ZPWR PATCH-CORE // BLOCK CATALOG

Vox AC30 Top Boost-style amp: two cascaded Koren 12AX7 stages into a chimey top-boost tone stack (flat ~800 Hz mid, bright treble) and a class-A EL84 push-pull power stage that compresses and sags early - the jangly British chime. EL84 (lower max current) + class-A bias distinguish it from the EL34 Marshalls.

Fender Bandmaster-style amp: two Koren 12AX7 stages into a deeply scooped blackface tone stack and a class-AB 6L6 push-pull power stage - a piano-clean ~40 W blackface head with big headroom and a glassy, scooped top, breaking up only when pushed hard.

Ampeg-style 4x10 bass cabinet: a deep extended low end, a gentle low-mid bump and an early treble roll-off for a round, punchy bass tone.

Fender 5F6-A tweed Bassman / JTM45-lineage tube amp: two cascaded 12AX7 gain stages modeled with the Koren triode plate-current equation (real self-bias, grid-conduction asymmetry - not a tanh) into a Fender-style tone stack (wide ~650 Hz mid), then a class-AB EL34 push-pull power stage whose plate currents subtract through the output transformer (even harmonics cancel, odd-harmonic clip + supply sag emerge from the physics), 4x oversampled.

Vox AC30-style 2x12 with Celestion Blue alnico voicing: an open low end, an extended top and a sweet chimey presence - the jangly British combo cab.

Marshall 1962 Bluesbreaker-style amp: two Koren 12AX7 stages into a Marshall tone stack and a class-AB KT66 push-pull power stage - the JTM45-lineage combo behind the classic British blues-rock 'Beano' tone, with a warm, bloomy, KT66 break-up and more low-end body than the later EL34 Plexi.

Bogner Ecstasy-style amp: three cascaded Koren 12AX7 stages into a tight, focused tone stack and a class-AB EL34 push-pull power stage - smooth, singing, high-gain modern British-voiced lead with a refined, liquid sustain.

Marshall 1960A-style 4x12 with Celestion Greenback voicing: a tight low-cut, a roll-off around 4.5 kHz and a forward upper-mid presence - the definitive British rock guitar cabinet.

Fender Deluxe Reverb-style amp: two Koren 12AX7 stages into a blackface tone stack and a class-AB 6V6 push-pull power stage - the warm, touch-sensitive American combo that breaks into a sweet, compressed overdrive when cranked. Lower headroom than the Twin.

EVH 5150III-style amp: three cascaded Koren 12AX7 stages into a scooped, aggressive tone stack and a class-AB EL34 push-pull power stage driven hard - the tight, saturated, percussive modern metal/shred standard with massive gain and a fast attack.

Marshall JCM800 2203-style high-gain amp: three cascaded Koren 12AX7 stages (the extra gain stage = hot-rodded crunch) into a scooped Marshall tone stack and a class-AB EL34 push-pull power stage. The 80s rock/metal standard - tight, aggressive, harmonically rich.

Marshall JTM45-style amp: the original Marshall, two cascaded Koren 12AX7 stages into a Marshall tone stack and a class-AB KT66 push-pull power stage (more headroom and a rounder break-up than the later EL34 Plexi). Bluesy British crunch with bloom.

Marshall Silver Jubilee 2555-style amp: three cascaded Koren 12AX7 stages into a scooped Marshall tone stack and a class-AB EL34 push-pull power stage - a hot-rodded JCM800 with a tighter, more compressed high-gain crunch. The 80s/90s rock-lead Marshall.

Mesa/Boogie Mark V-style amp: three cascaded Koren 12AX7 stages into a deeply scooped Mesa tone stack and a class-AB power stage - the smooth, compressed, mid-scooped American high-gain lead (the 'Santana/Metallica' voice) with singing sustain.

Matchless DC30-style boutique amp: two Koren 12AX7 stages into a chimey top-boost-style tone stack and a class-A EL84 push-pull power stage - the AC30 chime with tighter low end and a more focused, hi-fi breakup. Boutique British class-A.

Orange-style 4x12: a thick, dark, low-mid-forward voicing with an earlier treble roll-off - the heavy, woody stoner/doom cabinet.

Marshall Plexi 1959 Super Lead-style amp: two cascaded Koren 12AX7 stages into a scooped Marshall tone stack (~500 Hz mid) and a class-AB EL34 push-pull power stage - the bright, crunchy British roar, with real push-pull even-harmonic cancellation and supply sag. Same physics engine as the Bassman, Marshall voicing.

Fender Princeton Reverb-style amp: two Koren 12AX7 stages into a blackface tone stack and a small class-AB 6V6 push-pull power stage - the low-power (~12 W) blackface combo that breaks into a sweet, touch-sensitive overdrive earlier than the Deluxe, the studio recording favourite. Lower power-tube headroom = earlier sag and bloom.

Mesa/Boogie Rectifier-style 4x12 (V30 loaded): a big low end, a slightly later treble roll-off and an aggressive 3-4 kHz bite - the modern high-gain metal cab.

Mesa/Boogie Rectoverb-style amp: three cascaded Koren 12AX7 stages into a loose, scooped Recto-voiced tone stack and a class-AB EL34 push-pull power stage - thick, saturated, sagging modern high-gain with a huge low end. The nu-metal/modern-rock rhythm crush.

Fender Dual Showman-style amp: two Koren 12AX7 stages into a scooped blackface tone stack and a big, stiff class-AB 6L6 push-pull power stage - the loudest, cleanest blackface (~85 W), enormous headroom and a tight, sparkling, scooped clean that barely breaks up. Stiffer power supply (less sag) than the Twin.

Fender Super Reverb-style amp: two Koren 12AX7 stages into a blackface tone stack and a class-AB 6L6 push-pull power stage voiced bright and chimey through its 4x10 cab - a livelier, more touch-responsive blackface clean than the Twin, singing with pick dynamics and breaking up sweetly when cranked.

Fender Twin Reverb-style amp: two Koren 12AX7 stages into a deeply scooped blackface tone stack and a big class-AB 6L6 push-pull power stage with huge clean headroom - the loud, sparkling, scooped American clean. Breaks up only when pushed hard.

Fender Vibrolux Reverb-style amp: two Koren 12AX7 stages into a blackface tone stack and a class-AB 6L6 push-pull power stage voiced bright and chimey - a smaller, livelier blackface clean that sings with pick dynamics.

TB-303-style 4-pole diode ladder: per-stage diode soft-clip and a diode-shaped feedback stage for high-resonance acid squelch.

Ampeg SVT-style bass amp: two triode stages, thick low-mid focus, power-supply sag and an output-transformer stage with a dark cab - built for bass.

Ampex ATR-102-style mastering tape: gentle magnetic hysteresis (B/H + remanence), a soft wide head bump and smooth head-gap HF roll-off - subtle mix-bus polish (pro deck: flutter negligible by design).

Aphex Aural Exciter-style enhancer: a tuned high-pass side chain into an asymmetric class-A harmonic generator (2nd+3rd) and a phase-shift network, blended back for air and presence.

API 2500-style VCA bus compressor: a Thrust sidechain tilt with Old (feedback) or New (feedforward) detection, through a dB-linear VCA cell with control-port slew and gain-cell THD.

API 550-style 3-band EQ with proportional-Q (bands widen at low boost, tighten at high boost) and op-amp soft-clip bite.

API 560-style graphic EQ: fixed octave bands with proportional-Q so adjacent bands sum smoothly (4-band).

API 312-style preamp: a discrete 2520 op-amp (level-dependent knee) into an API output transformer with LF-flux iron, plus a bright top; the harmonic tilt shifts upward as level rises.

ARP 2600-style 4072 four-pole ladder: aggressive, clean self-oscillating resonance with a brighter, wetter bite than a Moog ladder.

CBS Audimax-style broadcast AGC: a slow, bidirectional gain-riding automatic level control that holds a target output loudness - boosting quiet material UP and pulling loud material DOWN over seconds, unlike a compressor (downward-only, fast). Its 'platform' gate FREEZES the gain when the program falls silent so it never rides room noise up in the pauses. Target sets the held level, Speed the gain-ride time, Range the maximum boost, Gate the platform threshold.

Avalon VT-737-style tube channel EQ: clean, musical bell and shelf bands with gentle tube warmth.

Baxandall negative-feedback tone network: the classic hi-fi Bass/Treble - a gentle low shelf (~100 Hz) and high shelf (~10 kHz) that boost or cut smoothly and symmetrically, with none of the midrange scoop of a passive stack. Bass and Treble in dB.

BBE Sonic Maximizer-style processor: a phase-alignment network advances the highs ahead of the (allpass-delayed) lows and adds exciter-style HF harmonics for clarity and punch.

Tube bias tremolo: the LFO shifts the tube grid bias (operating point), so the throb modulates both amplitude and 2nd-harmonic content - a richer, harmonically-moving wobble than plain amplitude tremolo.

Big Muff Pi-style fuzz: two cascaded silicon diode clipping stages (Newton-solved Shockley pairs, 4x oversampled) that square up into a wall of sustain, with a scooped-mid tone.

Mu-Tron Bi-Phase dual phaser: TWO complete 6-stage OTA phasers with independent LFO rates (RateA / RateB), whose two moving notch combs beat against each other for a swirling, three-dimensional sweep no single-sweep phaser (Phase 90, Small Stone) can reach. Depth sets the sweep width, Feedback the resonant emphasis of the notches, Mix the wet blend. Six 1st-order all-pass stages per side.

Fender Blackface-style amp: a triode stage, scooped-mid clean headroom (~500 Hz notch), a stiff (low-sag) power section and an output-transformer stage with a bright, glassy top.

MXR Blue Box-style octave fuzz: cascaded flip-flops divide the pitch down two octaves into a gritty square sub-octave, blended with a fuzzed dry signal - the synthetic, glitchy -2-octave fuzz.

Boss BD-2 Blues Driver-style overdrive: a JFET-buffered asymmetric soft-clipper that stays bright, dynamic and amp-like - cleans up with pick attack, breaks up when pushed. Gain sets the drive, Tone the top-end tilt, Level the output.

Bode / Moog 6401-style ring modulator: the input multiplied by an internal tunable sine carrier through a diode-ring nonlinearity, giving the metallic sum-and-difference sidebands of the classic sci-fi/bell sound. Freq tunes the carrier, Drive sets the diode-bridge bite, Mix blends modulated against dry.

SSL bus-style VCA saturation into an output transformer: a thin 'glue' veneer for the mix bus - subtle thickening, not obvious distortion.

AKG BX-20-style torsional-spring reverb: a dispersive modulated all-pass tank models the spring chirp smeared smooth - long, dark, no boing.

Tascam Portastudio-style 4-track cassette: the lo-fi tape end - a slow narrow capstan gives heavy wow (slow pitch drift) plus flutter (fast wobble) through a modulated delay, a restricted bandwidth (HF gap loss + LF rolloff) and early-saturating tape hysteresis, the bedroom-demo cassette character versus the clean Ampex/Studer mastering decks. Wow sets the pitch instability, Sat the tape drive, Tone the HF rolloff, Mix the blend.

