RATE — USE CLOCKED RATE (beat divisions) vs USE FREE RATE. Starts free.

SHIFT

Data-bus damage — bit rotation plus XOR on every sample, 0 to 8 steps.

CORRUPT

Address-line shorts — pairs of address bits stuck together, so reads land in the wrong place. More = more swaps.

STALL

Probability of a stuck-CD buffer repeat at each chunk boundary.

RATE

Chunk length for stall events. Free: 2 s down to 10 ms. Clocked (AUX): 1 beat down to 1/64.

HQ

2× oversampled bit mangling — cleaner top end, less aliasing.

MIX

Dry / bent blend.

BUS

Data-bus width SHIFT works on: 16, 8 or 4 bit. Below 16 the audio itself is reduced to that bit depth even with SHIFT at 0 — 8 bit is lo-fi grain, 4 bit is heavy crunch.

CLOCK

DAC clock starvation — at chunk boundaries (RATE) the clock sags: pitch droops (up to two octaves) over 120–500 ms while the sample rate starves with it, so the droop turns gritty, then it snaps back. With the clock-dot on, sags last 1, 2, 4 or 8… RATE steps so they start and end on the beat grid. More = more often, deeper and longer.

AUX

On RATE — USE CLOCKED RATE vs USE FREE RATE. Starts clocked.

MODEL

Twelve shapers: SOFT (tanh), HARD (clip), TUBE (exponential knee), FOLD (triangle wavefold), SINE, ASYM (different curves per half), RECT (full-wave rectify), FUZZ (cascade), MUFF (two clip stages with lowpass between), PL+2 / PL+3 (add the 2nd / 3rd harmonic), MULT (three-band split, per-band soft clip).

DRIVE

Gain into the shaper, with automatic makeup.

BIAS

DC offset ahead of the shaper — asymmetry and even harmonics. Centre = none.

MIX

Dry / distorted blend.

LOW CUT

Bottom of the focus band, 20 Hz–20 kHz. Only what lies between LOW CUT and HIGH CUT is driven; everything outside passes clean.

HIGH CUT

Top of the focus band, 20 Hz–20 kHz.

DRIVE

Pre-gain into the harmonic generator, 1× to 4×.

TONE

Highpass corner of the generator, 500 Hz–10 kHz — where the sheen starts.

ATTACK

Envelope-follower attack, 0.1–50 ms — how fast the harmonics react to transients.

RELEASE

Envelope-follower release, 10–500 ms.

MIX

Level of the added harmonics. Parallel topology — the dry signal always passes at unity.

SUB

The low-end mirror of the exciter (Big Bottom style). Isolates the bass below ~110 Hz and saturates it into 2nd and 3rd harmonics plus extra weight, so the low end reads on small speakers. Shares DRIVE, ATTACK and RELEASE; MIX trims it too. OFF = exciter only.

NOTE

The pitch the loop sings at, A1–A6 (55–1760 Hz, default A3). Each channel is a delay loop one period long, so the howl lands on NOTE; changing it glides the loop to the new pitch in about 15 ms, so a stepped GEN or MAP lane plays melodies.

REGEN

Loop feedback. Zero passes the input unchanged. Below 70% the loop rings and decays after the input excites it; at 70% it reaches unity and above that it self-oscillates, even with no input (a −100 dB noise floor starts it). Higher settings howl louder and dirtier. Default 60%.

COLOR

Width of the band-pass inside the loop, shown as its Q: left (Q 10) rings as a near-pure tone. Past centre the loop also opens up, with up to 80% of the return bypassing the band-pass, so harmonics keep circulating and the howl turns bright and buzzy. The loop is gain- and phase-compensated at NOTE, so COLOR changes neither the pitch nor the 70% threshold.

BITE

Drives the howl into a tanh saturator on its way out (1× to 12×), for a brighter, squarer tone at an even level. The drive sits after the loop, so it never moves the pitch or the 70% threshold.

DRIFT

Lets the loop bend its own clock: its level sags the pitch (up to 40 cents), a seeded wander nudges it (up to 25 cents), and above 50% the loop's output frequency-modulates its own delay for rougher, unstable tones. Identical settings never resolve the same way twice.

DAMP

Ducks the loop gain with the input's level: playing chokes the howl, which blooms back as the input decays. Zero lets the input and the howl overlap freely. Default 30%.

COUPLE

Above zero the right loop moves to a fifth above NOTE (with SNAP, the nearest in-key fifth, sixth or fourth) and each loop is excited by the other's return, scaled by COUPLE. Zero keeps both loops on NOTE.

MIX

How much howl is added. The original audio always passes at full level with its full frequency range; the howl sits on top of it. Default 50%. HOWL adds no host latency.

AUX

On NOTE — ENABLE SCALE SNAP: NOTE locks to the global key and scale, and COUPLE's second note stays in key.

BITRATE

Codec bitrate, 6–256 kbps (default 32). A real MDCT encode/decode with joint mid/side coding: the bit budget goes to the loudest bands, so quiet bands and the stereo side starve first, bands hovering at one bit flicker as "birdies", and the band limit closes from 20 kHz towards 3.5 kHz as the rate drops.

SPEED

Frame length. Free: 21 ms down to 0.7 ms (at 48 kHz); long frames smear and pre-echo, short frames garble. Clocked: a note division from 1/1 to 1/64 that sets the packet grid, with the frame length following the division. Frame changes crossfade, so SPEED can be sequenced.

PACKET

Packet-loss rate. Free packets are about 21 ms long and are lost in bursts; clocked packets are one division each, so dropouts land on the beat.

REPEAT

What fills a lost packet. MUTE (zero) leaves silence; higher settings repeat the last good frame, decaying with each repeat. 100% holds it indefinitely, a frozen, buzzing decoder.

ARTFCT

Codec artifacts: adds codec noise in proportion to each band's quantiser step, boosted on attacks, so it smears ahead of transients as pre-echo.

JITTER

Wobbles the decoder clock by up to 6 ms, the drifting playback of a starved buffer.

TONE

Left darkens the decoded signal (low-pass down to 1.2 kHz), right thins it (high-pass up to 1.5 kHz). Centre is flat.

MIX

Blends the original and decoded signal. Default 100% wet. LOSSY adds 2048 samples of host latency; MIX stays phase-aligned.

AUX

On SPEED — USE CLOCKED RATE vs USE FREE RATE. Starts clocked at 1/16.

FOLD

Fold drive, 1× to 13×.

SHAPE

Morphs the fold curve from sine (soft) to triangle (hard).

FB

Feeds the folded spectrum into a decaying spectral trail that shimmers behind the fold. 0 = fold only, trail engine asleep.

MIX

Dry / folded blend.

TRAIL PITCH

Transposes the spectral trail by a whole-semitone interval, up to two octaves either way (UNI = unshifted). An octave or fifth up turns the fold into a shimmer. Needs FB above 0 to be heard.

AUX

On TRAIL PITCH — ENABLE SCALE SNAP: the trail interval locks to the global key and scale.

DRIVE

Gain into the arc gap — the “voltage” pushed at the breakdown threshold.

ARC

Strike threshold. Low: only the loudest peaks ionise, then the arc dies — chopped, sputtery, gated. High: the arc sustains — continuous heavy distortion.

FREQ

Arc-oscillator pitch, 200 Hz–12 kHz — the buzz that modulates the arc. Snaps to the global scale with AUX.

MIX

Dry / arc blend.

HOLD

Arc persistence, up to 2 s — once struck, the arc stays lit after the signal drops below ARC, so tails keep fuzzing and crackling instead of going clean. OFF = the arc dies instantly.

CHAOS

Arc instability. The arc flickers and its buzz wobbles cycle by cycle: low settings alternate strong and weak cycles (a subharmonic an octave below FREQ); higher settings go fully chaotic, sputtering and drifting so FREQ stops sounding like a plain ring mod.

AUX

On FREQ — ENABLE SCALE SNAP: the arc pitch locks to the global key and scale.

MODE

Saturation curve: GENTLY, NORMAL, HARD, HARSH.

BASS

Low-frequency tilt into the saturator (pre-emphasis with an exact inverse after) — drives the lows harder without changing the tone.

TAPE

Saturation amount.

NOISE

Tape hiss, modulated by the programme envelope.

DULL

High-frequency loss — a lowpass from 20 kHz down to ~3 kHz.

WOW

Slow speed drift (pitch wobble).

FLUTTER

Fast speed variation.

GAIN

Output trim, −12 to +12 dB.

HYST

Magnetic hysteresis — memory feedback inside the nonlinearity.

MIX

Dry / tape blend.

WIDTH

Decorrelates left and right wow / flutter. 0 = both channels share the same motion.

AGE

Generation loss, up to 8 copies (GEN). Each copy stacks more high- and low-frequency loss and a little print saturation, and adds its own wow, flutter and hiss on top of the knobs. OFF = the first-generation tape.

DROPOUT

Random dropouts where the tape loses head contact: brief level dips that also go dull, rarer and shallower at low settings, frequent and deep at full.

DIVIDE

Divides the input cycle clock by 2–8, including odd divisions such as ÷3 and ÷5. A 300 Hz input becomes 100 Hz at ÷3. Best on bass, single-note instruments, and voices; chords and drums can track unpredictably.

MISFIRE

Zero favours stable tracking. Higher settings open the detector, loosen cycle rejection, and add skipped or doubled triggers for unstable undertones.

TONE

Adds third and fifth harmonics to the divided sine tone for a rougher growl.

LEVEL

Generated level from 0–200% of the input envelope. Default 100%; zero mutes the undertone.

MIX

Blends the original and generated tone. Default 70% wet. Independent stereo cycle tracking, phase-continuous control changes, and no added host latency. Missing cycles fade out instead of sustaining a drone.

DIVIDE B

A second divider voice on the same cycle clock, OFF or ÷2–8. ÷2 with ÷3 gives a fifth below the octave; ÷2 with ÷5 a major-third-below drone.

BLEND

Equal-power crossfade from the DIVIDE voice (A) to the DIVIDE B voice (B). Default an even 50/50; only heard when DIVIDE B is on.

