Appearance
Effects
Effects for shaping any sound: echoes, movement, pitch changes and a sense of space. Most controls can be driven by other nodes in real time, so you can connect a control signal (a CV, an LFO or an envelope) to a parameter's input dot and have it change automatically while the sound plays. The stereo effects take a left and a right input (and still work fine if you only feed them a single mono sound), while a few work on one mono channel.
AM / Ring Mod
Multiplies your sound by a second signal to create those classic metallic, bell-like, robotic tones. If you do not plug anything into Mod In, a built-in tone takes over so the effect works on its own.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Amount | 0.0 - 1.0 | 1.0 | How strongly the modulator multiplies the input. 0 keeps the dry sound, 1 is full depth |
| Bias | 0.0 - 1.0 | 0.5 | Offset added to the modulator. More bias leans toward classic AM, less leans toward ring mod |
| Mod Freq | 0.01 - 4000 Hz | 3.0 | Internal modulator frequency. Below 20 Hz it acts like a tremolo; above it adds sidebands |
| Mod Shape | 0.0 - 1.0 | 0.0 | Morphs the internal modulator from a clean sine toward a triangle |
| Ring | 0.0 - 1.0 | 1.0 | Blend from Amplitude Modulation (0, harmonic) to Ring Modulation (1, clangy, inharmonic) |
| Dry/Wet | 0.0 - 1.0 | 1.0 | Balance between the dry input and the modulated output |
| Gain | 0.0 - 2.0 | 1.0 | Output level after modulation |
Inputs: Audio In, optional Mod In, plus Amount, Bias, Mod Freq, Mod Shape, Ring, Dry/Wet and Gain (all accept CV). Outputs: Out (mono). Also emits Amount, Mod Freq, Mod Shape and Ring as data outputs.
Chorus
A stereo chorus that makes any sound feel fuller and wider, with a gentle shimmering wobble. It does this with a very short, constantly shifting delay spread across the stereo image, which adds width and movement to pads, guitars, vocals and synths.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Rate | 0.0 - 20.0 Hz | 1.0 | How fast the internal LFO sweeps the delay. Slow rates drift; faster rates wobble |
| Depth | 0.0 - 1.0 | 0.25 | How far the LFO swings the delay. A little adds shimmer, a lot becomes warble |
| Centre Delay | 1.0 - 100 ms | 7.0 | Base delay time the modulation moves around. Longer values fatten and detune |
| Feedback | -1.0 - 1.0 | 0.0 | Recirculates the delayed signal for richer, flanger-like textures. Negative inverts phase |
| Mix | 0.0 - 1.0 | 0.5 | Balance between the dry signal and the wet chorus |
Inputs: In L, In R, plus Rate, Depth, Centre Delay, Feedback and Mix (all accept CV). Outputs: Out L, Out R.
Wow & Flutter
Recreates the unsteady, wavering pitch of an old, worn tape machine. It blends a slow wobble (wow), a faster shimmer (flutter) and a slow random drift, all gently bending the pitch. By default it plays only the processed sound, so it adds movement rather than thickening the tone.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Wow Rate | 0.05 - 5.0 Hz | 0.5 | Speed of the slow LFO that simulates worn tape pulleys |
| Wow Depth | 0.0 - 1.0 | 0.5 | Amount of slow pitch wobble. Higher gives a more obvious tape-warp feel |
| Flutter Rate | 4.0 - 30.0 Hz | 10.0 | Speed of the fast LFO that simulates capstan and head vibration |
| Flutter Depth | 0.0 - 1.0 | 0.2 | Amount of fast pitch jitter. Small adds character, large adds nervous shimmer |
| Drift | 0.0 - 1.0 | 0.0 | Slow filtered-noise drift on top of the LFOs for long, unpredictable wandering |
| Mix | 0.0 - 1.0 | 1.0 | Balance between the dry signal and the modulated signal |
Inputs: In L, In R, plus Wow Rate, Wow Depth, Flutter Rate, Flutter Depth, Drift and Mix (all accept CV). Outputs: Out L, Out R.
Tape Damage
Makes a sound feel like it is playing back from a damaged tape. Random dropouts briefly cut the volume, random pitch tears cause quick momentary dives, and a high-cut control darkens the top end the way an old, worn tape would. By default it plays only the processed sound.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Dropout | 0.0 - 1.0 | 0.3 | How often the level briefly drops out |
| Tear | 0.0 - 1.0 | 0.2 | Density and depth of momentary pitch tears |
| Hi-Cut | 0.0 - 1.0 | 0.4 | Darkens the top end (0 is bright, 1 is muffled) |
| Mix | 0.0 - 1.0 | 1.0 | Balance between the dry signal and the damaged signal |
Inputs: In L, In R, plus Dropout, Tear, Hi-Cut and Mix (all accept CV). Outputs: Out L, Out R.