Boss CE-1-style BBD chorus/vibrato: a triangle-LFO chorus or a wet-only vibrato through a companded bucket-brigade line, with preamp coloration.

Curtis CEM3320-style 4-pole OTA filter (Prophet-5 rev3 / SH-101 / Pro-One): four OTA integrator poles with per-stage soft clip and a bass-compensated resonance path, so it stays fat where a Moog ladder thins out - cleaner, brighter, more aggressive into self-oscillation. Cutoff, Reso to self-osc, Mod-CV depth (in 3), Drive pushes the cells.

Chamber reverb: higher modal density than a plate with a diffuse onset and warm, non-metallic tail - between a plate and a room.

Chandler Curve Bender-style EQ (EMI/Abbey Road): musical stepped bands with transformer/valve harmonic colour.

Chandler TG2-style preamp (EMI/Abbey Road): an input stage into an iron-core transformer (LF flux saturation) - punchy with a distinctive forward presence.

Dunlop Cry Baby / Vox inductor wah: a resonant inductor-cap band-pass swept by Pedal over the throaty 350 Hz - 2.2 kHz range, with the Q peaking through mid-sweep the way a real wah inductor does and falling at the heel/toe. Pedal sets the position (modulate it for auto-wah), Q the bite, Mix the blend.

Yamaha CS-80 dual resonant filter: a 2-pole resonant high-pass in series with a 2-pole resonant low-pass, each swept independently for the lush, vocal, brass-and-strings voice (Vangelis / Blade Runner) a single multimode filter cannot make. HP Cutoff lifts the bottom, LP Cutoff closes the top, Reso peaks both corners (soft-saturated, musical -- not a screaming self-oscillator), Drive pushes the input.

Thermionic Culture Vulture valve distortion: Triode mode is an asymmetric, even-harmonic soft saturation (warm, musical thickening); Pentode mode is a harder odd-harmonic clip with a push-pull crossover dip near zero for the snarling, aggressive 'P' destruction. Bias shifts the valve operating point (asymmetry / gate), Drive pushes it from fattening to full disintegration, Tone tilts the output, Level trims it. A valve character/destruction unit, not a pedal or amp.

dbx 160-style VCA compressor: true-RMS detection and an 'over-easy' soft knee through a dB-linear VCA cell with control-port slew and gain-cell THD; punchy and musical.

dbx 165-style VCA compressor: true-RMS detection into a dB-linear VCA with the over-easy soft knee, faster and more aggressive than the 160, plus the PeakStop clamp - a click-free output brickwall that stops transients dead. Threshold/Ratio/Knee shape the compression, Makeup the makeup gain.

dbx Type II-style companding noise reduction: a 2:1 RMS-compress encode and complementary 1:2 expand decode with HF pre-emphasis - run as one box the two halves track at slightly different speeds, so steady tone passes clean but transients pump and HF content (cymbals) modulates the floor: the signature dbx 'breathing'. Amount sets the companding depth, Emphasis the HF-triggered breathing, Mix the blend.

Diezel VH4-style amp: three cascaded triode stages, ultra-tight aggressive high-gain with a scooped low end, reservoir sag and an output-transformer stage.

Roland Dimension D-style BBD chorus: two anti-phase bucket-brigade lines (compander + clock-tracked reconstruction filter) for a wide, 'motionless' thickening with no audible wobble.

Distressor-style aggressive compressor: a FET gain cell whose bite grows with gain reduction, switchable harmonic distortion (Dist2 = genuine 2nd, Dist3 = 3rd) and a British-mode all-buttons slam.

Drawmer DS201-style noise gate: opens fast above Threshold and closes after Release, with hysteresis so it doesn't chatter on the edge. Range sets how far it ducks when closed (hard gate vs gentle expander), Attack the open speed - the studio-standard gate for tightening drums and killing hum between phrases.

Boss DS-1-style distortion: a Newton-solved symmetric silicon diode pair (4x oversampled - the real shunt clipper, not a hard jlimit) with an active tilt-tone control - brash and cutting.

Dumble Overdrive Special amp (full circuit): smooth, singing high-gain with a spongy supply for bloom and sustain -- the holy-grail boutique lead voice. Gain, Tone, Master, Level. Same cascaded-triode + voiced-tone-stack + supply-sag model, voiced for Dumble's compressed sustain.

MXR Dyna Comp-style OTA pedal compressor (CA3080): a full-wave-rectified envelope drives a high-ratio OTA gain cell for the squishy, sustaining 'country squeeze' - fast clamp, slow bloom, and the signature high-end softening. Sensitivity sets how hard it squeezes, Attack the detector speed, Output the makeup.

Maestro Echoplex EP-34-style tape echo: warm, wow+flutter-modulated repeats with magnetic hysteresis (asymmetric saturation + remanence) and head gap-loss HF roll-off.

Binson Echorec-style magnetic drum delay: several fixed playback heads give rhythmic multi-tap echoes with rotating-drum wobble and magnetic hysteresis in the feedback.

EF86 pentode preamp (Vox AC15/AC30, Matchless front end): a pentode gain stage modeled by the 3/2-power Child-Langmuir plate law with a sharp cutoff (ckt::pentodeIp) - far more gain and a harder, faster-compressing grind than the triode stages in the amp models, with the asymmetric even-harmonic colour of a single tube stage. Drive sets the grid swing, Bias the operating point (edge of breakup / asymmetry), Tone a post treble tilt, Level the output.

EHX Electric Mistress-style flanger: a swept companded bucket-brigade line forms moving comb notches; Filter Matrix freezes the sweep for a fixed metallic tone.

EMS VCS3-style 3-pole (18 dB) diode ladder: asymmetric diode shaping gives a sharp, acidic resonance.

EMT 140-style plate reverb: a dispersive modulated all-pass tank (the plate shimmer where HF and LF propagate at different speeds), instant dense diffusion, bright sheen, HF decaying faster than the low tail.

EMT 250-style early digital reverb: a dense tank with first-generation converter quantization grain - bright and unmistakably early-digital.

ENGL-style amp: three cascaded triode stages, tight scooped modern-metal high-gain, reservoir sag and an output-transformer stage with a dark cab.

Echoplex EP-3 preamp: the Echoplex's FET preamp section, famous as an always-on tone boost (Page, Van Halen). A touch of FET saturation plus a presence bump and slightly tightened lows make whatever runs through it fuller, clearer and more present -- a buffer/boost with character, not a distortion or amp. Gain sets the boost, Bright the presence bump, Level the output.

Fairchild 670-style vari-mu tube limiter: a remote-cutoff 6386 twin-triode is the gain cell, its mu falling as control bias rises so the ratio is soft and program-dependent, and the 6-position time-constant switch sets attack/release from snappy to molasses. Threshold leans it in, TimeConst picks the program-dependent ballistics, the vari-mu adds gentle glue and tube harmonics, Output is makeup.

Empirical Labs FATSO-style warmth/comp: a soft-knee compressor into a tape-style saturation stage (a tilting HF soft-clip) that rounds transients and adds harmonic 'warmth', the way the hardware glues and thickens a mix. Comp sets the squeeze, Warmth the saturation drive, Output the makeup.

1176-style FET compressor: ultra-fast attack, fixed high ratios, and an asymmetric FET gain cell whose harmonic bite grows with gain reduction (max ratio = all-buttons slam).

Friedman BE-100-style amp: hot-rodded Marshall - two cascaded triode stages, tight low end, singing mids, reservoir sag and an output-transformer stage.

Fulltone Fulldrive-style overdrive: a TS-derived circuit opened up with less mid-hump and more gain on tap, asymmetric soft clipping that stays articulate when pushed, plus a cleaner Boost stage. Gain sets the drive, Tone the brightness, Boost stacks gain, Level the output.

H3000-style function generator: a modulation source with 19 selectable waveshapes plus random sample-and-hold, smooth random and noise (no audio input).

Fuzz Face-style germanium fuzz: two cascaded germanium common-emitter transistor stages (Ebers-Moll, 4x oversampled) whose asymmetric cutoff/saturation gives the gated, spitty fuzz; Bias starves the second stage toward the splatty/gated voicing, and it cleans up as you lower Input - just like rolling back the guitar volume.

Z.Vex Fuzz Factory-style two-transistor fuzz: massive asymmetric gain into a hard clip, with Gate choking the decay into a sputtery rip and Stab starving the bias toward a self-oscillating squeal that ducks under the note - the pinched, gated, velcro fuzz. 4x-oversampled.

Maestro FZ-1 Fuzz-Tone: the first fuzz pedal (the 'Satisfaction' buzz). Three germanium stages give a thin, splatty, ripped-speaker square-wave fuzz that GATES hard as the note decays into the famous sputtering decay. Thinner, harder and more gated than the thick Tone Bender or the FuzzFace. Attack sets the gain, Bias starves the supply (more gate/sputter), Level the output.

GML 8200-style parametric EQ: ultra-clean, transparent constant-Q bands with no saturation - the surgical reference where boost and cut cancel exactly.

Marshall Guv'nor-style distortion: hard symmetric diode clipping after a Marshall-voiced mid push with an active treble tilt - the 'amp in a box' crunch-to-roar. Gain sets the clipping, Tone the brightness, Body the low-mid push, Level the output.

Eventide H3000-style micro-pitch doubler: two slightly detuned, short-delayed voices thicken the signal into a wide, lush double-track.

Helios Type 69-style console EQ: a low bell, a switchable peak-or-trough mid at stepped frequencies, and a 10 kHz high shelf - punchy and musical.

Helios console-style preamp: punchy class-A transistor saturation into a console transformer (LF-flux iron) with an asymmetric Bias and a forward ~1.5 kHz midrange push. Drive sets the grit, Tone rolls the top, Mix blends dry/wet - aggressive British-console colour.

Hiwatt DR103 amp (full circuit): three could-be-cleaner cascaded triode stages with a stiff power supply and a bright, high-headroom voice -- the clean-but-LOUD British military-grade tone (Townshend / Gilmour) that stays articulate where a Marshall breaks up. Gain drives the preamp, Tone tilts the stack, Master pushes the power stage, Level trims. Cascaded triode transfer + voiced tone stack + supply sag, not a single tanh + fixed EQ.

Boss HM-2 Heavy Metal ('Swedish chainsaw'): a high-gain hard clipper into the HM-2's scooped dual-band Color EQ. Turn Color up and it guts the mids while pushing a resonant low end and a fizzy top into the unmistakable buzzsaw wall of Swedish death metal (Entombed). Dist sets the gain, Color sweeps flat -> full chainsaw scoop, Level the output. Distinct from the mid-scoop MetalZone by the dual-band buzzsaw voicing.

Roland JC-120 Jazz Chorus (solid-state clean): the transistor clean platform -- a stiff power supply (no sag), big bright headroom that stays glassy and articulate, and a harder, more brittle clip when finally pushed, unlike the soft, compressing tube amps. Drive sets the gain, Tone the brightness, Level the output. Pair with a Chorus block for the full JC stereo shimmer.