LOCK

CYCLE (zero) counts every accepted crossing. Above zero a PLL tracks the input instead, with a capture range that narrows as LOCK rises: clean tones still lock, while pitch changes glide over and complex input loses lock and hunts.

AUX

On DIVIDE — ENABLE SCALE SNAP: both generated voices retune to the nearest note of the global key and scale, so misfires and hunting land as musical jumps.

DRIVE

Gain into the folder, 1× to 40×.

FOLDS

Cascaded fold stages, 1 to 6 (fractional positions crossfade).

SHAPE

Fold curve: SINE → TRI → HARD (flat-shouldered). With another MODEL selected it morphs that model from SOFT to HARD.

BIAS

DC symmetry offset, ±50 % — the Buchla “symmetry” control.

MIX

Dry / folded blend.

MODEL

Folder circuit. FOLD = the original curve. 259 = Buchla-style parallel folder: uneven folds of different heights, clangy and bright. SERGE = triangle folds with rounded tips that fold 1.5× faster, smooth but bright. LOCK = Lockhart-style skewed folds that rise slowly and snap back, brassy. WRAP = sine-wrap: the wave wraps around at the rails instead of folding back, hard digital edges.

PITCH / FREQ

In PITCH mode: transposition, ±24 semitones. In FREQ / RING modes the same knob is the carrier, ±5 kHz on a cubic curve (fine near the centre, metallic at the extremes).

DENSITY

Grain window length — higher is shorter (350 ms down to 10 ms) and therefore denser.

SPRAY

Random jitter on the granular read position.

MIX

Dry / shifted blend.

MODE

PITCH (granular shifter), FREQ (single-sideband frequency shift), RING (ring modulation). All three engines stay warm and crossfade on switch.

FINE

±100 cents in PITCH mode; ±50 Hz in FREQ / RING.

SPREAD

PITCH: detunes left up and right down by up to 1 semitone. FREQ / RING: opposite carrier phase offsets — width without the image wandering.

TIME / RATE

Delay time for the built-in delay line. Free: 1 ms–2 s. Clocked (AUX2): 1/32 to 1/2 note.

DELAY

Delay feedback, 0–100 %. The minimum switches the delay OFF entirely.

LADDER

Sends the delay repeats back through the shifter, so every repeat moves by the PITCH interval again: with DELAY and the interval snapped by AUX, the echoes climb (or fall) as an arpeggio. Lower settings mix a straight repeat in with the climbing one. Needs DELAY above OFF (the knob is dimmed while DELAY is OFF).

TONE

Lowpass inside the delay feedback loop, 400 Hz–20 kHz.

FORMANT

Formant preserve. Undoes the move the shift makes to the spectral envelope (cepstral envelope correction), so a voice shifted up stays a voice instead of turning into a chipmunk. Works in PITCH and FREQ modes and adds no latency. OFF = the original shifter.

AUX

On PITCH — ENABLE SCALE SNAP: the shift lands on the global key and scale.

AUX2

On TIME — USE CLOCKED RATE vs free milliseconds. Starts clocked.

SHIFT L

Left-channel frequency shift, ±500 Hz. Positive moves every partial up by the same number of hertz — inharmonic.

SHIFT R

Right-channel shift, ±500 Hz.

TIME

Feedback-delay time, 0–500 ms — repeats re-shift each pass (barberpole).

FDBK

How much shifted signal feeds back through the delay.

SPREAD

Stereo separation of the wet signal: 0 = mono, 100 = full left / right.

MIX

Dry / shifted blend.

AUX

On SHIFT L — ENABLE SCALE SNAP for both shifts: the shift amount snaps to note frequencies of the global scale.

AUX2

On SHIFT R — PITCH-TRACK: detects the input's fundamental and corrects each shift so that note lands on the nearest note of the global scale. The fundamental is tuned while the other partials stay inharmonic: an autotune with a frequency-shifter edge. SHIFT still offsets the note before it snaps; quiet or unpitched input holds the last correction.

LINK

Inline toggle between the two shifts — LINK LEFT AND RIGHT SHIFTS moves them together.

ATTRACT

Pulls each detected tonal component toward the nearest note in the main menu's global root and scale. Zero passes the aligned original; 50% moves halfway in semitones; 100% reaches the scale note. Unlike CRYSTAL, MAGNET retunes existing components instead of adding resonances.

GLIDE

0–1000 ms approach time. Zero attracts immediately; longer settings let new peaks slide from their original pitch into tune.

FOCUS

Raises the detection threshold from 60 dB to 12 dB below the strongest spectral peak. Higher settings leave quieter components in place. Broadband bins without a clear tonal peak remain unchanged.

MIX

Blends the latency-aligned original and retuned audio. Stereo channels share the same shifts to preserve phase and level relationships. Fixed 4096-sample latency is compensated by the host and retained during bypass. Silent input generates no sustained tail.

FIELD

Where the targets come from. SCALE pulls to the nearest note of the global root and scale and keeps the register; CHORD (root, third and fifth) and ROOT collapse partials into one octave from the root at octave 3. SIDECHAIN takes its targets from the tonal peaks of the plugin's sidechain input instead, so the input's partials morph toward another track's; partials more than an octave from any sidechain peak, or with a silent sidechain, stay in place. FOCUS sets the detection threshold for both signals.

DRIFT

OFF to ±1 semitone. Each target note wanders on its own slow, smooth random walk, so held chords detune like a choir that never repeats. The walk is seeded: rerolling the GEN SEED on DRIFT's lane gives a new walk.

PITCH

The robot's monotone pitch, 80–500 Hz — literally the STFT frame rate.

VOICE

ROBOT (every bin at zero phase) morphs to WHISPER (every bin at random phase).

SIZE

Requested analysis window: 256 / 512 / 1K. Low pitches automatically borrow a larger transform.

GATE

Spectral gate relative to the frame peak, OFF to −20 dB — silences quiet bins.

TONE

Tilt of the resynthesised spectrum, ±12 dB/oct about 1 kHz.

MIX

Dry / robotised blend.

GLIDE

Portamento on PITCH, OFF to 2 s: the robot slides between pitch changes (SNAP steps, GEN steps) instead of jumping.

CHORD

Extra robot voices from the global key and scale, each its own phase-reset rate. The first half fades in the fifth; the second half adds the third (minor or major where the scale says so). OFF = a single voice.

AUX

On PITCH — ENABLE SCALE SNAP: the robot pitch locks to the global key and scale.

PITCH

Internal carrier pitch, 40–800 Hz.

CARRIER

Carrier waveform: SAW, PULSE, MIX, NOISE.

BANDS

Analysis / synthesis bands: 8, 12, 16 or 24.

TRACK

Blends the fixed PITCH toward the detected input pitch (0 = fixed, 100 = fully tracked).

FORMANT

Shifts the synthesis bank against the analysis bank, ±1 octave — moves the formants.

SPEED

Envelope attack 1–100 ms, with a linked release.

HISS

Keyed passthrough above 5 kHz — restores consonants and sibilance the bank can't represent.

SUB

Adds a sub-octave saw to the carrier.

TONE

Tilt of the vocoded spectrum, ±9 dB/oct.

MIX

Dry / vocoded blend.

RESONANCE

Narrows the carrier filters — sharper, ringier bands.

SOURCE

INT analyses the audio in this slot; SC analyses the plugin's sidechain input. Either way the internal synth is the carrier.

FREEZE

Holds every band's envelope where it is, so the carrier keeps singing the current vowel after the input stops. The sibilance passthrough fades out while frozen.

CHORD

Adds two carrier voices, a third and a fifth above the carrier pitch, taken from the global key and scale (minor or major where the scale says so). Follows TRACK. OFF = a single carrier.

AUX

On PITCH — ENABLE SCALE SNAP: the carrier pitch locks to the global key and scale.

PITCH

Excitation pitch of the speech chip, 60–400 Hz.

TRACK

Blends the fixed PITCH toward the detected input pitch.

RATE

How often a new LPC frame is accepted, 5–50 frames per second. Slow = held, slurred syllables.

QUANT

Coefficient precision, 8 bits down to 2 — coarser is crunchier, more “chip”.

VOICE

Biases the voiced / unvoiced decision: WHISPER (all noise) to VOICED (all buzz).

CHIRP

Voiced excitation: IMPULSE train morphing to the stored TI-style glottal CHIRP.

ERROR

Probability of corrupted frames — held (stuck-word repeats), swapped or bit-flipped coefficients.

MIX

Dry / coded blend.

WORD

OFF, or a tempo division 1/1–1/64: on every step one fresh LPC frame is captured and held until the next, so each step speaks a single frozen vowel. Locked to the song position while the transport plays. Replaces RATE while on.

AUX

On PITCH — ENABLE SCALE SNAP: the excitation pitch locks to the global key and scale.

SHIFT

Moves the spectral envelope (the formants), ±24 semitones, leaving pitch untouched.

DETAIL

Width of the peak regions used to estimate the envelope, 0–16 — how much fine spectral detail counts as “formant” versus residual.

MIX

Dry / shifted blend, phase-aligned inside the DSP.

SIZE

STFT window: 512 / 1K / 2K / 4K. Fixed 4096-sample latency regardless.

SOURCE

INT shifts the input's own envelope. SC imposes the sidechain's envelope instead (cross-synthesis): the input keeps its pitch and harmonics but speaks with the sidechain's formants, still moved by SHIFT. No sidechain = silence.

CHORD

Prominence blend: 0 = the whole scale shimmers evenly; up = the PITCH note is foregrounded over the wash.

PITCH

The motif note, ±12 semitones from the root, snapped to the global key and scale.

OCTAVES

How many octaves of resonators, 1 to 7.

FOCUS

Resonator sharpness (Q 20–250).

BLOOM

How long the bank rings, 10 ms to 2 s.

MIX

Dry / resonant blend.

SKEW

Stretches or compresses the tuning between resonators, ±60 % — inharmonic when off-centre.

WANDER

Detunes alternate bands left / right by up to 30 cents.

SLIP

Frequency-shifts the input before the bank, ±500 Hz.

FLUTTER

Amplitude motion — every band pulses on its own slow cycle; rate and depth rise together.

COLOR

Tilt of the resonant output, ±8 dB.