Looper
A stereo looper that records, plays back and layers sound on top of itself (overdub). You build up a phrase using four playback controls: record it, play it, and add more layers over the top. The recorded loop is saved with your project, and a Phase output lets several loopers stay in sync with each other.
You control the looper with four pins (and matching buttons). Each one works in two ways at once: clicking the button triggers it, and a connected gate or control signal also triggers it the moment it rises. Record captures the first take, then switches to adding new layers on top. Play starts or resumes playback. Stop stops while keeping the loop. Clear erases the loop so you can start fresh.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Length | 1 - 60 s | 30 | Maximum loop length. Inspector only, since changing it reallocates the buffer |
| Feedback | 0.0 - 1.0 | 1.0 | How much of the previous loop survives an overdub pass. 1.0 keeps old layers, lower fades them |
| Loop | 0.0 - 1.0 | 1.0 | Loop volume. 0 mutes the loop, 1 is full level |
| Level | 0.0 - 4.0 | 1.0 | Output level applied to the looped audio |
| Position | 0.0 - 1.0 | 0.0 | Seek into the loop. Ignored while Recording or while Phase In is connected |
| In Mute | On/Off | Off | Mutes the dry input so only the loop is heard |
Inputs: In L, In R, Phase In, the Record / Play / Stop / Clear transport pins, plus Feedback, Loop, Level, Position and In Mute (all accept CV). Outputs: Out L, Out R, and a Phase ramp (0..1) synced to the playhead.
Unison
Adds slightly detuned, spread-out copies of any sound for instant thickness and width. It turns a thin mono synth or sample into a big, wide stereo sound, like several players performing the same part just slightly out of tune with each other.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Detune | 0 - 80 cents | 18 | How much the stacked voices are detuned from each other |
| Spread | 0.0 - 1.0 | 0.65 | How the voices are distributed around the centre |
| Stereo Width | 0.0 - 1.0 | 0.8 | Stereo opening of the voice fan |
| Motion | 0.0 - 1.0 | 0.35 | How much the unison moves and drifts over time |
| Voices | 1 - 9 | 5 | Number of stacked voices. More voices is thicker but heavier on CPU |
| Mix | 0.0 - 1.0 | 1.0 | Balance between the dry signal and the unison output |
Inputs: In L, In R (if In R is omitted, In L feeds both), plus Detune, Spread, Stereo Width, Motion, Voices and Mix (all accept CV). Outputs: Out L, Out R.
Pitch Shift
Shifts the pitch of incoming sound up or down on the fly, without any gaps in the audio. Use Semitones for big jumps and Fine for tiny tuning tweaks.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Semitones | -48 - +48 st | 0 | Coarse transposition. 12 is one octave up, -12 one octave down |
| Fine | -100 - +100 cents | 0 | Fine tune in cents (1/100 of a semitone) for sub-semitone precision and detuning |
Inputs: In, plus Semitones and Fine (both accept CV). Outputs: Out.
Reverb
A stereo reverb that adds a sense of depth and space, like playing the sound in a room. It is fast to set up, easy on your computer, and a reliable first choice for vocals, drums and overall mixes.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Room | 0.0 - 1.0 | 0.5 | Virtual room size. Larger values create longer tails |
| Damp | 0.0 - 1.0 | 0.5 | High-frequency damping. Higher makes the tail darker |
| Width | 0.0 - 1.0 | 1.0 | Stereo width of the reverb |
| Freeze | On/Off | Off | Holds the current reverb tail indefinitely |
| Mix | 0.0 - 1.0 | 0.33 | Balance between the dry and wet signal |
Inputs: In L, In R, plus Room, Damp, Width, Freeze and Mix (all accept CV). Outputs: Out L, Out R.
Reverb II
A second stereo reverb, based on well-known classic reverb designs. Its tail is denser and grainier than the first Reverb, and it adds a pre-delay control (a short gap before the reverb starts).
| Parameter | Range | Default | Description |
|---|---|---|---|
| Size | 0.0 - 1.0 | 0.65 | Virtual enclosure size. Larger is bigger and more diffuse |
| Decay | 0.0 - 1.0 | 0.60 | Length of the reverb tail |
| Damp | 0.0 - 1.0 | 0.25 | How quickly high frequencies fade inside the reverb |
| Width | 0.0 - 1.0 | 0.85 | Stereo width of the wet signal. 0 is mono, 1 is full stereo |
| PreDelay | 0 - 250 ms | 18 | Delay between the dry sound and the start of the reverb tail |
| Mix | 0.0 - 1.0 | 0.35 | Balance between the dry input and the wet reverb |
Inputs: In L, In R, plus Size, Decay, Damp, Width, PreDelay and Mix (all accept CV). Outputs: Out L, Out R.