JFET common-source overdrive (true square-law device model, ckt::jfetId): the signal swings the gate of a J201-style JFET and its drain current Id = Idss(1-Vgs/Vp)^2 forms the output, which clips ASYMMETRICALLY - compressing toward zero-bias, cutting off at pinch-off - for the even-harmonic, dynamic, 'amp-like' warmth of a FET preamp stage. Drive sets the gate swing, Bias the operating point (asymmetry / edge of breakup), Tone a post treble tilt, Level the output.

Jupiter-8-style 4-pole OTA ladder: per-stage OTA transconductance saturation with smooth resonance that keeps the low end (no Moog bass loss).

Klon Centaur-style overdrive: a Newton-solved germanium diode pair (4x oversampled) summed back with the clean signal - 'transparent' via the dual-path blend, not soft clipping.

Korg MS-10-style Korg35 Sallen-Key low-pass: hard diode-clipped resonance that screams and squares up at high settings - more aggressive than the later MS-20 OTA revision.

Teletronix LA-2A-style opto leveling amplifier: a T4 electro-optical cell compresses slowly and smoothly with the cell's two-stage, program-dependent release - fast for the first part of recovery, then a long gentle tail - so it sits musically without surgical control. Peak Reduction sets how hard it leans, Gain the makeup, Emphasis tilts the detector toward highs (de-essing).

Teletronix LA-3A-style optical compressor: the LA-2A photocell gain law but a fast-attack, brighter solid-state amp - punchier optical leveling with program-dependent release.

Lexicon 224-style digital hall: a long, lush, slowly-modulated reverb tail (chorusing avoids metallic ringing) with bright, dense diffusion.

Lexicon 480L-style digital reverb: a brighter, denser random-hall/plate with a modulated tail and fast build-up.

Lockhart-style transistor wavefolder (west-coast): the signal reflects off the rails through several folding stages, multiplying harmonics as Fold rises - the Buchla/Serge timbre. 4x-oversampled.

Maag EQ4-style EQ: musical low and mid bands plus the famous Air Band - a very high shelf for open, silky top.

Manley Massive Passive-style EQ: wide bandwidth limits the available gain (opposite of proportional-Q), passive LC curves into an output transformer with LF-flux iron harmonics.

Mesa/Boogie Mark IIC+ amp (full circuit): tight, scooped, high-gain lead with a stiff supply for fast attack and a singing sustain (the 80s metal lead voice). Gain, Tone, Master, Level. Same cascaded-triode + voiced-tone-stack + supply-sag model, voiced for the Mark's tight low end and scooped mids -- distinct from the looser, fatter Rectifier.

Manley Massive Passive-style EQ: broad, gentle passive-network shelf and bell curves with wide, interactive Q - boosts feel airy and musical rather than surgical, the reason it's a mastering staple. Low shelf, a wide high bell at HiFreq, and an Air shelf on top, each in dB.

Oberheim Xpander / Matrix-12 multimode VCF (CEM3372): a 4-pole OTA ladder whose Mode taps a binomial mix of the four pole outputs to produce low-pass, high-pass and band-pass responses at 1-, 2- and 4-pole slopes from a single filter -- the signature Oberheim pole-mixing the SEM's 2-pole SVF cannot do. Per-stage tanh models the OTA soft clip and Reso feeds the 4-pole output back for resonance up to self-oscillation. Cutoff sweeps it, Drive pushes the stages.

EHX Memory Man-style analog BBD delay: a companded bucket-brigade line whose clock-tracked reconstruction filter darkens each repeat with delay length, gently chorused, with line-level regeneration.

Pultec MEQ-5-style midrange passive EQ: a low-mid boost, a mid dip and a high-mid boost for vocal/guitar presence.

Boss MT-2 Metal Zone-style high-gain distortion: two 4x-oversampled clip stages into an active dual-peak mid scoop with a sweepable parametric mid.

Minimoog-style 4-pole transistor ladder: per-stage saturation thins the bass as resonance climbs to self-oscillation.

MS-20-style 2-pole Sallen-Key low-pass: input op-amp saturation and a saturated resonance integrator plus diode clipping in the resonance path - screams and distorts at high resonance.

Mu-Tron III-style envelope auto-wah: an OTA state-variable filter whose cutoff is swept by an envelope follower of the playing dynamics. Sens sets the sweep depth, Direction flips up/down, Peak sets resonance, Mode picks LP/BP/HP.

MXR Distortion+-style overdrive: a Newton-solved ASYMMETRIC germanium diode pair (4x oversampled) - mismatched diodes give the even-harmonic, woolier-than-a-DS-1 crunch - with an output low-pass.

MXR Flanger-style BBD flanger: a companded bucket-brigade line swept for a deep, metallic comb with line-level regeneration for jet-plane sweeps.

Neve 1073-style EQ: fixed 12 kHz HF shelf, sweepable mid bell and LF shelf, into an iron-core transformer whose flux saturates the low frequencies first for genuine LF harmonic warmth.

Neve 1081-style 4-band EQ: the 1073's bigger brother with a fixed HF and LF shelf PLUS two independently sweepable mid bells (the 1073 has only one), into an iron-core transformer whose LF flux saturates first for genuine low-end warmth. High/Low set the shelves, LoMid/HiMid the two bell gains, LoMidFreq/HiMidFreq their centres.

Neve 33609-style diode-bridge bus compressor: smooth glue through a diode-bridge gain cell with control-port slew, a dual-time-constant release and transformer saturation.

Neve 1073-style preamp: a class-A triode gain stage (grid conduction) into an iron-core output transformer whose LF flux saturates first - the bass 'sings' with iron warmth.

Fulltone OCD-style overdrive: 4x-oversampled asymmetric MOSFET hard clipping (smooth-edged) with a bright/dark voicing switch.

Octavia-style octave-up fuzz: 4x-oversampled full-wave rectification doubles the pitch, then heavy fuzz - the ring-mod-like upper-octave scream.

Boss OD-1 OverDrive-style pedal: the original asymmetric soft-clipper (two diodes one way, one the other) for a smooth, warm, even+odd-harmonic break-up - lower gain and rounder than a Tube Screamer, with no mid hump. Drive sets the overdrive, Level the output (the real OD-1 has no tone knob).

Nobels ODR-1-style natural overdrive: an op-amp soft-clipper with the signature Spectrum control that scoops the mids while bumping bass and treble together for a transparent, open, amp-like break-up - the Nashville session staple. Drive sets the gain, Spectrum the bass+treble vs mid balance, Level the output.

ARP Odyssey 2-pole filter (4023): brighter and reedier than the 4-pole ladders, with a loud, aggressive resonance that bites and sings -- the thin, vocal ARP lead voice. A soft-saturated 2-pole state-variable filter tapping LP / BP / HP via Mode. Cutoff sweeps it, Reso peaks the corner toward self-oscillation, Drive pushes the input.

LA-2A-style optical compressor: a T4 photocell whose photoresistor gain law gives a soft knee and a ratio that rises with level, plus program-dependent release (recovers slower after sustained compression).

Fender optical tremolo: a lamp drives a photocell whose asymmetric lag (cools slower than it warms) and sublinear I-V curve round the throb; Shape sets the cell response speed (smooth to choppy).

Orange OR-series amp (full circuit): mid-forward, thick and woody with more preamp gain and a spongier supply than the Hiwatt -- the chunky British crunch. Gain, Tone, Master, Level. Shares the cascaded-triode + voiced-tone-stack + supply-sag circuit model, voiced for Orange's mid push.

Peavey 5150 / 6505 amp (full circuit): tight, aggressive, high-gain crunch with a stiff supply for percussive attack -- the metalcore / Van Halen rhythm and lead standard. Gain, Tone, Master, Level. Shares the cascaded-triode + voiced-tone-stack + supply-sag model, voiced for the 5150's tight low end and biting upper mids.

Interfax Harmonic Percolator-style fuzz: mixed germanium/silicon asymmetric clipping generates strong even-order harmonics for a wooly, octave-tinged thickness unlike symmetric fuzzes. Balance skews the asymmetry from even-rich to odd-rich. 4x-oversampled.

MXR Phase 100-style 6-stage phaser: six JFET all-pass stages give three evenly-tracking notches - deeper and more resonant than the 4-stage Phase 90 - with a 4-position Intensity that adds feedback resonance for the thick, swirling, peakier sweep. Rate sets the LFO speed, Intensity the notch depth/feedback, Mix the blend.

MXR Phase 90-style 4-stage phaser: four JFET all-pass stages (bias-dependent frequency shift + transfer-curve saturation) give two evenly-tracking notches; Script (clean) or Block (resonant feedback).

Soviet Polivoks 2-pole OTA filter: its resonance path clips like a comparator, so at high Reso it does not ring sweetly -- it slams into a hard square-wave self-oscillation and screams. A 2x-oversampled two-integrator SVF whose band-pass feedback is hard-clipped (not soft tanh) gives that brutal, buzzy Eastern-bloc character no Moog/SEM filter has. Cutoff, Reso, Drive into the core, and Mode taps LP / BP / HP.

Korg Polysix-style SSM2044 four-pole low-pass: gentle OTA saturation gives a smooth, creamy resonance that stays musical right up to self-oscillation.

Pultec EQP-1A-style passive EQ: low boost and cut use offset corners so they do not cancel (the boost-with-dip trick), plus gentle tube warmth.

Dallas Rangemaster-style treble booster: a high-pass into a real germanium common-emitter transistor stage (Ebers-Moll, Newton-free closed form, 4x oversampled) - its asymmetric cutoff/saturation adds the bright, singing even+odd harmonics on top of the dry signal.

ProCo RAT-style distortion: an LM308-slewed gain stage into a Newton-solved silicon diode pair clamping to ground (the real shunt clipper, 4x oversampled - not a hard jlimit), tamed by a single low-pass Filter knob.

Tube-rectifier power-supply sag: a model of the B+ supply drooping under load and recovering with the reservoir cap's RC time. Loud transients momentarily collapse the headroom (duck/compress) then BLOOM back as the supply recovers - the springy, touch-sensitive 'sag' of a tube amp with a 5U4/GZ34 rectifier, distinct from a feed-forward compressor. Drive sets the stage gain, Sag the droop depth, Recover the supply recovery time, Level the output.

Mesa Rectifier-style high-gain amp: three cascaded asymmetric triode stages with tight inter-stage high-passing, a deep mid scoop, selectable reservoir sag and an output-transformer stage.

AMS RMX16-style digital reverb (Nonlin program): a dense, gated tail that holds then cuts off instead of decaying naturally - the classic 80s gated sound.

Ross Compressor-style OTA pedal (CA3080): the smoother, longer-sustaining cousin of the Dyna Comp - a softer knee and slower release give singing sustain with less squash and a more open top end. Sustain sets how hard it squeezes, Attack the detector speed, Level the makeup.

Tech 21 SansAmp-style amp/cab DI: a Character tilt into cascaded asymmetric soft-clipping (4x oversampled) and a speaker-cabinet low-pass, giving the recorded amp tone direct with no mic. Drive sets the gain into the stages, Character tilts presence vs warmth, Level the output.