STRUM

Staggers when each band hears the input, up to 40 ms per band. Right of centre strums low to high, left of centre high to low; centre excites every band at once. Turns a single hit into an arpeggio across the bank.

EXCITE

Fires a short noise burst into the bank on every detected input transient, scaled by the hit. Lets drums and other unpitched sources make the bank bloom; zero adds nothing.

ROTATE

Shifts every band up 0–11 scale degrees; bands that pass the top of the OCTAVES range wrap to the bottom. Needs SPREAD above 1 (at 1 every scale note is already in the bank, so the knob fades): stepping it then walks the chord through the scale.

SPREAD

Scale-degree interval between adjacent bands, 1–12. 1 is every scale note; 2 stacks thirds in a seven-note scale, 3 stacks fourths. Re-voices the bank without leaving the key.

V1

Voice 1’s interval in scale steps, up to two octaves either way (−2OCT … UNI … +2OCT; names assume a seven-note scale). TRIAD tracks the input’s pitch and works out the interval inside the global key and scale for the note it hears, so a +3RD is major on C and minor on E in C major. Default +3RD.

V2

Voice 2’s interval, as V1. Default +5TH.

V3

Voice 3’s interval, as V1. Default +OCT. Step a GEN or MAP lane through V1–V3 to rewrite the harmony per bar.

STAGGER

The delay between voices: voice 1 plays one STAGGER after the input, voice 2 two and voice 3 three, so zero (CHORD) stacks a chord and longer settings arpeggiate it. Free up to 1 s; clocked CHORD, 1/32 … 1/2 with triplets and dotted values (capped at 1 s per step).

FDBK

Sends each voice back into its own loop, through its shifter again, so every repeat climbs (or falls) one more interval and stays in key: one A3 with V1 = +3RD repeats as C, E, G, B. The loop is soft-limited and darkened, up to 95% feedback.

GLIDE

How fast a voice slides to a new interval or note, 5–800 ms.

LOOSE

Left (STRICT) puts every voice on the exact scale tone, correcting the input’s own tuning. Right keeps the input’s intonation (only the interval is applied) and lets each voice wander up to a third of a semitone.

MICRO

Detunes the voices by a few cents, split between left and right, and spreads voice 1 left and voice 3 right.

MIX

Blends the dry input with the three voices. Default 50%; 100% leaves only the harmony. TRIAD adds no host latency: each loop is shortened by the shifter’s grain delay so repeats land on time.

AUX

On STAGGER — USE CLOCKED RATE vs USE FREE RATE. Starts clocked at 1/8.

STRETCH

How far CURVE bends the spectrum, ×0.50–×2.00 (centre ×1.00). On POWER, a note sitting on PIVOT keeps its root while partial n moves to n^STRETCH, so harmonic sounds turn into bells and gongs above ×1 and into dull, crowded clusters below it. Default ×1.18.

PIVOT

The frequency that stays put while everything else moves around it, A0–A7 (27.5–3520 Hz, default A3 = 220 Hz). Set it to the played note for the classic stretched-harmonic sound.

CURVE

The shape of the remap. POWER: f′ = PIVOT·(f/PIVOT)^STRETCH, partial spacing stretched on a log axis. LINEAR: f′ = PIVOT + STRETCH·(f − PIVOT), spacing scaled in hertz, so the partials go inharmonic; anything pushed below 0 Hz drops out. MIRROR: the spectrum turned upside down around PIVOT (an octave above lands an octave below; STRETCH scales the flip). FOLD: every partial folded into the octave above PIVOT, keeping only its pitch class. MIRROR and FOLD transform the sound even at ×1.

TILT

Re-weights the warped spectrum around PIVOT, up to ±6 dB per octave (centre flat). The level is matched back to the input afterwards, so TILT changes the colour rather than the loudness.

GLIDE

How long each partial takes to slide to its new place, OFF–2 s. A new note enters at its own pitch and sweeps into the warp; moving STRETCH, PIVOT or CURVE glides too. Default 20 ms.

SIZE

Spectral analysis window, 512–4K (default 4K). Larger windows resolve low partials and keep them clean; smaller ones keep transients sharp.

MIX

Blends the frame-aligned dry input with the warped signal. Default 100%. Tonal peaks are tracked and moved with their phase intact; the noise between them is remapped too, spread across the span its edges land on. WARP reports a fixed 4096-sample host latency at every SIZE.

AUX

On PIVOT — ENABLE SCALE SNAP: PIVOT locks to the global key and scale.

SLICE

How often a new still is taken. Each still analyses the last ~85 ms of input and keeps its strongest partials, which then play until the next one. Free: 10 ms–4 s. Clocked: 4 BAR–1/32 (default 1/8). Long slices make rhythmic spectral photographs of a performance; short ones follow it closely.

BLUR

How long the bank takes to move from one still to the next, as a share of the slice: 0% cuts straight to the new photo, 50% morphs across one whole slice, 100% across two. A partial within three semitones of one in the next still glides there; larger leaps crossfade. Default 35%.

VOICES

How many of the still's strongest partials play, 1–33 oscillators (default 16). Low counts pick out the loudest notes; high counts keep the timbre's detail.

WAVE

The oscillators' waveform: SINE, TRI, SAW or PULSE (25% width). All are band-limited and matched in loudness; anything other than SINE adds its own harmonics to every partial, so the resynthesis turns brighter and more synthetic. Changing WAVE crossfades the shapes over 30 ms.

TENSION

Stretches or squeezes partial spacing around the still's lowest partial, ×0.50–×2.00 (centre ×1.00 keeps the input's own ratios). Partial ratios are raised to this power, so harmonic input turns into bells and gongs either side of centre. Acts live on the playing still.

OCTAVE

Moves the whole bank −2 to +2 octaves (default 0). Acts live on the playing still.

FDBK

Feeds the bank's output back into the analyser, so each still also photographs the last one. Stills sustain through silence and fade at lower settings; 100% holds them forever. With TENSION or OCTAVE away from centre the bank drifts further every slice.

MIX

Blends the dry input with the resynthesis. Default 100%. The wet signal is all oscillators, never the input itself; STILLS adds no latency.

AUX

On SLICE — USE CLOCKED RATE vs USE FREE RATE. Starts clocked at 1/8; with the transport stopped, stills keep coming at the tempo's rate.

SPEED

Read-head rate through the capture buffer: 0 = frozen drone, 50 = half speed, 100 = real time.

TEMPO

Capture window. Free: 2000 ms down to 250 ms. Clocked (AUX2): 4/4, 3/4, 2/4, 3/8, 1/4, 1/8.

PITCH

Independent grain pitch, ±24 semitones, without changing the stretch rate.

GRAIN

Grain rate. Free: 5–100 Hz. Clocked: 1/16 down to 1/512.

SPREAD

Pans the two grains apart: 0 = mono, 100 = hard left / right.

MODE

FWD / REV — grain and read direction.

FREEZE

Stops capturing and advancing — holds the buffer as it is.

MIX

Dry / stretched blend.

SCATTER

Random per-grain read offset — whole clock divisions when clocked, continuous when free.

MODE

LINKED keeps tape-scrub pitch tied to SPEED; INDEP gives each grain its own cursor so SPEED only moves the scan.

TRIG

Sidechain trigger sensitivity (OFF = ignored). Each sidechain hit re-captures: a capture boundary lands on the hit, or — with FREEZE on — fresh input is recorded and frozen again.

AUX

On PITCH — ENABLE SCALE SNAP.

AUX2

On TEMPO — USE CLOCKED RATE for TEMPO and GRAIN vs free. Starts clocked.

SCAN

Playback position inside the held capture: 0 = newest, 100 = oldest.

SIZE

Grain size, 10 ms to 1 s (logarithmic).

SHAPE

Where the grain envelope peaks: 0 = start, 50 = symmetric, 100 = end.

TRANSIENT

OFF = exact manual hold. Above that, input attacks re-capture automatically and land at a random point of the held history, snapped to older onsets.

MIX

Dry / frozen blend.

DUCK/FOLLOW

Bipolar: left of centre the live input ducks the frozen layer (D), right of centre the frozen layer follows the live envelope (F). Centre = OFF.

PITCH

Grain transposition, ±12 semitones around the centre. Each grain keeps the pitch it started with.

SPRAY

Random read offset per grain, up to ±500 ms around the SCAN position. 0 = exact placement.

AUX

On PITCH — ENABLE SCALE SNAP.

SPEED

Tape speed and direction: 0 = 1× reverse, 50 = stopped, 100 = 1× forward. Passes continuously through stop.

TEMPO

Capture length, 4/4 down to 1/64 — each boundary jumps the read head back behind the write head with an equal-power crossfade.

WOW/FLUTTER

Tape-motion pitch modulation (0.5 Hz and 6 Hz rotators), from subtle to extreme.

TONE

Bipolar DJ filter on the wet: LP below centre, transparent at centre, HP above.

MIX

Dry / tape blend.

BRAKE

How long a speed change takes — OFF (the quick 50 ms glide) to 4 s for a full 1×-to-stop tape stop. An ON step brakes from real time into SPEED.

CURVE

Brake shape: LIN (steady deceleration), EXP (fast then lingering) or BELT (a slipping motor belt that grabs, coasts and wobbles).

SKIP

Vinyl needle-jump chance, checked every quarter of TEMPO: the head jumps a quarter back (or ahead when it lags) with a short tick.

SIZE

Length of each captured bank. Free: 125 ms to 2 s. Clocked (AUX): 1/4, 1/2, 1, 2 or 4 beats.

DIVISION

Slices per bank: 2 to 32 (2, 4, 8, 16, 32 when clocked).

SHUFFLE

Probability that a slice is swapped for a phrase from elsewhere in the bank.

REPEAT

Probability that a slice latches and repeats until the next decision point.

MIX

Dry / chopped blend.

PITCH

Probability that a slice plays an octave or a fifth up or down.

REVERSE

Probability that a slice plays backwards.

GATE

Probability that a slice is muted.

RATCHET

Probability that a slice retriggers its opening two to four times.

AUX

On SIZE (mirrored on DIVISION) — USE CLOCKED RATE vs free. Starts clocked. Silent while the transport is stopped.

AUX2

On PITCH — ENABLE SCALE SNAP: the fifth moves to the nearest interval that stays in the global key.