TIP
Try both Reverb and Reverb II on the same source. They have different characters and one may suit your sound better than the other.
Delay Mono
A mono echo. You can set the time freely or lock it to your song's tempo, shape the repeats with a filter, and choose how the sound behaves when you change the time (a smooth blend, or a tape-style pitch slide). Great for echoes, slapback and rhythmic repeats.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Mode | Free / Sync | Free | Free uses the Time in ms; Sync derives the time from BPM and a subdivision |
| Time | 0.1 - 5000 ms | 500 | Delay time in milliseconds, used in Free mode |
| Subdiv | Choice | 1/4 | Musical subdivision used in Sync mode (1/64 up to longer, with triplet and dotted variants) |
| BPM | 1 - 999 | 120 | Tempo used by Sync mode. Set manually or follow a Transport node |
| Feedback | 0.0 - 1.0 | 0.3 | How much of the delayed signal feeds back. Soft-clipped to stay safe |
| Interp | Crossfade / Repitch | Repitch | How time changes are handled. Crossfade keeps pitch steady; Repitch allows tape-style slides |
| Filter | Off / LP / HP / BP | Off | Filter inserted in the feedback path |
| Filter Freq | 20 - 20000 Hz | 8000 | Cutoff or centre frequency of the feedback filter |
| Mix | 0.0 - 1.0 | 0.5 | Balance between the dry input and the delayed output |
Inputs: In, plus Time, Feedback, Mix, BPM, Filter Freq, Mode, Subdiv, Interp and Filter Type (all accept CV). Outputs: Out.
Delay Stereo
A stereo echo with separate times for the left and right sides, so each side can have its own rhythm. It also offers ping-pong and cross-feedback routing (echoes that bounce between the two sides), tempo sync, a filter on the repeats, and a choice between a smooth blend or a tape-style pitch slide when the time changes. Great for wide, spacious echoes.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Mode | Free / Sync | Free | Free uses Time L and Time R in ms; Sync derives the times from BPM and per-channel subdivisions |
| Time L | 0.1 - 5000 ms | 500 | Delay time of the left channel, used in Free mode |
| Time R | 0.1 - 5000 ms | 500 | Delay time of the right channel, used in Free mode |
| Subdiv L | Choice | 1/4 | Left-channel subdivision used in Sync mode |
| Subdiv R | Choice | 1/4 | Right-channel subdivision used in Sync mode |
| BPM | 1 - 999 | 120 | Tempo used by Sync mode |
| Feedback | 0.0 - 1.0 | 0.3 | How much of the delayed signal feeds back. Soft-clipped to stay safe |
| Interp | Crossfade / Repitch | Repitch | How time changes are handled. Crossfade keeps pitch steady; Repitch allows tape-style slides |
| Filter | Off / LP / HP / BP | Off | Filter inserted in the feedback path |
| Filter Freq | 20 - 20000 Hz | 8000 | Cutoff or centre frequency of the feedback filter |
| Mix | 0.0 - 1.0 | 0.5 | Balance between the dry input and the delayed output |
Inputs: In L, In R, plus Time L, Time R, Feedback, Mix, BPM, Filter Freq, Mode, Subdiv L, Subdiv R, Interp and Filter Type (all accept CV). Outputs: Out L, Out R.
Vocoder
The classic "talking synth" effect. It listens to one sound (the modulator, usually a voice), splits it into up to 16 frequency bands, tracks how loud each band is, and then shapes a second sound (the carrier) to match. Plug a synth into Carrier In for the classic robot-voice sound, or leave it empty to use the built-in tone.
| Parameter | Range | Default | Description |
|---|---|---|---|
| Bands | 4 - 16 | 8 | Number of analysis and synthesis filter bands |
| Low Freq | 40 - 4000 Hz | 120 | Frequency of the lowest band |
| High Freq | 300 - 16000 Hz | 7200 | Frequency of the highest band |
| Resonance | 0.3 - 18.0 | 6.5 | Filter resonance. Higher is sharper and more robotic |
| Attack | 0.2 - 200 ms | 7 | Envelope follower attack speed |
| Release | 2 - 1000 ms | 90 | Envelope follower release speed |
| Unvoiced | 0.0 - 1.0 | 0.18 | Amount of noise mixed in for consonant detail |
| Carrier Freq | 40 - 2000 Hz | 110 | Internal carrier oscillator frequency, used when no external carrier is patched |
| Wet | 0.0 - 1.0 | 1.0 | Balance between the dry carrier and the vocoded output |
Inputs: Mod In, optional Carrier In, plus Bands, Low Freq, High Freq, Resonance, Attack, Release, Unvoiced, Carrier Freq and Wet (all accept CV). Outputs: Out.