Sidechain compressor: compresses the signal (in 0) by the level of a key input (in 1) through a dB-linear VCA cell with control-port slew and gain-cell THD - cable the host sidechain (SC L/R) to the key for ducking/pumping.

Boss SD-1 Super Overdrive: an op-amp gain stage into an ASYMMETRIC soft clipper (two diodes one way, one the other) for a more open, even-harmonic crunch than the symmetric Tube Screamer, with the familiar mid-hump tone that cuts through a band. Drive sets the gain, Tone the mid/treble balance, Level the output.

Korg SDD-3000-style delay: a characterful input preamp into a modeled converter (ADC anti-alias + 13-bit quantization) - clean and bright with subtle digital grain.

Oberheim SEM-style 2-pole state-variable filter: VCA-transistor saturation in the resonance integrator, continuously morphing low-pass through notch to high-pass.

Shadow Hills Mastering-style compressor: a photocell opto stage (soft-knee, rising-ratio law, program-dependent release) into a discrete fixed-ratio VCA stage, with a transformer-flavour select (nickel/iron/steel).

EHX Small Stone-style 4-stage OTA phaser: nonlinear OTA all-pass stages; the Color switch adds feedback, drives the OTAs harder and widens the notch sweep for a more vocal, resonant swirl.

Soldano SLO-100-style amp: three cascaded triode stages for a smooth, saturated lead with singing sustain, reservoir sag and an output-transformer stage.

Solina/string-machine-style ensemble: three BBD taps on 120-degree-phased dual LFOs (slow + fast) through one companded bucket-brigade line for a lush, moving multi-voice swirl.

Sontec MEP-250-style mastering parametric EQ: clean Class-A bell bands with a musical, selectable Q - precise without sounding clinical, the mastering standard. Two parametric bells (Lo/Hi freq + gain) sharing the Q control.

Roland Space Echo-style tape delay: wow+flutter-modulated tape transport with magnetic hysteresis (asymmetric saturation + remanence) and tone-shaped head gap loss in the feedback repeats.

SSL bus-style VCA glue compressor: a dual-time-constant program-dependent auto-release for pumping-free glue, through a dB-linear VCA cell with control-port slew and gain-cell THD that grows with gain reduction.

SSL E-series-style 4-band parametric EQ: constant-Q (bandwidth stays put as you boost or cut) for a clean, surgical response.

SSL G-series-style 4-band parametric EQ: proportional-Q (the more you boost or cut, the narrower the band) for a musical, self-limiting curve.

Gates Sta-Level-style tube vari-mu limiter: a very slow program-dependent auto-release and gentle ~3:1 leveling through a remote-cutoff tube cell whose 2nd-harmonic warmth (Warmth) grows with gain reduction.

Studer A800-style tape: magnetic hysteresis (B/H saturation + remanence), a firm low-frequency head bump and gentle head-gap HF loss - punchy track-level glue (pro deck: flutter negligible by design).

Summit TLA-100-style tube/opto leveler: photocell gain law (soft knee, rising ratio) with program-dependent release, transformer warmth and tube makeup.

Sunn Model T amp (full circuit): fat, dark, high-headroom and loose -- the wall-of-low-end doom / sludge / stoner voice, the opposite of a tight bright amp. Gain, Tone, Master, Level. Same cascaded-triode + voiced-tone-stack + supply-sag model, voiced for huge bass, dark top and a spongy, blooming low end.

Univox Super-Fuzz-style octave fuzz: 4x-oversampled full-wave rectification for the octave-up into hard germanium square clipping, with a switchable 1 kHz mid-scoop notch.

Supro 1624T-style octal amp: 6973 power tubes on a tube-rectifier supply with no negative feedback, so loud transients sag the rails - the amp ducks then blooms, breaking up asymmetrically and early. Sag sets how hard the supply droops.

Steiner-Parker Synthacon-style diode multimode filter: an asymmetric diode-clipped resonance path gives a snarly, vocal bite, and Mode sweeps the output continuously LP -> BP -> HP - rougher than a clean SVF.

Cooper Time Cube-style delay: a short, dark acoustic-tube delay (sound piped through a garden hose between transducers) for tight doubling and slapback. Time sets the short delay, Feedback the repeats and Mix the blend. Naturally band-limited and woody - characterful on vocals and snare, not a clean digital echo.

Paul C Timmy-style transparent overdrive: low-gain op-amp soft clipping with cut-only Bass and Treble shaped BEFORE the gain (so it tightens and de-fizzes without adding colour) - clean, dynamic, amp-like. Gain sets the drive, Bass/Treble cut, Level the output.

Tone Bender MkII germanium fuzz: three cascaded germanium transistor stages, each asymmetric (germanium clips harder on one rail) with interstage coupling-cap high-pass between them, for the thick, sustaining, slightly-broken vintage fuzz. Bias starves the supply so quiet/decaying notes GATE into the famous spitty sputter; Drive sets the gain, Tone the output roll-off, Level the volume. Distinct from FuzzFace (2 transistors) and Big Muff (4 silicon stages + diodes).

Trident A-Range-style console EQ: four fixed musical bands (LF shelf, two mid bells, HF shelf) with an aggressive, forward voicing.

Dytronics Tri-Stereo Chorus-style ensemble: three bucket-brigade voices (compander + clock-tracked reconstruction) at staggered rates for a lush, wide three-dimensional chorus.

Vintage tube console-style preamp: two cascaded triode stages with an interstage coupling cap (2nd-harmonic-dominant asymmetric clipping) and a warm low shelf.

Ibanez Tube Screamer-style overdrive: a real op-amp feedback diode clipper - the mid-focused clean gain is clamped by an antiparallel Shockley diode pair, Newton-solved and 4x oversampled (not a tanh) - with the famous ~720 Hz mid hump. Asym mismatches the two diodes for the asymmetric-clip mod, adding the even harmonics a symmetric clipper can't.

Tube-Tech CL 1B-style opto compressor: a photocell gain law (soft knee, rising ratio) with program-dependent release and tube makeup warmth.

Fender Tweed 5E3-style amp: two asymmetric triode stages into a physical B+ reservoir sag (droops and blooms under pick attack) and an output-transformer stage - warm, loose, early breakup.

Universal Audio 610 tube preamp (Bill Putnam): a 12AX7 valve gain stage between input and output transformers. Push Drive to overdrive the tube into warm asymmetric saturation while Level pads the output -- the '610 move' of cranking the valve and taming the volume -- with transformer low-end thickening and the 610's Low/High program EQ. Distinct from the generic tube preamp by the transformer saturation and the gain/level interaction.

Uni-Vibe-style 4-stage phaser: staggered all-pass frequencies driven by an asymmetric lamp-filament LFO through a power-law photocell I-V curve, with nonlinear stages - the watery, throbbing swirl. Chorus or Vibrato.

UREI 1176LN-style FET peak limiter: a field-effect transistor as the variable-gain cell gives the near-instant attack (20 us-800 us) no opto or vari-mu matches, with fixed program ratios and the all-buttons-in mode that slams every ratio at once for the aggressive, distorted British crush. Input drives it into reduction, Attack/Release are the (reversed on the real unit) time constants, Ratio selects 4/8/12/20:1 or All, Output is makeup.

Telefunken V76-style tube preamp: two cascaded tube stages with interstage coupling into an output transformer - rich, warm 2nd-harmonic saturation with a low-mid body.

Buchla 292-style low-pass gate: a vactrol (LED + photocell) opens a 2-pole low-pass and a VCA together, and the photocell's slow nonlinear light-decay gives the plucky 'bongo' ring as transients fade. Mode picks gate (VCF+VCA), filter-only, or amp-only.

Varactor-tuned filter: a varactor (voltage-controlled capacitance) sets the cutoff, so the cutoff RISES with the instantaneous signal voltage - modulating at audio rate, not via an LFO or envelope. The filter intermodulates the signal with itself, adding gritty, phase-coherent partials no static filter or envelope-wah makes (a clean linear SVF whose tuning is the only nonlinearity). Cutoff sets the base, Depth the varactor sensitivity (self-modulation amount), Reso the resonance, Drive the level into the varactor, Level the output.

Fairchild/Manley-style tube vari-mu compressor: program-dependent ratio rises with level, and a remote-cutoff tube transfer whose genuine 2nd-harmonic warmth grows as gain reduction biases the tube toward cutoff.

EDP Wasp-style 12 dB multimode filter: the CMOS-inverter gain-stage outputs hard-clip at the rails for a fizzy, gritty bite. Mode 0 LP / 1 BP / 2 HP.

ZVex Wooly Mammoth-style gated fuzz: a huge, square-wave synth-bass fuzz with the signature Pinch control - a starve/gate that chokes the low-level tail into a spluttery, ripped-speaker gate while keeping a massive low end. Wool sets the fuzz, Pinch the gate/starve, EQ the tone, Level the output.

Hermida Zendrive-style overdrive: a smooth, mid-focused 'Dumble-in-a-box' with singing sustain and a touch-sensitive, vocal break-up. Gain sets the drive, Tone the top end, Voice the upper-mid focus (the Dumble cut), Level the output.

Back-to-back Zener shunt clipper (Newton-solved, 4x oversampled): two Zeners anode-to-anode clip symmetrically at about +/-3.3 V - far more headroom than a silicon diode pair - so the signal passes clean until it slams into a hard knee. Louder and punchier than soft diode overdrive, the 'stays clean then cracks' character of high-headroom Zener/LED clipping stages. Drive sets the gain into the clipper, Tone a tilt around 1.2 kHz, Level the output.

Alignment delay (Ableton Align Delay-style): a clean dry delay used to time-align tracks or push a signal later by a precise amount - no feedback, no filtering, no colour. Time sets the delay in milliseconds; leave Mix fully wet for pure alignment, or blend for a simple slap double.

Bucket-brigade style echo whose delayed tap is passed through a one-pole low-pass and a tanh saturation in the feedback path, so each repeat grows darker and grittier. Time sets the delay length (1-8000 ms), Feedback sets regeneration up to 0.9, Tone sets the high-frequency rolloff of the repeats, and Mix blends the filtered echo with the dry signal. Lower Tone yields the murky, decaying character of analog BBD delays.

Bucket-brigade delay: emulates an analog BBD chip with input companding, a darkening low-pass on each repeat and gentle saturation, for the warm, lo-fi, increasingly-murky echoes of a vintage analog delay.

Beat-repeat: while the gate on in1 is held it records a slice of audio on the first pass then loops that captured slice; releasing the gate passes the dry signal through. Length sets the size of the captured/looped slice (20..1000 ms) and Mix blends the looped slice against the dry input. Hold the gate to freeze and stutter a fragment, release to drop back to live audio.

Captures a buffer while the gate on in1 is held, divides it into 8 slices, and replays them in one of several reorder patterns; releasing the gate passes dry audio through. Length sets the buffer/loop size (100..2000 ms), Pattern selects the slice reordering (0..4, e.g. straight, swapped pairs, doubled, reversed, interleaved), and Mix blends the sliced output against dry. Hold the gate to scramble a phrase into a rhythmic rearrangement.