SPEED

Playback rate: 1X, 1/2, 1/4, 1/8, 1/16 or STOP.

CAPTURE

Capture length in musical time, 4/4 down to 1/64, locked to the host beat grid.

TONE

Bipolar DJ filter on the wet: LP below centre, HP above.

MIX

Dry / slowed blend.

LOCK

Pitch lock: overlapping grains read at 1× from the slowed head, so SPEED stretches time without dropping pitch (the half-time sound). Transparent at 1X.

AUX

On SPEED — PLAY SEGMENTS REVERSED: each capture plays backwards from the moment it was taken, at the same division (readout −1/2 …).

SLOTS

Library size, 2–16 (default 8). Every detected hit is cut into a fragment (with a few milliseconds of pre-roll so the attack survives) that records until the next hit or for at most 0.5 s. The newest fragments replace the oldest; SLOTS sets how many of the most recent ones the pattern plays.

RATE

Step rate. Free: 0.5–16 Hz. Clocked: a note division from 1/1 to 1/64 on the host grid (a sample counter at the host tempo when the transport is stopped). Every step starts one fragment.

PATTERN

The order fragments play in. FWD plays oldest to newest, REV newest to oldest, SHUF a fresh order every cycle (never the same fragment twice across a seam), RANK from the darkest to the brightest fragment (by zero-crossing rate), so each cycle strums upward, and EUCL plays FWD order on a Euclidean rhythm of as many hits as there are fragments, spread over about 1.6 times as many steps.

PITCH

The interval set successive steps walk through, by resampling: UNI, OCT (0/+12), 5TH (0/+7), OCT+5, TRIAD (0/+4/+7/+12), SUS (0/+5/+7/+12), SUB (0/−12) and SPREAD (−12 to +19).

DECAY

Each replayed fragment's envelope, from a 15 ms tick to a 2 s fade. HOLD (fully right) plays the whole fragment. Up to eight fragments ring at once; a new step takes the quietest.

SENSE

Onset sensitivity: the jump over the recent level a hit needs (4× down to about 1.15×) and the level floor (−30 dB down to −60 dB). Turn it up for quiet or legato material.

WIDTH

Pans successive steps alternately left and right, up to hard left and right.

MIX

Blends the dry input with the strum layer. Default 50%: the input keeps playing under the strum; 100% replaces it. STRUM adds no latency.

AUX

On RATE — USE CLOCKED RATE vs USE FREE RATE. Starts clocked at 1/16.

AUX2

On PITCH — ENABLE SCALE SNAP: each interval moves to the nearest one in the global key, taking the fragment as the root (TRIAD becomes a minor triad in a minor key).

FREQ

Repeat length. Free: 5 Hz to 1.6 kHz. Clocked (AUX): 1/4 down to 1/256 note.

CAPTURE

How often the repeated window is refreshed from the newest input, 4/4 down to 1/64 — always musical.

WINDOW

Continuity correction at loop and capture seams — longer is smoother, shorter is buzzier.

MIX

Dry / repeated blend.

RAMP

Bipolar: bends each repeat further from the capture, reaching ±1 octave of pitch (or 2× shorter / longer repeats) by the next capture. Centre = OFF.

DECAY

Level drop per repeat, OFF to −12 dB.

AUX

On FREQ — USE CLOCKED RATE vs USE FREE RATE. Starts clocked.

AUX2

On RAMP — RAMP THE REPEAT LENGTH instead of its pitch.

SPAN

Memory period. Free: 12.5 ms to 16 s. Clocked (AUX): 4 bars down to 1/32.

CUTS

How many subdivisions each span is cut into, 1 to 32 — one of them repeats until the next boundary.

SLIP

One varispeed event per span — pitch displacement, direction change, slew and tape wear, all coherent for that span.

SEEK

A companion cut event: subsection relocation, nested repeats and rhythmic gaps.

WEAR

Frequency and length of smoothed signal dropouts after the buffer.

EDGE

Shapes repeat boundaries and read-head hand-offs — from crossfaded to abrupt.

WIDTH

Lets left and right make related but different choices (with a gentle low-end curve to keep the bass centred).

MIX

Dry / disordered blend.

AUX

On SPAN — USE CLOCKED RATE vs free. Starts clocked.

AUX2

On SLIP — ENABLE SCALE SNAP: each slip's pitch displacement lands on an interval of the global key instead of a free smear.

LENGTH

One pass of the loop. Free: 40 ms–8 s. Clocked: 1/32–2/1, including triplet (T) and dotted (D) divisions (default 1/2); a division longer than 8 s at a slow tempo halves until it fits. A new LENGTH lands when the record head next wraps, so the loop never cuts mid-pass. While the transport runs, a clocked pass ends on the song's grid of its division: the segments fall on the beat, nothing drifts, and a locate or a restart re-seats the loop within one pass.

SPEED

Playback speed of the heads: −2X, −1.5X, −1X, −.75X, −.5X, .5X, .75X, 1X, 1.5X or 2X (default 1X). Octaves, fifths and fourths keep the loop in key; negative speeds play it backwards. Changes glide like a tape, so a step across zero slows the loop to a stop and turns it round. The record head always runs at 1X.

HEADS

How many heads play the loop, 1–4 (default 1). The first plays at SPEED, the second an octave below it (left), the third reversed (right), the fourth an octave above. Later heads play a little quieter (100 / 80 / 70 / 60 %) and the sum is level-normalised.

OVERDUB

How much of each pass survives under the new input, 0–100 %. At 0 the loop holds only the last pass, like a delay. The top of the knob is HOLD: the loop keeps every layer and stops recording the input, so you can play over a frozen loop. When layers pile up past a safe level the old pass is pulled down instead of clipped. Default 65 %.

MODE

The modifier MODIFY rolls onto the loop's eight segments each pass. DROP mutes segments (never all of them), SHUF plays other segments in their place, TRIM repeats the first few segments across the pass, STRCH plays a segment's first half over its whole length at the same pitch (a two-grain stretch), ALL picks drop, shuffle or stretch per segment. Default DROP.

MODIFY

How hard the modifier bites: the chance each segment is dropped, shuffled or stretched, or how short TRIM cuts (8 segments down to 1). A new pass re-rolls the segments, so every pass is different. Every modified segment crossfades at its edges, so the seams don't click. Default 0.

STAMP

Where the modifier lives. At 0 it only changes what the heads play: the loop itself stays intact and each pass is a new variation. At 100 % it is written into the loop instead, so you hear it a pass later and it compounds: dropped segments stay silent, a trim becomes the new loop, a stretch is stretched again. Default 0.

SCAN

A memory records the input all the time, even while the slot is bypassed, holding the last 20 s. SCAN dubs a head reading that memory into the loop, from 0.25 s to 20 s back, so something played long ago resurfaces in the loop. Moving SCAN jumps with an 80 ms crossfade. OFF at the bottom (default).

MIX

Blends the dry input with the loop. Default 50 %. LOOP adds no latency; the loop keeps its layers across bypass and session recall does not store the audio.

AUX

On LENGTH — USE CLOCKED RATE vs USE FREE RATE. Starts clocked at 1/2.

TILT

Spectral tilt, ±6 dB/oct about 1 kHz.

CENTER

Centre of the gaussian band, 20 Hz–20 kHz.

WIDTH

Width of the band in log-frequency.

GAIN

Bell (boost) or notch (cut) at the band, ±24 dB.

WARP

Spectral shift, ±12 semitones — moves energy between bins without resampling.

GATE

Peak-relative spectral gate — suppresses quiet bins.

MIX

Dry / filtered blend, latency-aligned inside the DSP.

SIZE

STFT window: 512 / 1K / 2K / 4K.

SCAN

Self-animating sweep of CENTER: OFF, or one trip up the band and back per 4 BAR, 2 BAR, 1 BAR, 1/2, 1/4 or 1/8, starting from CENTER. Locked to the host grid, so it retriggers with the transport; runs free at the host tempo while stopped.

AUX

On WARP — ENABLE SCALE SNAP: the shift lands on the global key and scale.

STRONG

Gain for each frame’s loudest partials, ±24 dB. Every analysis frame, CONTRAST places each bin between that frame’s floor (its quietest fifth) and its loudest bin, and splits it smoothly into STRONG, MEDIUM and WEAK. Cutting STRONG flattens the peaks, so the sound whitens toward breath and noise. Default 0 dB.

MEDIUM

Gain for the partials between the peaks and the floor, ±24 dB. Default 0 dB.

WEAK

Gain for each frame’s quietest detail, ±24 dB. Cut it and only the peaks remain, so the sound turns sine-like; raise it to pull room tone, breath and reverb tails forward. Default −12 dB. Boosts never make the range louder than the input (the frame is trimmed back instead), and bins near digital silence are never lifted.

LOW

The lowest frequency CONTRAST works on, 20 Hz–20 kHz. Below it the audio passes unchanged, with a third-of-an-octave fade at the edge. The class split is measured inside LOW…HIGH only. Default 20 Hz.

HIGH

The highest frequency CONTRAST works on; above it the audio passes unchanged. If HIGH is set below LOW the two swap. Default 20 kHz.

SUSTAIN

A spectral sustain pedal. Each partial may rise at once but only falls at the release rate, from 100 ms to 30 s for a 60 dB fall; when the input stops, partials keep ringing at their own measured pitch. HOLD (fully right) never lets go, so the spectrum accumulates. OFF at zero.

SMOOTH

How slowly each partial’s gain follows its level, 5–500 ms. Higher settings remove the warbling “musical noise” of fast spectral gain changes; lower settings react to every transient. Default 20 ms.

SIZE

The analysis window: 512, 1K, 2K or 4K. Larger windows separate close partials better but smear attacks. Default 2K.

MIX

Blends the aligned dry signal with the contrasted one. CONTRAST reports a fixed 4096-sample host latency at every SIZE, so automation and SIZE changes never shift timing.

MODE

HP, LSHELF, PEAK, HSHELF, LP.

FREQ

Band frequency, 20 Hz–20 kHz.

Q

Bandwidth, 0.1 to 10.

GAIN / DRIVE

In shelf and peak modes: ±18 dB. In HP / LP modes the same knob becomes DRIVE, 0–100 % of pre-filter saturation.