A feedback delay whose delay time continually shrinks, so the echoes speed up toward a stutter like a bouncing ball; a gate on in1 re-arms the delay back to its start time. Time sets the initial delay (20..600 ms), Accel sets how fast the time shrinks, Feedback sets the echo regeneration (up to 0.95), and Mix blends wet against dry. Higher Accel collapses the repeats into a rapid buzz, while a gate retrigger resets the bounce.

Single-voice chorus: an LFO (Rate, Depth) modulates a short base Delay (1-30 ms) and the detuned copy is blended back via Mix to thicken and widen the source. Short delays with light depth give subtle doubling; longer and deeper settings approach vibrato and flange. See Ensemble for a three-voice string-machine variant.

Tuned comb resonator: a short feedback delay set by Freq (20-2000 Hz) with a damping low-pass, which doubles as a Karplus-Strong plucked string when excited by a transient. Feedback sets resonance and sustain while Damp darkens the decay. High feedback rings at the tuned pitch; pair it with noise or an impulse for string and membrane tones.

Cross-coupled delay: two delay lines at incommensurate times each feed the OTHER line's input through a damping filter, so echoes bounce between the two streams and interleave into a denser, evolving pattern than a single tap can make.

Feedback delay line (1-8000 ms) with a damping low-pass in the feedback path that progressively darkens each repeat. Time is modulated by in 3 (scaled by Mod) for chorus and flange-style movement, Feedback sets regeneration up to 0.99, and Mix sets dry/wet. Damp at 0 gives bright digital echoes; higher values emulate tape/BBD high-frequency loss.

Feedback delay whose tap is smeared through a 4-stage all-pass diffusion chain, pushing echoes toward reverb. Time sets the delay (1-1000 ms), Feedback sets regeneration up to 0.9, and Diffuse sets the all-pass coefficient that controls how much each repeat is blurred. Mix sets dry/wet; low Diffuse gives clean echoes, high Diffuse dissolves them into a diffuse wash.

Dub-techno echo: a feedback delay whose repeats are progressively band-limited and tape-saturated inside the loop, so each echo gets darker, warmer and more degraded - the endless, dubby Basic-Channel chord-stab echo of dub techno and dub house. Time sets the delay, Feedback how many repeats (high = near-infinite), Tone darkens each repeat (low-pass in the loop), Drive the in-loop tape saturation, and Mix the wet/dry blend. Long Time + high Feedback + low Tone gives the classic sinking dub tail. Distinct from the clean Delay and the wow/flutter TapeDelay - the feedback path is filtered and saturated.

Dub echo: each repeat passes through a low-pass and soft saturation in the feedback loop, so echoes get progressively darker and warmer as they decay - the classic dub/reggae spring-into-the-mix delay.

Feedback delay line whose wet output is attenuated by an envelope follower tracking the dry signal, so repeats drop out while you play and swell up in the gaps. Time sets the delay length (1-8000 ms), Feedback sets regeneration up to 0.9, Duck sets how hard the dry level suppresses the echoes, and Mix blends wet and dry. Keeps echoes from cluttering busy passages while letting them bloom in the silences.

Ducking delay: a feedback echo whose wet output is pulled down by an envelope of the dry input, so the repeats stay out of the way while you play and swell up in the gaps - the classic technique for delays that add space without cluttering the mix. Time sets the delay, Feedback the repeats, Depth how hard the dry ducks the wet.

Three-voice string-machine chorus: one LFO modulates three delay taps at evenly spread phases, summing into a lush, wide thickening richer than the single-voice Chorus. Rate and Depth set the swirl and Mix the blend. Classic for pads, strings and synth-brass.

Filtered multi-tap delay (Ableton Filter Delay-style): three delay taps at spreading times, each band-passed at Color before feedback, so the echoes are tuned and coloured rather than full-range. Time sets the first tap, Spread the spacing of the other two, Color the band-pass centre, Feedback the regeneration, and Mix the wet blend. (Mono sum of the three taps; the device's L/C/R panning needs a stereo rack.)

Swept-comb flanger: an LFO sweeps a very short delay (0.5-10 ms) mixed with the dry signal to create moving comb notches, with bipolar Feedback resonating the peaks (negative values invert for a hollow tone). Depth sets the sweep width and Mix the blend. Short delays with high feedback give the classic metallic jet-whoosh.

Folding echo: a long delay whose feedback path is wavefolded each pass, so every repeat grows brighter and more harmonically dense instead of darker - an inverted, ever-spikier echo tail that a damped delay never produces.

Fractal echo: five taps spaced at successive golden-ratio fractions of the base time, each quieter than the last, so one hit scatters into a self-similar cluster of echoes that bunch up as they fade - a fractal stutter, not an even repeat.

Audio freeze / looper: while in1 is high it captures the recent input and loops a window of it indefinitely (an instant sustain/pad-freeze); while in1 is low it passes the dry signal and keeps recording. Size sets the loop window length, Mix the wet level.

Frequency-shifted echo: a delay line whose feedback is single-sideband frequency-shifted via a polyphase Hilbert pair, so every repeat slides up or down in Hz rather than in pitch. Time sets the delay (1 to 1000 ms), Shift sets the linear frequency offset (-500 to +500 Hz), Feedback (0 to 0.95) sets repeat count, and Mix blends dry/wet. Because the shift is inharmonic, the tail detunes and smears with each pass for metallic, ever-evolving echoes.

Probabilistic buffer glitcher that records the input and, at each slice boundary, randomly jumps to a captured slice and may play it forward or reversed. Slice sets the segment length in milliseconds and Chance sets the probability that a given slice is repeated or reversed rather than passed through cleanly. Mix blends the glitched playback against the dry signal for stutter, repeat and reverse artifacts.

Granular feedback delay that reads overlapping windowed grains from the delay line, pitch-shifting them and scattering their read positions. Time sets the base tap (10-8000 ms), Pitch transposes the grains +/-12 semitones, and Scatter randomizes each grain's offset for a smeared, diffuse cloud. Mix sets dry/wet; the shifted grains are fed back at reduced gain, so repeats drift in pitch and position.

Reverse-grain smear: continuously records the input and reads each short grain backwards through a Hann window, so the sound is chopped into little reversed snippets - a stuttering, sucking, backwards texture from a live signal, no buffer-capture needed.

Lagrange fractional delay: reads the delay line at a sub-sample position using 4-point (cubic) Lagrange interpolation rather than the usual linear interpolation, so sub-sample delays keep their high-frequency content instead of being dulled - the interpolation used in high-quality tuning, chorus and physical-modeling delay lines. Delay in ms, wet/dry Mix.

Circulating-buffer looper that re-reads a fixed-length loop and either overdubs new input onto it or recirculates it unchanged. Length sets the loop time (100-2000 ms) and Record switches between overdub (input mixed with the looped buffer at half gain) and pure recirculation when off. Mix sets dry/wet; leave Record on to layer takes, turn it off to freeze and play back the captured loop.

Tape-splice granular (Make Noise / Soundhack Morphagene): continuously records the in0 input onto a virtual tape, then plays back a Gene (grain) from it. Slide scans the playback position along the reel, Vari sets the varispeed (pitch + direction, reverse below centre), Gene the grain length, Morph the grain overlap/smear, and Mix the blend. Scrub, stretch, reverse and granulate live audio - distinct from the fixed-loop Looper and the cloud-style granular blocks.

Multi-tap delay: the input is written into a circular buffer and read back at several time-spaced taps that are summed, averaged, and fed back into the buffer. Time sets the base delay in ms, Taps chooses 1 to 6 read points, Feedback recirculates the averaged taps for repeats, Spread pulls the taps toward the longer end for uneven echo timing, and Mix crossfades dry input against the wet sum. Low Spread gives evenly stacked echoes while high Spread spaces them out, and higher Feedback builds longer rhythmic delay trails.

Multi-tap delay: reads four taps at 1/4, 1/2, 3/4 and 1x of the base time off a single delay line with decreasing levels, building a rhythmic pattern of echoes from one knob.

Random-warble delay: the delay time wanders on a smoothed random-step modulator that picks a new target at the set rate, giving an unpredictable detuned warble between a chorus and a broken-tape pitch drift.

A comb flanger whose delay time is swept by a peak envelope follower on the input, so transients drive the flange motion (delay ranges ~0.5..9.5 ms). Soften sets the envelope release time, Feedback sets the comb regeneration (+/-0.95, negative inverts the comb), Amount scales how far each peak sweeps the delay, and Mix blends wet against dry. The Traktor Flanger Pulse character: the jet sweep follows the music's own dynamics rather than a fixed LFO.

Ping-pong delay for a mono source: a single line is read at time T or 2T so the two outputs hear staggered taps that appear to bounce between speakers, with regeneration fed back through the longer tap. Time sets the base delay, Feedback the number of repeats up to 0.9, and Mix dry/wet. Out picks L or R, where R hears T and L hears 2T to create the alternating bounce.

Pitch-locked echo: the delay time is set to a whole number of the input's detected pitch periods, so the repeats land exactly in phase and reinforce the tone instead of smearing it.

Rhythmic tapped delay (Intellijel / Cylonix Rainmaker): spreads up to Taps echoes across the delay Time in a decaying rhythm, then runs the result through a tuned Comb resonator for ringing, pitched repeats - rhythmic delays, resonant reverbs and string-like tones in one. Time sets the span, Taps the number of echoes, Feedback the regeneration, Comb the resonator pitch/amount, and Mix the wet blend. A 16-tap rhythm engine, distinct from the fixed-tap Multitap.

Octave-rising echo: the feedback is full-wave rectified (DC-removed) each pass, so every repeat jumps an octave and the tail climbs into a shimmering high cloud - a pitched, ascending echo unlike any flat-pitch delay.

Reverse delay: snapshots a Window-length slice of input and plays it backward on a loop, a glitchy pre-echo/reverse texture, blended via Mix. Short windows give fluttering grains; longer windows reverse recognizable phrases. See ReverseGrain and ReverseVerb for related effects.

Captures the input into a delay buffer and reads it back newest-to-oldest within a repeating window, so each chunk plays in reverse. Time sets the window length (50-8000 ms) that defines how much audio is flipped per cycle, and Mix blends the reversed playback against the dry signal. Useful for backward-tape swells and disorienting rhythmic stutters.

Captures a buffer while the gate on in1 is held, then plays it backward at a pitch-shifted read rate for a reversed, stuttered texture; releasing the gate passes dry audio through. Length sets the captured grain size (50..1500 ms), Pitch transposes the reverse playback rate (+/-12 semitones), and Mix blends the reversed grain against dry. Hold the gate to suck a phrase into a backward swell.

Leslie rotary speaker: combines a doppler pitch wobble (modulated short delay) with a phase-offset amplitude tremolo so the tone swirls as the virtual horn spins. Speed sets the rotation rate and Depth its intensity. Iconic on organ, electric piano and guitar - automate Speed for the slow-to-fast chorale ramp.

Turntable-scratch effect where a raised-cosine LFO sweeps the delay read head back and forth through recent input. Rate sets the sweep speed (0.1-8 Hz) and Depth sets how far back the head travels (1-200 ms). Mix sets dry/wet; faster Rate and deeper Depth give more pronounced vinyl-scratch wobble.

Beat-shuffler that records the input and, at each segment boundary, may jump its playback to one of a few earlier segment offsets. Segment sets the slice length (50-500 ms) and Chance sets the probability that a new boundary triggers a jump to a randomly chosen prior offset. Mix sets dry/wet; low Chance plays mostly straight, high Chance stutters and rearranges the beat.

Slapback echo: a single short delayed repeat (typically 60-150 ms) layered under the dry signal - the snappy rockabilly/vocal doubling slap, no feedback wash. Time sets the delay, Mix the level of the repeat.

Slapback echo: a single short delayed repeat (with optional feedback for a few taps) - the rockabilly/vocal slap that fattens a sound without turning into a wash.

Continuous buffer-shuffler (Max-for-Live Buffer-Shuffler style): records the incoming audio one bar at a time and, while recording the next bar, plays the last bar back as Steps slices re-ordered by a Seed-driven permutation, with a fraction of slices (Reverse) played backwards and a 16-step on/off Gate mask muting chosen slots. Length sets the bar in milliseconds, Steps the slice count (4/8/16), Seed the rearrangement (every value a different reproducible shuffle), and Mix blends against dry. Unlike BeatSlicer's five fixed patterns this is a fully addressable per-slice remap that runs without a trigger.

Spectral-tilt delay: each pass through the feedback loop tilts the spectrum around a pivot, so successive echoes get progressively darker (or brighter) - tape-like high-end decay or a reverse 'opening up' tail, set by one bipolar Tilt knob.

Auto-rhythmic buffer repeat: at each Rate cycle it snapshots a Grab-length window and loops it for the cycle, creating stutters and beat-repeat artefacts, with Mix blending against the live signal. Short grabs at high rates give granular buzz; longer grabs repeat recognizable slices. See Beatmasher and BeatSlicer for tempo-locked glitching.

Vintage tape echo: a ~1.5 Hz wow modulates the delay time while a Tone low-pass and tanh tape Saturation in the feedback path darken and thicken each repeat. Feedback sets regeneration and Mix the blend. Unlike the clean Delay, repeats degrade and warble musically - raise Wow and Sat for worn-tape character.

Tape flutter: a short fractional delay whose read head wobbles under three stacked LFOs - slow wow, mid flutter and fast scrape - reproducing the drifting pitch waver of worn tape; no echo, just the wobble.

Tape-stop effect: while in1 is held the playback slows from full speed to a halt over Time, dropping the pitch and smearing into silence - the classic turntable/tape brake. Releasing in1 returns to normal speed. Mix blends against the dry. A performance effect, not a fixed pitch shift.

Thiran fractional delay: an integer delay line followed by a first-order Thiran all-pass that adds the sub-sample remainder with a maximally-flat group delay, resolving the delay to a fraction of a sample without the high-frequency loss of linear interpolation. A recursive all-pass method distinct from the FIR Lagrange delay - flat magnitude at the cost of frequency-dependent group delay. Feedback recirculates, Mix blends.

Pitch vibrato: an LFO modulates a short delay's read position to bend pitch, output fully wet (no dry blend) for true vibrato rather than chorus. Rate sets the wobble speed and Depth its pitch range. Gentle settings add expression; deep settings give a seasick warble.

Wow echo: the delay time drifts under a slow sub-1 Hz wow LFO, so the repeats sag and rise in pitch like a worn tape echo - the warbling, detuning character of an old Echoplex, distinct from the fast flutter of TapeFlutter.

Odd/even harmonic blender: crossfades between a tanh stage (odd harmonics, symmetric) and a rectifying stage (even harmonics, octave-up), letting you dial the exact odd-vs-even harmonic balance of the distortion.

Anti-aliased cubic clip: the classic cubic soft-clip (1.5x - 0.5x^3, flat past unity) with 1st-order antiderivative anti-aliasing, giving warm odd-harmonic overdrive without the aliasing of the naive cubic.

Anti-aliased wavefolder: a sinusoidal folder with 1st-order antiderivative anti-aliasing, so hard driving into many folds generates far less of the harsh aliasing that plagues naive digital folders.

Anti-aliased hard clip: applies 1st-order antiderivative anti-aliasing to a brick-wall clipper, so the brutal clipping edges generate far less aliasing than a naive hard clip - aggressive yet clean digital clipping.

Anti-aliased asymmetric drive: a diode-like curve that saturates the two polarities differently (even + odd harmonics) with 1st-order antiderivative anti-aliasing, so the asymmetry's bright harmonics do not fold back as aliasing.

Anti-aliased tanh: applies 1st-order antiderivative anti-aliasing (ADAA) to a tanh saturator, evaluating the average of the nonlinearity's integral across each sample step - hot drive without the harsh aliasing naive tanh produces.

A-law companding: the telecom A-law transfer (linear below 1/A, logarithmic above), which heavily compresses level and lifts quiet detail - a gritty, lo-fi logarithmic saturation distinct from mu-law, with a hard knee at the 1/A breakpoint.

Algebraic-sigmoid waveshaper: the rational soft-clip x/sqrt(1+(Drive*x)^2), which saturates faster than softsign but more gradually than a hard clip and is cheap to compute (no transcendentals) - a clean, neutral overdrive with a smooth rail approach.

Amplitude wave-scanner: the instantaneous level indexes a position in a single-cycle waveform, so louder samples read further through the cycle - a 1-D wave-terrain shaper with offset scanning, distinct from a direct sine folder.

Guitar amp model chaining an asymmetric tanh preamp, a tone-tilt filter and a speaker-cabinet low-pass with output compensation. Drive sets preamp gain (0-48 dB) into the asymmetric clipper, Tone tilts between darker and brighter response, and Cab sets the cabinet cutoff (brighter at higher values). Mix blends the modeled tone against the dry; ranges from edge-of-breakup grit to saturated lead tones.

Variable clipper: one knob morphs the clipping knee from a smooth soft-clip to a hard brick wall, with an asymmetry/bias control for even harmonics - a general-purpose analog-flavored clipper covering the whole soft-to-hard range.

Drawable waveshaper: maps the input at in0 (folded from bipolar into a 0 to 1 index) through a transfer curve drawn in node config via linear interpolation, then back to bipolar, blended by Mix against the dry input. The drawn breakpoints define the input-to-output mapping and Mix sets the wet/dry balance. A diagonal curve is a clean pass-through while steeper or folded curves act as custom distortion and waveshaping.

Arcsine waveshaper: maps the clamped input through asin(x)/(pi/2), the inverse of a sine - so it steepens toward the rails and expands the mid-level (the opposite curvature of a sine soft-clip), brightening and adding odd harmonics as Drive pushes into the clamp.

Asymmetric triangle wavefolder: positive and negative excursions fold against a biased threshold for even-harmonic content, with a leaky DC servo that recenters the folded output.

Asymmetric fuzz: a bias offset pushes the signal into a hard clip that ceilings the two polarities at different levels, the gated, sputtery, even-harmonic snarl of a starved-bias fuzz pedal.

Asymmetric saturator: positive and negative half-cycles are tanh-driven by independent amounts, producing even-harmonic, tube-like asymmetry you dial per polarity.

Asymmetric wrap/fold: positive swings WRAP around a ceiling (sawtooth wraparound -> a brash, octave-rich buzz) while negative swings soft-clip with tanh. The deliberate lopsidedness throws strong even harmonics and a glitchy upper octave that symmetric folders never produce. Drive pushes it, Ceiling sets the positive wrap point, Mix blends.

Aural exciter: high-passes the signal, generates new upper harmonics through a soft nonlinearity, high-passes again and adds them back - restoring air and presence without an EQ boost.

Bent-identity shaper: passes the signal through (sqrt(x^2+1)-1)/2 + x, a curve that is almost a straight line but bends slightly and asymmetrically around zero - so it stays near-transparent while adding a touch of low-order (mostly even) harmonic warmth. A subtle console-style colour rather than an overt distortion. Drive sets the bend amount.

Friedman BE-OD-style high-gain overdrive: a hot op-amp gain stage into a tight asymmetric silicon diode clipper, voiced like the BE-100 amp's lead channel - saturated, focused, amp-in-a-box drive.

Breathing bias saturator: the signal envelope drives a DC offset into the input before a tanh stage (and removes it after), so the harmonic asymmetry swells with playing dynamics - quiet stays clean, loud goes asymmetric.

Bias starve: a starved-plate, dying-battery fuzz - low supply voltage chokes the gain, so notes splat, sputter, gate and sag with a sick, broken-up 'velcro' decay that collapses as it starves. Starve sets how low the supply runs, Drive the gain into it, Mix the blend.

Digital degradation: Bits quantizes the amplitude to 2^Bits levels (quantization noise) while Downsample holds each sample for N frames (sample-rate reduction and aliasing). Mix blends against the dry signal. Low Bits gives gritty lo-fi crunch; high Downsample adds metallic aliasing for retro and 8-bit textures.

Bitwise logic shaper: quantizes the sample to an integer and combines it with a bit-shifted copy of itself via AND/OR/XOR (the bytebeat trick), producing harsh digital staircase artifacts no analog circuit makes.

Parity fuzz: quantizes the sample and inverts its polarity whenever the parity (XOR of all its bits) is odd - so the waveform is flipped on a fine, signal-dependent bit pattern, generating a dense, dirty, ring-mod-like fuzz that tracks the amplitude in a chaotic, digital way. Bits sets the resolution, Mix the blend.

Bit-reversal scrambler: quantizes the sample and reverses the order of its bits, so the most and least significant bits swap roles - a violent, structured digital distortion with no analog analogue.

Bit rotate: quantizes to a byte then circularly ROTATES the bits, so the most-significant (loudest) bits wrap down into the least-significant places - a violent, non-monotonic remapping that turns smooth ramps into buzzing digital staircases. Distinct from bit-crushing: no information is dropped, it's scrambled. Bits sets the rotation amount, Mix the blend.

Stuck-bit glitch: instead of quantizing every sample, the output randomly STICKS at its previous quantized value and only refreshes with probability (1 - Stick) - like a failing converter with stuck pixels, freezing little plateaus of the waveform into a jittery, broken digital texture. Steps sets the resolution, Stick the freeze probability, Mix the blend.

Bitwise mangler / databender (a first as a synth block): converts each sample to a 16-bit integer and applies a raw bit operation - XOR, AND, OR or bit-rotate - against Mask, then back to audio. Where Bitcrush only quantises the amplitude, this rips into the actual bit pattern: flipping a high bit folds the waveform, toggling low bits adds fizzing digital grit. Op picks the operation, Mask the bits to act on, Mix the blend. Pure circuit-bent digital destruction with no analogue equivalent.

Generic speaker-cabinet voicing: a 90 Hz high-pass trims sub rumble, a high-frequency rolloff tames fizz, and a peak around 1.5 kHz adds cabinet body, all blended by Mix. Body sets how much of the resonant midrange peak is added and Bright raises the rolloff corner for a more open top end. A lightweight tone-shaping voicing for amp signals, not an impulse-response capture of a real cabinet.