MIX

Dry / equalised blend.

VOWEL

A, E, I, O, U — five formants each.

Q

Formant sharpness.

SHIFT

Moves all formants, ±12 semitones.

SPREAD

Detunes the formants left / right, up to ±3 semitones.

VOICE

Formant set: MALE, FEMALE, CHILD, ROBOT, ALIEN.

MIX

Dry / vowel blend.

SEQ

OFF, or 1/1–1/32: steps the vowel A, E, I, O, U and back (8 steps), starting from VOWEL, one step per division. Locked to song position while playing; free at host tempo when stopped.

GLIDE

Share of each SEQ step spent sliding into the next vowel, so it lands on the step. Zero switches hard.

FOCUS

Centres the frequency-dependent delay from 40 Hz to 12 kHz. Low settings give kicks a rubbery sweep; higher settings turn clicks into laser-like zaps. Frequencies are limited below Nyquist at low sample rates.

AMOUNT

0–32 second-order all-pass stages. More stages spread transients further in time. Zero passes dry audio; changes crossfade between warmed stages.

RESO

Resonance Q, 0.5–8. Higher values concentrate the delay near FOCUS. This reshapes phase, without boosting the steady-state frequency response.

SPREAD

Separates the left and right focus frequencies by up to one octave. Zero keeps matching channel responses. In mono, processing stays centred on FOCUS.

MIX

Blends dry and dispersed audio. At full wet and settled settings the magnitude response stays flat; partial mixes can create phase-cancellation notches. No lookahead or extra host latency is added. Focus, resonance, spread and amount changes are smoothed.

DRIVE

0–30 dB into soft clips between each group of eight stages and at the output, so the piled-up chirp peaks distort between dispersions; the output is trimmed back so quiet material keeps its level. OFF at zero.

TRAIL

Feeds each eight-stage group back into itself (up to 95%, soft-limited): clicks become sustained, pitched zaps that ring and decay. OFF at zero.

MATERIAL

Morphs the physical timbre from wood through metal to glass.

TUNE

Sets the fundamental resonance from 55 to 880 Hz. Snaps to the global scale with AUX.

DECAY

Sets how long the modes ring.

POSN

Moves the strike and pickup position to change the excited modes.

BRGHT

Sets frequency-dependent damping and brightness.

MIX

Blends the dry signal and resonator output.

FOLLOW

Pitch tracking. Pulls TUNE toward the fundamental detected in the input, so the body rings in sympathy with what is played; at 100% it follows the notes exactly (folded by octaves into TUNE’s range). Quiet or unpitched input holds the last note. With AUX on, the followed pitch is snapped to the global scale.

STRETCH

Inharmonicity. Pushes the upper modes sharp like a stiff piano string: subtle at low settings, bell-like and clangorous at full. Combines with MATERIAL.

BOW

Bowed instead of struck. The input’s level drives a friction bow into the modes, and the stick-slip loop sustains a pitched tone at TUNE for as long as the input plays, rising and falling with its level. Higher settings fade out the struck input and bow harder. OFF = the original struck resonator.

AUX

On TUNE — ENABLE SCALE SNAP: TUNE (and the FOLLOW target) lock to the global key and scale.

TYPE

Topology: SVF (clean state-variable), LDR (Moog-style ladder), DIO (303-style diode ladder), DRTY (broken transistor with saturating rear stages).

MODE

LP, BP, HP, NCH (notch).

CUTOFF

Filter frequency.

RES

Resonance, with a feedback curve specific to each topology.

DRIVE

Input drive, 0 to +24 dB, with makeup.

MIX

Dry / filtered blend.

SLOPE

6, 12, 18 or 24 dB/oct — crossfades between pole orders without resetting.

FM

Audio-rate cutoff modulation from each channel's own input, up to ±4 octaves: the filter snarls and growls with the programme in a way an LFO can't. OFF at zero.

DRIFT

Slow, independent wander of each channel's cutoff, up to ±3 octaves (about a semitone at low settings, sweeping at full), like an old analog filter that won't hold still. OFF at zero.

TONAL

Level of the sustained, pitched part of the sound: notes, chords, drones, the ring of a drum. Every analysis frame, SEPARATE median-filters each bin across time (what holds still) and across frequency (what is broadband), and splits the frame three ways with soft masks that always add up to the input. OFF at the bottom, then −48 dB up to 0 dB at the default and +12 dB at the top.

NOISE

Level of what is neither tone nor hit: breath, air, bow and room noise, hiss. It also carries the tails that TIGHT takes from the hits. Same range as TONAL; default 0 dB. Mute TONAL to keep only the breath of a vocal or flute; mute NOISE to clean it.

HITS

Level of the short, broadband strikes: drums, plucks, consonants, clicks. Same range as TONAL; default 0 dB. Mute it to pull the drums out of a loop and keep its sustained harmony.

PITCH

Shifts only the tonal part, ±12 semitones (default 0). The hits and the noise stay where they were, so a drum loop can be retuned without moving its kit. Partials are moved with their phase intact and glide over 20 ms when PITCH changes.

SPREAD

Width of the noise part: MONO at the bottom, as recorded at 100% (default), and up to 200%, where the side is doubled and the middle is decorrelated so even a mono source opens out. Tonal and hits stay where they are in the image.

TIGHT

Shortens the hits. After each onset a hit is kept for a decay from 400 ms down to 10 ms and the rest of it is handed to NOISE, so nothing is lost while every level is at 0 dB; mute NOISE for tight, gated hits. OFF at zero (the default).

SIZE

The analysis window: 512, 1K or 2K (default 2K). Larger windows split close notes more cleanly; smaller ones hear hits more sharply. The rest of the fixed latency is spent looking ahead, so the time median always covers about 100–150 ms.

MIX

Blends the aligned dry signal with the separated one. Default 100%. SEPARATE reports a fixed 4096-sample host latency at every SIZE. At the default settings the output is the input, delayed.

AUX

On PITCH — ENABLE SCALE SNAP: PITCH locks to intervals of the global key and scale.

PATTERN

Which bands survive: PRIME, FIB (Fibonacci), POW2, ODD, EVEN — or pitch: KEY keeps only bins within a few cents of the global key and scale, CHORD only the tones of one diatonic triad. RATE and STEP walk CHORD through the scale degrees (I, ii, iii…), so a clocked RATE plays a chord progression; KEY ignores them. Bins too coarse to resolve a semitone (the bottom of the spectrum) always pass.

RATIO

How far the rejected bands are pulled down; 100 = removed.

SMOOTH

Temporal smoothing of the mask — softens the switching between frames. In KEY and CHORD it also widens the pitch window from ±10 to ±40 cents.

RATE

Walks the pattern across the spectrum. Clocked (AUX): OFF, 1/1 down to 1/32 per step. Free: a continuous 0.05–20 Hz drift.

STEP

Manual band offset — nudges the pattern by hand.

MIX

Dry / sieved blend, latency-aligned inside the DSP.

SIZE

STFT window: 512 / 1K / 2K / 4K.

AUX

On RATE — USE CLOCKED RATE vs USE FREE RATE. Starts clocked.

SMEAR

Blur radius across neighbouring bins; 0 = clean.

TILT

Bends the blur toward the lows or the highs; centre = even.

FB

Per-bin temporal feedback — the spectrum lingers; 100 = a true freeze.

DIFF

Randomises phase into an ethereal cloud.

MIX

Dry / blurred blend, latency-aligned inside the DSP.

SIZE

STFT window: 512 / 1K / 2K / 4K.

DIRECTION

Which way the blur spreads. Centre blurs both ways; toward UP each bin only gathers from below, so energy smears upward into rising ghosts; toward DN it smears downward.

HOLD

Clocked magnitude sample-and-hold: OFF, or 1/1 down to 1/32. Each division captures the spectrum and replays it until the next, every bin still rotating at its measured frequency — a spectral stutter with continuous phase. Follows the host grid; runs at the host tempo while stopped.

CHORD

The chord the strings are tuned to: OCT, 5TH, TRIAD, 7TH, SUS, 9TH, 4THS or SCALE. Each voicing is a stack of scale steps walked up the global key and scale from its root, so every string is always in key; change the key and the strings retune with a short glide. A root outside the scale starts on the next scale tone. Default TRIAD.

OCTAVE

The octave of the chord’s root, 1 (deep, from C1) to 5 (high, from C5). Higher voicings climb up to about two octaves above it. Default 3.

STRINGS

How many strings sound, 1 to 6, taken from the start of the voicing. Strings you drop stop being excited and ring out. Default 4.

DAMP

How long the strings ring: the fundamental’s 60 dB decay, from 30 s down to a 150 ms thud. Default about 4.7 s.

BRIGHT

How much high harmonic ring each string keeps (the loop’s damping filter), and how bright the input strikes it (a 600 Hz–18 kHz exciter low-pass). Lower strings keep their harmonics longer, like real strings. Default 50%.

COUPLE

Lets energy pass between neighbouring strings at a shared bridge, without adding or losing any: one string set ringing hands its energy to the others, so the whole bank sings in sympathy. High settings blur the strings into one resonant body. Default 20%.

BOW

Bows the strings instead of striking them. The input’s level drives a friction bow (the bow’s speed and contact follow the input), so held input makes the strings sing and sustain at their own pitch, even with a short DAMP; when the input stops the bow lifts and the strings ring out. Between the ends, strike and bow blend. Default 0%.

POSITION

Where along the string the input strikes or bows, from near the end (4%, thin and bright) to the middle (50%, hollow, odd harmonics only). Default 30%.

MIX

Blends the original audio with the strings. The strings are the wet signal alone, so 100% leaves only the resonance. No added latency.

FREQ

Root comb frequency, 20 Hz–2 kHz.

OFF1

Second comb, offset from the root by ±24 semitones.

OFF2

Third comb, offset from the root by ±24 semitones.

FB

Bipolar feedback — negative inverts the loop so peaks and notches swap.

TONE

Bipolar: lowpass below centre, highpass above.

MIX

Dry / resonated blend.

PLUCK

Karplus-Strong excitation: each input transient fires a short noise burst into all three combs, scaled by the hit, so they ring like plucked strings. OFF at zero.