Capacitor leak: a slow DC bias leaks in proportional to the recent signal and bleeds away in silence, drifting the operating point so the clipping turns lopsided and wanders - the bias-creep of a leaky coupling capacitor that never quite settles. Amount sets the leak, Mix the blend.

Chaos clipper: a hard clipper whose ceiling is jittered every sample by a logistic chaos map, so the clip level dances unpredictably between tight and loose - the distortion shimmers and crackles with a living, never-repeating edge instead of a static wall. Drive sets the push, Chaos the ceiling jitter, Mix the blend.

Chaotic bitcrusher: a logistic-map chaos generator wobbles the quantizer's bit depth on every decimated sample, so the crush noise floor wanders unpredictably instead of sitting at a fixed grit - a living, never-repeating lo-fi.

Chaos-modulated drive: a logistic-map iterator nudges the saturation gain every sample, so the distortion shimmers and never sits perfectly still - controlled instability between clean and crushed.

Chaotic wavefolder: the fold density is steered every sample by a logistic chaos map running in its turbulent regime, so the harmonics shimmer and scramble unpredictably - a folder that never repeats, between a controllable warble (low Chaos) and a fully scrambled metallic roar (high Chaos). Drive sets the input gain, Chaos the strangeness of the modulation, Mix the blend.

Character drive with five voicings (Mode): Push (soft clip), Heat (S-clip), Soar (sine fold), Howl (triangle fold) and Shred (wrap fold), each driven by Drive and blended via Mix. One module spanning warm saturation to wild folding distortion. Modulate Mode or Drive for evolving textures.

Chebyshev harmonic bank: generates harmonics 2..5 simultaneously via Chebyshev polynomials and mixes them by a spread control, sculpting a precise additive harmonic spectrum from a single waveshaper.

Chebyshev harmonic shaper: a Chebyshev polynomial of order N maps a sine input to its Nth harmonic exactly, letting you dial a specific overtone (2nd..6th) instead of a generic distortion smear.

Chebyshev-polynomial shaper that synthesizes a single chosen Harmonic (2nd-8th) from the input via the T_n recurrence, blended by Amount and Mix. Unlike broadband clipping it adds one targeted overtone - the 2nd for octave thickness, higher orders for metallic ring. Pairs well with a clean sine input for precise harmonic generation.

Clipper that morphs from soft (tanh) to hard clipping at the Threshold via Hardness, with Output trim and dry/wet Mix. Soft adds rounded saturation harmonics; hard adds bright odd harmonics and caps peaks dead. Use as a tone shaper or a transparent peak ceiling ahead of a limiter.

Corrode: a bit-depth that DROPS the longer the signal is sustained loud, so a held note progressively decays into a coarse, quantized, corroded version of itself, then recovers resolution in the gaps. Rate sets how fast it corrodes, Mix the blend.

Cosh expander: sign(x)*(cosh(|x|*drive)-1), normalized, which grows faster than a square so loud signal is pushed up hard while quiet signal is suppressed - an aggressive upward-expansion shaper that adds odd harmonics and exaggerates dynamics, the opposite of a soft clip.

Multiband distortion: two crossovers split the signal into low, mid and high bands that are each saturated independently before recombining, so you can grind one band hard while keeping the others clean.

Cross-modulated wavefolder: the fold threshold is set live by a second input, so one signal carves the folding ceiling of another - audio-rate fold-threshold modulation for spectra that move with the modulator.

Crossover distortion: introduces a dead-band notch around zero like an underbiased class-B push-pull amplifier, adding the gritty, buzzy artefact that appears on low-level signal near the zero crossing.

Crush-then-fold: the signal is bit- and sample-rate-crushed, then the stepped result is driven into a triangle wavefolder, so the quantization steps become hard fold edges - a harsh, aliased, digital-destruction timbre neither stage makes alone.

Bit-crusher + sample-rate reducer: quantises the in0 signal to Bits resolution and holds each sample for Downsample steps, for everything from gentle lo-fi grit to full 8-bit / telephone destruction. Mix blends against the clean signal. Distinct from Bitcrush in adding the sample-rate-reduction (aliasing) stage.

Delta-sigma crush: re-quantizes the audio to a single bit with first-order noise shaping (an error-feedback modulator), turning the signal into a dense +/-1 pulse-density stream like a 1-bit DSD converter - harsh, grainy, with the quantization noise pushed up high. Then a low-pass recovers a gritty version. Tone sets the recovery filter, Mix the blend.

Asymmetric diode clipper that drives the input into an exponential soft-knee saturation, shaping the positive and negative halves differently. Drive sets the input gain in dB into the nonlinearity, while Bias increases the curvature of the negative half for stronger asymmetry and added even harmonics. Mix blends the clipped signal against the dry input for germanium/silicon-style warmth and grit.

Antiparallel-diode clipper: the exponential Shockley curve (1 - e^-|x|) soft-clips with the smooth, rounded knee of a real diode pair rather than a hard or tanh limiter.

Domain flip: a hysteretic staircase quantizer modelling magnetic domains that only flip once the input pushes far enough past the current level - so the output sticks on a step then jumps, tracing the jagged Barkhausen staircase rather than the smooth signal. Step sets the flip threshold, Mix the blend.

Waveshaping overdrive with three curves (Type: tanh soft-clip, sine fold, or hard clip) driven by up to 48 dB of gain plus a Bias offset for even-harmonic asymmetry. A post Tone low-pass tames fizz, Mix blends dry/wet, and Output trims the final level. Spans subtle warmth to aggressive distortion depending on Drive and curve.

Drum-bus processor (Ableton Drum Buss-style): a one-stop chain for drum groups - Transient sharpens or softens the attack, Drive adds tube grit, Crunch a harder harmonic edge, and Boom adds a tuned resonant low-end thump at BoomFreq. Mix blends it back. Glues and beefs up a drum bus in one block.

Two-band saturator: a single crossover splits low and high bands that are tanh-driven independently before recombining, so you can grit the highs without muddying the lows (or the reverse).

Dynamic saturation: the drive amount tracks the input envelope, so louder passages distort more and quiet ones stay clean (Sens sets how strongly). Adds harmonics on transients and peaks without muddying sustained low-level material. Good for program-dependent grit on drums and bus.

ELU waveshaper: the exponential-linear-unit transfer passes positive signal linearly but bends negative excursions through alpha*(e^x-1) toward a soft floor at -Alpha - a strongly asymmetric saturation that adds even harmonics and a tube-like one-sided compression.

Dynamic bit-crusher: the quantizer's bit depth rides the input envelope, so loud passages stay clean and quiet tails crumble into lo-fi grit (or the reverse) - level-dependent digital decay.

Envelope-driven bit-crusher: the bit depth tracks the input LEVEL, so loud passages stay clean and quiet passages dissolve into gritty quantization - the opposite of how digital normally behaves, like a dying battery or a sample-player running out of headroom on the tails. Floor/Ceil set the bit-depth range, Sens how fast the level pulls it, Mix the blend.

Envelope-driven wavefolder: the drive into a triangle folder rises with the input envelope, so quiet passages stay clean and loud ones fold into ever-brighter harmonics - dynamics-dependent folding with a DC servo.

Noise-modulation distortion: sprays band-limited noise (Freq sets its colour) onto the signal by multiplying it with the input, eroding the tone into gritty granular texture. Amount sets intensity and Mix dry/wet. From subtle dirt to harsh destruction - a creative degrade rather than a clean overdrive.

Harmonic exciter: splits off the band above Freq, generates new upper harmonics from it with a tanh Drive, and blends them back via Amount for added air and presence. Subtle settings add sheen and intelligibility without raising broadband level. Most effective on dull vocals, drums and full mixes.

Exponential waveshaper: maps the signal through an exponential transfer curve so small signals stay small and large ones swell sharply, an aggressive convex distortion unlike the concave tanh.

Feedback saturation: the saturated output is low-passed and fed back into the saturator's input, so the distortion compounds on itself and the harmonics bloom and self-bias the way a cranked amp with a feedback loop does - richer and more compressed than a single tanh stage.

Self-modulating waveshaper: the block's OWN previous output is fed back into the shaping curve - y = tanh(Drive*in + Feedback*y_prev) - so the distortion bends itself every sample. From warm saturation up into chaotic screaming as Feedback rises; a living, unstable fuzz no static waveshaper can make. Drive sets gain, Feedback the self-modulation, Mix the blend.

Floating-point crusher: quantizes the MANTISSA at the signal's own exponent, so the quantization step scales WITH the level (like low-bit floating-point audio) - the noise floor rides up and down with the signal instead of sitting at a fixed level as in a normal (linear) bit-crusher. A subtler, more 'alive' digital grit. Mantissa sets the kept bits, Mix the blend.

Cascaded wavefolder: drives the signal through several fold stages at progressively tighter thresholds, multiplying the fold density into a dense, West-Coast complex-oscillator timbre.

Phase-warped sine folder: folds through sin() like a sinusoidal folder but pre-warps the phase with a second-harmonic term, breaking the pure odd-harmonic symmetry to give a brighter, asymmetric fold spectrum.

Recursive folder: the folded output is fed back into the folder's input, so each sample folds against a memory of the last fold - the harmonics build into a self-similar, evolving, fractal-like spectrum that a single-pass folder cannot make.

High-gain fuzz: heavy drive soft-saturates then hard-clips into a square wave for a thick, sustaining buzz, with a Tone low-pass to tame the fizz and Level to set output. Mix blends dry/wet. Aggressive and compressed - see the BigMuff and FuzzFace analog models for circuit-specific fuzz voicings.

Gated fuzz: a hard fuzz clip followed by a fast noise gate, so the fuzz collapses into stuttering, velcro-ripping decay as notes die - the dying-battery / starved fuzz sound.

GELU waveshaper: the Gaussian-error-linear-unit transfer 0.5x(1+tanh(sqrt(2/pi)(x+0.0447x^3))), which gates the signal by an approximate Gaussian CDF - a soft, slightly dipping asymmetric saturation that fades small signals and passes large ones, a gentler-than-Mish self-gate.

Geometric folder: a wavefolder whose fold spacing is logarithmic rather than linear, so the harmonics it adds are spread geometrically (octave-like) instead of evenly - a brighter, bell-ier, more musical fold than the usual triangle/sine wrap. Drive sets how deep it folds, Mix the blend.

Gompertz waveshaper: shapes the signal through the asymmetric double-exponential sigmoid 2*e^(-e^(-Drive*x))-1, which approaches its lower and upper rails at different rates - unlike the symmetric tanh, this lopsidedness injects strong even harmonics and a tube-like asymmetry. A distinctly coloured saturation; a transfer-curve use of the Gompertz growth function.

Magnetic quantizer: instead of hard-snapping to a grid, the output is PULLED toward the nearest grid level by a continuous spring (Strength). At low Strength it just nudges the signal toward the steps for a subtle pitch/level magnetism; at full Strength it becomes a hard quantizer. The in-between gives a soft, gravitational stair-step. Levels sets the grid, Strength the pull.

Gray-code folder: quantizes the sample and XORs it with its own Gray code (v ^ (v>>1)), refracting the waveform into a self-similar staircase of digital harmonics.