DAMP

Low-pass inside each comb's feedback loop (20 kHz down to 400 Hz): high partials die first, like a string. The combs stay in tune as it darkens. OFF at zero.

AUX

On FREQ — ENABLE SCALE SNAP: FREQ snaps to a scale note, and OFF1 and OFF2 snap to intervals that put each comb on a scale note above it, so all three ring in key.

FREQUENCY

Comb period as a pitch, 20 Hz–2 kHz.

RESONANCE

Feedback amount — level-normalised so the tone stays steady as it rises.

INVERT

Flips the feedback polarity: peaks and notches exchange places.

MIX

Dry / combed blend.

AUX

On FREQUENCY — ENABLE SCALE SNAP.

FREQ

Bandpass centre of the radio channel, 600 Hz–2.2 kHz.

WIDTH

Bandwidth, 0.8 to 3.5 octaves.

DRIVE

Overdrive inside the band-limited channel.

COMP

Envelope compression toward a constant level.

NOISE

Static keyed to the programme envelope.

BURST

Density and force of random static packets.

SQUELCH

Squelch threshold, OFF to −15 dB — with transition crackle and a noise tail when it closes.

DROPOUT

How often and how long the transmission randomly cuts to silence. Self-animating; no modulation needed.

MIX

Dry / transmitted blend.

DIAL

Tunes the receiver. The centre (TUNED) is the station: the input, untouched. Off centre the voice is SSB-detuned (up to ±3 kHz, fine near the station) and fades out of range, its carrier whistles through zero-beat, neighbouring carriers whistle as the dial passes them, and hiss fills the gaps between stations.

TABLE

Which of the 17 wavetables shapes the filter — or LIVE / SIDE, which build the table from captured audio: every 100 ms the input (LIVE) or the sidechain (SIDE) is turned into a new kernel, kept as an 8-frame rolling table, so convolving with LIVE is live cross-synthesis with the signal’s own recent spectrum. SCAN then reaches back through the last ~0.8 s (left = oldest, right = newest). Silence holds the last capture; until the first one lands, the previous table keeps playing.

SCAN

Sweeps through the table's frames like a cutoff; neighbouring frames blend.

PITCH

Transposes the whole response, ±24 semitones.

REGEN

Feeds the filtered output back into the convolution — resonant ringing at the response's peaks, never runaway.

WARP

Bends the response inharmonic about 400 Hz: up stretches (metallic), down compresses (gong-like). Inert while RAW is on.

TONE

Post tilt, dark to bright.

LOW

Folds the dry low band (below ~70 Hz, which the kernels remove) back under the filter.

WIDTH

Offsets the left and right SCAN positions.

RAW

MIN keeps attacks tight (minimum-phase kernels); RAW keeps each frame's own phase and smears attacks through it.

MIX

Dry / filtered blend.

AUX

On TABLE — READ THE FRAME'S SPECTRUM (SPEC) vs READ THE WAVEFORM AS A DRAWN CURVE (DRAW).

AUX2

On PITCH — ENABLE SCALE SNAP.

FREQ

Centres the second-order all-pass network. F-MOD moves its frequency with the second LFO phase.

SPREAD

Sets the phase-transition width. S-MOD moves it with the first LFO phase.

TIME

Signed path delay: positive delays the dry path, negative delays the filtered path. Zero aligns both paths. T-MOD moves it with the third LFO phase.

SECTIONS

1–8 second-order all-pass sections per notch stage.

CASCADE

1–8 cascaded notch stages, for up to 64 second-order sections. Cascading deepens the response.

FDBK

Feeds the cascaded output back to its input, up to 95%.

RATE

Free: 0.01–8 Hz. Clocked: 1/1 through 1/64. All three sine phases share this rate and are spaced 120° apart.

F-MOD / S-MOD / T-MOD

Independent signed modulation depths, −100 to +100%. Centre is zero; negative values reverse the assigned phase.

POLARITY

Adds (+) or subtracts (−) the filtered path to change the notch pattern.

MIX

Dry / processed blend.

ENV

Envelope-follower depth on FREQ, −100 to +100%. Centre is off; positive values sweep the notches up as the input gets louder, negative values down — a touch-sensitive wah or notch.

ATTACK / RELEASE

How fast the envelope rises (0.5–200 ms) and falls back (10 ms–2 s).

AUX

On RATE — switches free Hz and host-clocked rate. Starts clocked.

RATE

LFO speed. Free: 0.01–10 Hz. Clocked (AUX): 1/1 down to 1/64.

DEPTH

Modulation depth.

TIME

Base delay of the four voices, 1–40 ms.

FDBK

Delay feedback, 0–85 %.

WIDTH

Equal-power spread of the four voices across the stereo field.

MIX

Dry / chorused blend.

MODE

Voicing. CLASSIC = the four-voice chorus. DIM D = Dimension-style: two taps on inverted triangle LFOs with the dry blend built in, so MIX acts as intensity and WIDTH adds anti-phase crossfeed. JUNO = dual-rate BBD: two triangle LFOs (RATE and 1.68× RATE) on a darker, filtered wet; WIDTH spreads it.

AUX

On RATE — USE CLOCKED RATE vs USE FREE RATE. Starts clocked.

MODE

RING (input × carrier, 2× oversampled) or GRIND (the carrier modulates a 0.05–3 ms delay at audio rate — FM-like sidebands and digital grind).

FREQ

Carrier frequency (RING) or modulation rate and noise-band centre (GRIND), 20 Hz–5 kHz.

WAVE

Carrier: SINE, TRI, SQR, PULSE, NOISE.

RATIO

Snaps the carrier to harmonic ratios of the tracked pitch: FREE, then LK 0–100.

AMNT

Ring drive / sideband intensity (RING) or delay-modulation depth (GRIND).

MASK

Lowpass on the input feeding the engine, 20 Hz (dark) to 18 kHz (bright).

TRACK

Carrier glides toward the detected input pitch; OFF to 100.

LFO

Carrier-frequency LFO rate. Free Hz, or clocked divisions with AUX; 0 = off.

DEPTH

LFO depth, in octaves.

SHAPE

LFO waveform, 19 shapes from SINE to STAIR.

SUB

Blends a sub-octave sine into the carrier.

WIDTH

Left / right carrier phase offset, or independent L / R noise when wide.

MIX

Dry / clanged blend.

FDBK

Feeds the ring (or grind) output back into the carrier frequency: metallic at low settings, chaotic and through-zero at the top. Silent input stays silent.

AUX

On LFO — USE CLOCKED RATE vs USE FREE RATE. Starts clocked.

AUX2

On FREQ — ENABLE SCALE SNAP for the carrier.

TYPE

JUNO (single triangle LFO, anti-phase stereo), SOLINA (three voices at 120°), DIMENS (trapezoid LFO with cross-feed), LUSH (three voices, two independent LFO layers).

RATE1

Main LFO speed.

DEPTH1

Main LFO depth.

RATE2

Second-layer speed — slow drift (JUNO), fast shimmer (SOLINA), cross-feed (DIMENS), second voice layer (LUSH).

DEPTH2

Second-layer depth.

FDBK

Feedback through the bucket-brigade line.

WIDTH

Stereo width of the wet signal.

MIX

Dry / ensemble blend.

RATE

LFO speed. Free: 0.01–10 Hz. Clocked (AUX): 1/1 down to 1/64.

DEPTH

Sweep depth.

FDBK

Feedback, up to 95 %.

DELAY

Base delay, 0.1–12 ms.

TZF

Through-zero flanging — the wet delay crosses the dry, for the tape-flanger null.

MIX

Dry / flanged blend.

BARBER

Endless Shepard-style sweep. OFF = the classic swing. RISE / FALL = two staggered sweeps crossfade so the notches climb (or sink) forever. RATE sets the speed (clocked with AUX), DEPTH the span.

AUX

On RATE — USE CLOCKED RATE vs USE FREE RATE. Starts clocked.

RATE

LFO speed. Free: 0.01–8 Hz. Clocked (AUX): 1/1 down to 1/64.

DEPTH

Sweep depth around CENTER.

FDBK

Feedback, up to 97 %.

CENTER

Sweep centre, 80 Hz–5 kHz.

STAGES

All-pass stages, 2 to 12 — more stages, more notches.

MIX

Dry / phased blend.

BARBER

Endless Shepard-style sweep. OFF = the classic swing. RISE / FALL = two staggered all-pass sweeps crossfade so the notches climb (or sink) forever. RATE sets the speed (clocked with AUX), DEPTH the span.

AUX

On RATE — USE CLOCKED RATE vs USE FREE RATE. Starts clocked.

FREQUENCY

Modulator frequency: 20 Hz–20 kHz in AUDIO range, 0.05–20 Hz in SLOW range.

BITE

Modulator shape — a sine at centre, sharpened toward the edges.

MIX

Dry / modulated blend.

DEPTH

Delay excursion, 0–15 ms — the FM depth.

SPREAD

Modulator phase offset between left and right, 0–180°.

FEEDBACK

Bipolar feedback of the modulated signal into itself.

SKEW

Bipolar duty-cycle skew of the modulator.

RANGE

SLOW (vibrato / chorus rates) or AUDIO (FM sidebands).

RETRIG

Phase-locks the modulator to transport start without clearing the feedback tail.

RATIO

Locks the modulator to a harmonic ratio of the tracked input pitch, so the FM stays tuned per note. FREQUENCY then picks the ratio (×1/4 … ×8); RANGE and SNAP are ignored.

CHAOS

Turns the sine modulator into a double pendulum at the same rate: almost periodic at low settings, fully chaotic near the top. BITE and SPREAD still shape it.

AUX

On FREQUENCY — ENABLE SCALE SNAP (AUDIO range only).

PATH

Where the source travels around the listener. ORBIT circles in front, brushing past at its near edge. PASS flies straight across the front: approach, cross, recede. FIG-8 swings a lemniscate either side of the listener. BOUNCE throws a ball across the front that bounces to rest each cycle, so every landing flips the pitch. RANDOM walks between seeded points around the listener. ROTOR shrinks the geometry to a Leslie cabinet: a horn turning on a small radius, brighter and louder while it faces you.

SPEED

How fast the source travels the path. Free: 0.05–8 cycles per second. Clocked: one cycle per 8 BAR, 4 BAR, 2 BAR, 1 BAR, 1/2, 1/4, 1/8 or 1/16, locked to the song position (the source parks while the transport is stopped). On ROTOR, free speed changes spin up and down with inertia, like a Leslie switching between chorale and tremolo.

DISTANCE

Scales the path from 2 to 40 m (ROTOR: a horn radius of 5–45 cm). Larger paths move faster at the same SPEED, so they bend the pitch further and swing the level more.

DEPTH

Doppler coupling. Each ear hears the source through a delay equal to its distance over the speed of sound, so range rate becomes pitch. 50% is physical, 100% doubles the swing, zero keeps the pitch still while pan, level and air still move. The source can never outrun its own sound.

AIR

Air absorption: a low-pass that closes as the source moves away, down to about 440 Hz at full AIR on the far side. On ROTOR it follows the horn turning away instead.

WIDTH

How wide the motion is heard: pan from the source's bearing and the spacing between the ears. Zero keeps both ears at the same distance, so the input's own stereo image passes through untouched.

ROTOR

Horn/drum crossover. OFF moves the whole signal. Above that the input splits at 100 Hz–3 kHz: the highs (horn) follow the path and the lows (drum) follow it 0.83× as fast in the opposite direction, as in a Leslie.

MIX

Blends the dry input with the moving source. Default 100%. FLYBY adds no latency; the far side of a large path arrives up to about 0.4 s late, as it would in air.

AUX

On SPEED — USE CLOCKED RATE vs USE FREE RATE. Starts clocked at 1 BAR.

AMOUNT

Bipolar pan depth: centre = none, up = the shape as drawn, down = inverted.

RATE

Free: 0.1–6 Hz. Clocked (AUX): 1/1 down to 1/64.

SHAPE

SINE, TRI, UP, SQUARE, EXP UP, PEAK, SKEW UP.

SMOOTH

Morphs the shape toward a clean full-width sine — softens edges without shrinking the sweep.

MIX

Dry / panned blend.

DOPPLER

Motion simulation: the pan position becomes distance from each ear, adding Doppler pitch bends and air-absorption darkening as the source swings away. Up to ~20 ms of travel.

AUX

On RATE — USE CLOCKED RATE vs USE FREE RATE. Starts clocked.

AMOUNT

Bipolar depth: centre = none, up = dips as drawn, down = inverted. Gain only ever dips from unity.

RATE

Free: 0.1–20 Hz. Clocked (AUX): 1/1 down to 1/64.

SHAPE

SINE, TRI, UP, SQUARE, EXP UP, PEAK, SKEW UP.

SMOOTH

Morphs the shape toward a clean full-depth sine swell.

MIX

Dry / tremolo blend.

SIDECHAIN

Blends the LFO toward the sidechain level: louder sidechain = deeper dip (ducking tremolo). AMOUNT sets the depth; below centre it swells on hits instead. No sidechain = no ducking.

AUX

On RATE — USE CLOCKED RATE vs USE FREE RATE. Starts clocked.

L RATE

Left delay time. Clocked (AUX): 1/32 up to 2/1, 15 divisions. Free: 0–100 %.

R RATE

Right delay time.

FDBK

Saturated feedback, up to 99 %.

TONE

Bipolar: LP (500 Hz–15 kHz) below centre, HP (20 Hz–2 kHz) above.

WOBBLE

Dual-sine modulation of the delay time, up to ±3 %.

NOISE

Tape hiss riding the wet signal.

DUCK

Ducks the repeats while input is present — threshold from −60 dB up to OFF.

DUCKREL

Duck release, 10 ms–1 s.

PONG

Cross-channel feedback; at maximum the input is fed mono into the left side.

REV

Plays chunks of the delay buffer backwards.

TAPS

Tap pattern: OFF, DOT (dotted), TRIP (triplet), MULTI, SCAT (scattered).

MIX

Dry / delayed blend.

AGE

Each repeat loses treble and gains wow, and both build up pass after pass: an in-loop low-pass falls from 20 kHz towards 1.5 kHz and a slow in-loop wow reaches about 1 %. Default: 0 (off).

HEAD

Playback-head geometry: TAPS (the TAPS knob), ECHO (Space Echo-style three heads, 1:2:3), VOLNT (Volante-style four heads) or MIMEO (one head with a tight halo cluster of quiet heads just ahead of it). Changes glide like moving tape heads. REV still overrides it. Default: TAPS.

HALO

A diffuser inside the feedback path, so each repeat smears further into a reverb-like tail. Default: 0 (off).

SPACING

Morphs the ECHO and VOLNT head spacing continuously: EVEN, TRIPLET, GOLDEN (fastest density build-up) and SILVER (repeats bunch towards the last head). In MIMEO it widens the halo cluster; no effect in TAPS. Default: EVEN.

AUX

On L RATE — USE CLOCKED RATE for both channels vs free. Starts clocked.

LINK

Inline toggle between the rates — LINK LEFT AND RIGHT RATES moves them together.

TIME

Base delay per bin, slow-to-fast (higher = shorter). Clocked (AUX): 1 down to 1/16 note. Free: 0–100 %.

TILT

Spreads the delay across the spectrum — lows longer or highs longer; centre = even.

FB

Recirculation.

BLUR

Temporal smear between frames.

SHIFT

Spectral pitch on the tail, ±12 semitones.

SPREAD

Left / right delay offset.

GATE

What is allowed into the delay line — suppresses quiet bins on the way in.

DAMP

High-frequency loss in the feedback.

LOCUT

Removes lows from the feedback tail.

SHAPE

Delay curve across the bins: LIN, EXP, LOG, STP (stepped), RND, or KEY — the delay follows pitch instead: bins on a note of the global scale pass at once, off-key bins lag up to twice TIME (TILT still tilts it). Delay as tonal selection.

SIZE

FFT window: 512 / 1K / 2K / 4K. Fixed 4096-sample latency regardless.

FREEZE

Holds the current spectral content.

MIX

Dry / delayed blend, latency-aligned inside the DSP.

FZ BAND

What FREEZE holds: ALL bins, LOW (only below FZ SPLIT, the highs stay live) or HIGH (only above it). The split crossfades over about a third of an octave. Default: ALL.

FZ SPLIT

Freeze split frequency, 20 Hz–20 kHz. Bins that cross into the frozen band while FREEZE is on capture fresh. Default: about 630 Hz.

AUX

On TIME — USE CLOCKED RATE vs USE FREE RATE. Starts clocked.

AUX2

On SHIFT — ENABLE SCALE SNAP.

RATE

One pattern step. FREE: 1000 ms down to 5 ms. CLOCKED: 1/4 down to 1/64, including dotted (D) and triplet (T) divisions. Clockwise is faster in both modes. Default: clocked 1/16.

FDBK

Whole-phrase feedback, 0–95 %. Zero plays the selected pattern once; increasing feedback repeats the phrase with its gaps intact.

PONG

Continuous stereo ping-pong amount. Zero preserves input stereo; maximum sums the input to mono and alternates taps left/right, including across phrase boundaries. Mono instances retain every tap without panning.

PATTERN

STRGT: Straight; DOUBL: Double; OFFBT: Offbeat; SHUFL: Shuffle; 3-3-2: Tresillo; CINQ: Cinquillo; CLAVE: Son Clave; E5/16 and E7/16: Euclidean rhythms; 3:4: Three Against Four; RATCH: Ratchet; ACCEL: Accelerate; DECEL: Decelerate; CALL: Call / Response; CLSTR: Clusters; MIRR: Mirror; BOUNC: Bounce, a bouncing-ball gravity series whose gaps shrink by 0.7 each time. Mirror reflects tap spacing; audio still plays forwards. Default: Tresillo.

TONE

Bipolar echo filter: left sweeps towards a dark 200 Hz low-pass; centre is neutral; right sweeps towards a thin 3 kHz high-pass. Filters both the audible echoes and the phrase feedback, so successive repeats become more coloured. Default: neutral.

MIX

Dry/wet balance. 100 % is wet only for sends. Default: 30 %.

PITCH

Per-tap transposition by a scale-degree pattern in the global key, so the echoes arpeggiate in key: OFF, UP, DOWN, OCT, OCTDN, 5TH, TRIAD, TRIDN, 7TH, UPDN, SPIRL, PEDAL, CASC, SUS, ALT, SCAT. Each tap takes the next step of the pattern; degrees snap to the scale, so a third is minor in a minor key. The phrase feedback itself stays unpitched. Default: OFF.

PROB

Chance that each tap drops out, rolled again every time the phrase comes round. The phrase feedback never drops. Default: 0.

SKEW

Bends the tap spacing after the first step: left accelerates (gaps shrink through the phrase), centre plays the pattern as written, right decelerates. The phrase length stays the same and the diagram follows. Default: centre.

AUX

Switches RATE between FREE milliseconds and CLOCKED host-tempo divisions. Patterns scale as a whole; timing changes crossfade over 20 ms. The diagram shows one centered phrase row with a horizontal delay-colour gradient. A full cycle fills the visual width, starting at its first tap. The dimmer line at the right marks the next cycle’s first tap, making the final gap visible (including the 2 in 3–3–2). Feedback controls the uniform height of all lines.

SEQUENCER

OFF steps smoothly stop new audio entering the delay while captured phrases and feedback continue to ring out. The dry signal returns during OFF steps. The main ON/OFF switch still bypasses the effect.

Rhythm references: Godfried Toussaint, The Euclidean Algorithm Generates Traditional Musical Rhythms. Tap spacing inspiration: Eventide UltraTap.

TIME

How far back each grain reads. Free: 1–128 ms. Clocked (AUX): 1/16 up to 16/16.

SWING

Offsets alternate grain timing, ±33 %.

SPRAY

Random delay-position offset per grain, up to 500 ms.

FREQ

Grain trigger rate. Free: 1–150 Hz. Clocked: straight and triplet divisions per beat.

PITCH

Grain transposition, −36 to +12 semitones.

RANDOM

Random per-grain pitch, up to ±12 semitones.

INTERVALS

Quantises the random pitches: OFF, OCT, OCT+5, MAJOR, MINOR, PENTA.

TONE

Bipolar DJ filter on the grains: LP below centre, HP above.

FEEDBACK

Grain output fed back, up to 95 %.

MIX

Dry / delayed blend.

TRIG

OFF: FREQ clocks the grains. Above OFF, hits on the host sidechain spawn one-shot grains 1/FREQ long instead, and the value sets the onset sensitivity. Without sidechain audio no new grains start; the display says so. Default: OFF.

REVERSE

Chance that each grain plays its material backwards. Default: 0.

RETUNE

Detects the pitch of the material each grain reads and pulls it onto the global key; 100 % snaps fully. Unpitched material is left alone. Default: 0.

CHORD

Each grain picks one tone of a diatonic stack in the global key: OFF, 5TH (root or fifth), TRIAD, OCT (triad plus octave). Default: OFF.

AUX

On TIME — USE CLOCKED RATE for TIME and FREQ vs free. Starts clocked.

AUX2

On PITCH — ENABLE SCALE SNAP.

TIME

Where the last playback head sits. Free: 20 ms–2.5 s. Clocked: 1/32–2/1, including triplet (T) and dotted (D) divisions (default 1/4). Every other head sits at a fraction of TIME. Changes glide like a varispeed tape, so moving TIME bends the repeats in pitch instead of clicking.

SPACING

Slides the earlier heads along a continuum: EVEN (equal steps), TRIP (each head 2/3 of the next), GOLD (powers of 1/φ, which fills in fastest under feedback) and SILV (repeats bunch up just before the last head). Between the labels the heads sit part-way, so a MAP curve walks the delay between rhythmic and irrational patterns. Default EVEN.

HEADS

How many playback heads read the tape, 1–4 (default 4). One head is a plain tape echo at TIME; added heads appear ahead of it. Each earlier head plays a little quieter (100 / 85 / 70 / 55 %). Heads fade in and out and slide to their new places.

HALO

A diffuser on what the record head writes, so the first repeat is already softened and every pass smears further, until the repeats turn into a reverb-like tail. Left and right diffuse differently, which widens the tail. Default 0.

SKEW

Pushes the left heads later and the right heads earlier (right of centre) or the reverse (left of centre), by up to 25 %. The repeats split across the stereo field and drift apart with each pass. Centre (OFF) keeps both sides together.

FDBK

How much of all heads together goes back onto the tape. The loop gain is the same whatever the head count, so more heads multiply the repeats without running away. 100 % holds the loop; a soft saturation keeps it bounded. Default 40 %.

AGE

Wears the tape: each pass loses top end (down to 1.2 kHz) and low end (up to 220 Hz), gains wow (the heads waver, so it compounds pass by pass) and saturates harder. Default 20 %.

MIX

Blends the dry input with the heads. Default 35 %. REEL adds no latency.

AUX

On TIME — USE CLOCKED RATE vs USE FREE RATE. Starts clocked at 1/4.

SIZE

Space size.

DECAY

Tail length.

DAMP

Frequency-dependent damping.

DIFFUSE

Diffusion density.

PREDELAY

Early reflection delay, 0–500 ms.

MOD

Delay-line movement.

TONE

Dark / bright input tilt.

WIDTH

Mono to natural stereo width.

SHIMMER

Pitch-shifted feedback into the tail; INTERVAL picks the pitch.

DUCK

Reduces wet level while input is present.

FREEZE

Mutes new input and holds the tail.

MIX

Dry / wet blend.

INTERVAL

Shimmer mode: OCT (default), 5TH, OCT+5, −OCT, or ENSMB — an ensemble of upper partials that follow each band's level instead of a pitch-shifted copy. Only heard with SHIMMER up.

GATE

80s gated reverb: each hit opens the tail, holds it for 20 ms–1 s, then cuts it. Default OFF.

REVERSE

Plays the tail backwards in chunks of 100 ms–3 s, so it swells up into each hit. Default OFF.

AUX

On GATE — CLOCK (on by default): GATE holds for 1/32–1/1 and REVERSE chunks run 1/8–2/1 of the host tempo. Off, they use the free times above.

SIZE

Tank size, 0.0025× to 4× the reference plate.

DECAY

Tank feedback — tail length.

DIFF

Input diffusion — how quickly the early energy smears into the tank.

PDLY

Pre-delay, 0–500 ms.

TONE

Lowpass on the wet, 500 Hz up to fully open (centre ≈ 8 kHz).

MIX

Dry / plate blend.

MOD

Tank chorus depth. Low rings still and metallic, high drifts and detunes. Default 50 (the original depth).

FREEZE

Blocks new input, bypasses the tank damping and holds the plate ringing.

SIZE

Spring geometry — delay 20–150 ms, dispersion base 0.2–2.2 ms.

DECAY

Tail length, T60 0.5–5 s.

DAMP

Lowpass damping, 18 kHz down to 2 kHz.

RIPPLE

Dispersion strength plus modulation depth — the spring's chirp and wobble.

MIX

Dry / spring blend.

CRASH

Hard transients kick the tank: a chirp burst rattles the springs and they boing out of tune. Default 0 (off).

TENSION

Spring stiffness. Left of centre softens the chirp; right makes it longer and brighter. Default centre.

PICKUP

Moves the pickup along the spring, so the same tank voices different harmonics. Default 0 (the end of the spring).

SIZE

Reverb line lengths — the room.

GRAIN

Grain length, 20 ms to 500 ms; the spawn interval scales with it.

SCATTER

How far across the captured history grains may start, and how much of the cloud feeds back into the reverb.

DECAY

Reverb feedback; the top 1 % latches FREEZE.

PITCH

Grain pitch zones: OFF, +5TH, +OCT, −OCT, ±OCT, RND.

MIX

Three-way morph: dry → reverb → granular cloud (not a plain dry / wet).

AUX

On PITCH — ENABLE SCALE SNAP: every shifted grain moves to the nearest interval in the global key and drops its detune, so pitched tails stay in key.

THRESH

Open threshold, −60 to 0 dB.

ATTACK

0.1–50 ms.

HOLD

Minimum time the gate stays open after the last crossing, 0–250 ms.

RELEASE

2 ms–1 s.

MIX

Dry / gated blend.

KEY

SELF detects the input; SIDE detects the host sidechain, so another track opens the gate. Default SELF.

DUCK

GATE opens above THRESH; DUCK inverts it, closing above THRESH. ATTACK times the bite, RELEASE the recovery. SIDE + DUCK is a sidechain ducker. Default GATE.

DRIVE

The intensity axis: input gain, gain reduction and saturation rise together, with compensating output trim. 0 = transparent.

TONE

Tilt between the low and high bands: L (darker) to H (brighter), FLAT at centre.

SPLIT

Low / high crossover, 60 Hz–2 kHz.

COMP

Blend of compressed against uncompressed signal.

MODE

CLASSIC (the master compressor's two-band voicing) or MELT (three-band, phase-aligned, with the controls below).

LIFT

MELT: lifts quiet tails, noise floor and band detail toward the ceiling.

PUMP

MELT: stretches low / mid recovery far more than the highs — a breathing spectral tilt.

GRIT

MELT: nonlinear intensity, rougher from low to high band.

SIDECHAIN

Both modes: ducks the output by up to 24 dB on host-sidechain hits; PUMP sets how slowly it swells back (25–200 ms). Default 0.

DEPTH

Amount of upward and downward compression across the three bands.

TIME

Attack / release multiplier, 0.1× to 10×.

IN

Input gain, ±12 dB.

OUT

Output gain, ±12 dB.

MIX

Dry / squashed blend.

BANDS

1, 2 or 3 bands. 2 merges everything below 2.5 kHz; 1 is a plain full-band upward / downward compander. Switching crossfades. Default 3.

SOLO

OFF, LOW, MID or HIGH: listen to one band of the squashed signal. In 2 bands LOW and MID both solo the lower band. Default OFF.

ATTACK

Punch (+) or flatten (−) each hit, −100 to +100 (default 0). TRANSIENT measures how far a hit rises above its own recent level, so a quiet hit and a loud one are shaped alike; there is no threshold. +100 roughly doubles the rise (up to +18 dB); −100 removes it, so the hit starts at the level of its body.

SUSTAIN

Lift (+) or cut (−) the tail after each hit, −100 to +100 (default 0). The tail is measured against the hit's peak: + pulls up room, ring and decay toward the peak (up to +18 dB), − makes each hit die away up to twice as fast. Silence below −80 dB is never lifted.

TIME

How long a hit counts as its attack, 1–80 ms (default 9 ms). Short times shape only the click; long times shape the whole strike.

RELEASE

How long the tail is measured from the peak, 30 ms–2 s (default 245 ms). Longer RELEASE makes SUSTAIN act on more of the decay.

SWELL

Turns every detected hit into a bowed fade-in: the gain drops to (100 − SWELL) % at the hit and rises back over LENGTH. 100 % removes the attack completely. Each new hit restarts the swell. Default 0.

LENGTH

How long the swell takes. Free: 10 ms–2 s. Clocked (AUX, on by default): 1/64–1/1, including triplets (default 1/8).

SPLIT

Shapes only one side of a crossover, 40 Hz–10 kHz; FULL at the bottom (default) shapes the whole signal. The unshaped side passes untouched, and detection listens only to the shaped side, so a kick can be tightened without the hats steering it.

BAND

Which side of SPLIT is shaped: LOW (default) or HIGH.

MIX

Dry / shaped blend.

GAIN

Attenuation only: −∞, then −36 dB up to 0 dB.

PAN

Equal-power balance, L100 to R100.

AUTO

Upward-only leveler toward −14 dBFS, capped at +18 dB of gain. OFF at zero.

LIMITER

Sample-peak ceiling, −24 to 0 dB — instant attack, 75 ms release.

STEREO

−100 = mono, 0 = unchanged, +100 = double the side signal. No MIX — this is a serial stage.

ROTATE

Rotates the stereo image up to 45° either way: at L45 a centred source sits fully left. Default 0.

MONO

Sums everything below 30–500 Hz to mono (24 dB/oct high-pass on the side signal). OFF at zero.

VELVET

Velvet-noise decorrelation: replaces the mid with two uncorrelated copies, for broadband width from mono without Haas combing. Default 0.