Grid conduction: when the drive swings positive past the bias the tube's grid starts drawing current and clamps that half hard, while the negative half stays soft - the asymmetric blocking distortion of an overdriven valve grid that gives tube amps their compressed, sagging bite. Drive sets the push, Bias where conduction starts, Mix the blend.

Growl box: at random zero crossings the polarity of an added sub-octave FLIPS, so the period randomly doubles and the tone breaks into a gnarly, sputtering sub-harmonic growl/multiphonic - the controlled chaos of a fuzz on the edge of tracking. Amount sets the sub level, Chaos how often it flips (smooth octave-down at 0, chaotic growl high), Mix the blend.

Gudermannian waveshaper: maps the input through the Gudermannian gd(x)=2*atan(e^x)-pi/2, a transcendental soft-clip with a gentler knee than tanh and a softer approach to the rails - a smooth, transparent saturation that adds subtle odd harmonics without harsh edges.

Harmonic multiplier: passes the signal through the Nth Chebyshev polynomial, which maps a sine to its exact Nth harmonic - a precise single-harmonic generator (octave at N=2, fifth-of-octave at N=3, etc.) for additive coloring.

Hermite waveshaper: maps the input through a probabilist's Hermite polynomial He_n of selectable order, generating a specific harmonic (like Chebyshev shaping but on the Hermite basis), then tanh-limited - a precise, order-selectable harmonic adder.

Hysteresis quantizer: a stepped quantizer with a DEADBAND - it holds its current step and only jumps to a new one once the input moves past the deadband, so dithery, wandering signals stop chattering between adjacent steps. Glitch-free stair-stepping with a sticky, lagged digital character. Steps sets the resolution, Deadband the stickiness, Mix the blend.

Backlash distortion: the output only moves once the driven input pulls beyond a deadband around its last position, modelling mechanical play / relay hysteresis - it sticks then jumps, adding memory-dependent grit unlike any clip or fold.

Langevin waveshaper: shapes the signal through the Langevin function L(x)=coth(x)-1/x, the saturation curve of paramagnetic and ferrofluid magnetization - a sigmoid that approaches the rails more gently than tanh and with a softer knee, giving a smooth, magnetic-style saturation. Normalized so unity input maps to full scale at the chosen Drive.

Lockhart wavefolder: the closed-form transfer curve of the Lockhart transistor folding cell (the heart of many West-Coast folders), giving smooth, analog-accurate fold harmonics rather than a piecewise reflection.

Lo-fi degrader: sample-rate reduction (holds each sample for Rate frames) plus a Tone low-pass and added tape Hiss, blended via Mix. Unlike Bitcrush it quantizes in time rather than bit-depth, layering filtering and noise for a warmer vintage-sampler grime. Push Rate for aliasing; lower Tone and raise Hiss for cassette/SP-style character.

Logarithmic shaper: a log transfer curve lifts quiet detail steeply and compresses loud peaks, the opposite curvature of the exponential shaper - a bright, dense, low-level-emphasizing distortion.

Lorenz-modulated drive: the Lorenz attractor's wandering x coordinate continuously bends the gain of a tanh saturator, so the distortion character drifts chaotically and organically as the signal passes through.

Linear-prediction whitener: a one-tap adaptive predictor (NLMS) continuously guesses the next sample from the last one and outputs only the prediction ERROR, so the predictable, resonant part is subtracted away and what's left is the flat, whitened, edgy residual - instant presence and de-resonance. Amount sets how much residual replaces the signal, Mix the blend.

Magnetize: a saturator with magnetic HYSTERESIS - the transfer curve lags differently on the rising and falling edges, tracing a loop like tape magnetization, which adds warmth, a soft memory smear and even-order colour the way a real magnetic medium does. Drive sets the level into the loop, Mix the blend.

Mish waveshaper: the self-gated neural activation x*tanh(ln(1+e^x)) used as a transfer curve - nearly linear for loud positive signal but with a smooth non-monotonic dip just below zero, adding a soft asymmetric saturation with subtle even harmonics distinct from tanh.

JHS Morning Glory-style transparent overdrive: a low-gain symmetric LED-clipper drive that stays open, dynamic and amp-like, cleaning up with the guitar volume - a pedalboard always-on.

Mu-law compander: the logarithmic mu-law curve from telephone codecs squashes the dynamics nonlinearly, adding the gritty, level-dependent quantization grain of an 8-bit phone line.

Tanh overdrive feeding a resonant Chamberlin state-variable lowpass, with a slow internal LFO wobbling the cutoff. Drive sets the input gain into the saturator (1..30), Cutoff sets the filter frequency (~80 Hz..14 kHz), Reso sets the filter Q, Mod sets how much the LFO modulates cutoff, and Mix blends wet against dry. Goes from gentle filtered grit to a screaming self-resonant squeal as Drive and Reso climb.

Two-band wavefolder: a crossover splits the signal into low and high bands that are wavefolded with separate drive amounts, so the bass can stay clean while the highs shred (or vice versa) - frequency-selective folding that a full-band folder cannot do.

Three-band distortion: one-pole filters at 300 Hz and 3 kHz split the input into low, mid and high bands, each saturated through its own tanh stage before being summed. Low, Mid and High set the drive into each band's saturator and Mix blends the result against dry. Per-band drive lets you grind the highs without muddying the lows, or add weight to bass alone.

Munge: a digital mangler that flips between a small bank of per-sample operations (clean, invert, full-wave rectify, sine fold) on a random clock, so the waveform is mauled into a glitchy, ever-shifting destruction. No two passes mangle the same way. Rate sets how fast the operation switches, Amount the wet level, Mix the blend.

Noise-shaped quantizer: crushes the sample value to N levels but feeds the quantization error forward into the next sample, pushing the crush noise up out of the band a plain bit-crusher leaves it in.

Signed nth root: sign(x)*|x|^(1/N), which lifts low-level signal toward unity while leaving the sign intact - so quiet detail is brought up (the opposite of squaring), brightening and thickening as N rises, a continuously-tunable root-law shaper.

Analog-style sub-octave: a flip-flop toggles on every rising zero crossing of the input, producing a square one octave below that tracks the pitch; scaled by the input's own envelope so it follows dynamics, then blended under the dry signal for a thick sub.

Octave fuzz: blends a fuzz-distorted signal with a DC-corrected full-wave-rectified upper octave, the classic Hendrix/Octavia scream. Drive sets gain, Octave the upper-octave blend and Mix dry/wet. Tracks best on clean single notes near the 12th fret; chords intermodulate, by design.

Octave fuzz: blends a straight hard fuzz with a full-wave-rectified fuzz (an octave above), the classic Octavia/octave-up fuzz voice that screams an octave over the note when pushed.

Oversampled overdrive: linearly upsamples 2x, applies tanh saturation at the higher rate and averages back down, so the alias products generated by the distortion fall mostly above the audible band - cleaner high-gain tone.

Parabolic-saturation waveshaper: passes the signal through x*(2-|x|) up to unity then hard-limits, so the approach to the rails is a smooth parabola rather than a tanh curve - a punchy soft-clip with a distinct second-harmonic-tinged knee, then a clean ceiling.

Phase burn: a first-order all-pass whose coefficient is driven by the SIGNAL ITSELF (a shaped, level-dependent phase shift), so the waveform's phase smears and self-warps more as it gets louder - a frequency-dependent, dynamic phase distortion that adds a hollow, vowel-like movement and grit on transients without changing the amplitude curve. Drive scales the modulation, Amount the burn depth, Mix the blend.

Polarize: the asymmetry of a soft clipper is slowly swept by an LFO, so the bias drifts and the generated even harmonics wax and wane over time - the tone breathing between symmetric (odd-only) and lopsided (even-rich) saturation. Rate sets the sweep, Depth the bias swing, Mix the blend.

Power-law shaper: raises the signal to a variable exponent (preserving sign), so below 1 it expands quiet detail and rounds the peaks while above 1 it contracts, hollowing the body and sharpening the spikes - a continuous control over the whole transfer curve's shape from soft-and-fat to hard-and-thin. Exp sets the exponent, Mix the blend.

Power-law shaper: raises the signal's magnitude to a variable exponent (preserving sign), sweeping the transfer curve from expanding/concave below 1 to compressing/convex above - continuous control of harmonic content.

Preisach hysteresis: drives a parallel bank of 16 relay hysterons - each flips to +1 above its up-threshold and to -1 below its down-threshold and latches in between - whose sum is a saturating transfer that REMEMBERS where the signal has been (the Preisach wiping-out property). Distinct from the catalog's Jiles-Atherton tape model: it gives a sticky, history-dependent grit whose loop width you set directly. Drive pushes the operating point across more relays, Width the hysteresis lag.

Pulverize: the signal is run through a stack of sine wavefolders in series, each one pulverizing the last, so a clean tone is ground into a dense, buzzing cloud of high harmonics. The more stages, the finer the powder. Drive sets the input level, Stages the grind depth, Mix the blend.

Rectify-then-fold: full-wave rectification followed by triangle folding stacks octave-up rectifier content with fold harmonics for a dense, aggressive shaper unlike either stage alone.

Gated rectifier fuzz: full-wave rectification feeds a hard tanh fuzz (octave-up, even harmonics) that only opens when the envelope crosses a threshold, with a touch of crackle on the gate - a spitty, gated octave-fuzz.

Rectifier waveshaper: full-wave (Mode 0) folds the negative half upward to add strong octave-up and even harmonics, while half-wave (Mode 1) keeps only the positive half. Mix blends with the dry signal. The classic octave-fuzz colour - aggressive alone, useful in small amounts for harmonic lift.

Rectifier morph: sweeps continuously from half-wave to full-wave rectification, generating octave-up and even-harmonic content; dry blend keeps the fundamental.

Resonant folder: a state-variable low-pass with adjustable resonance feeds a triangle wavefolder, so the resonant peak is driven into folding and rings into a screaming formant of fold harmonics - a vocal, whistling distortion that tracks the cutoff.

Ring fuzz: ring-modulates the input against an internal sine, then slams the result into a hard fuzz clip, stacking clangorous inharmonic sidebands with gated fuzz spit for a destroyed, robotic tone.

Suhr Riot-style distortion: a high-gain asymmetric-clipper drive that nails a tight, saturated, amp-like high-gain rhythm and lead - JCM800-into-a-box aggression with a smooth top.

Feedback waveshaper (Ableton Roar-style): drives the signal through a selectable saturation curve, but wraps it in a resonant feedback loop - the distorted output is band-passed at Color and fed back into the input, so it rings, blooms and self-oscillates into the gnarly 'roar' that plain saturation can't make. Drive sets the push into the Shape (soft sine / tube / soft clip / diode / fold), Tone tilts the spectrum before the shaper, Feedback how much output returns, Color the feedback resonance frequency, and Mix the dry/wet. (Single-shaper core; the full device's serial/parallel/multiband/mid-side routings need a rack.)

Techno rumble bass: the input on in0 (a kick) drives an envelope follower that swells two slightly detuned sub-sines running underneath it, so a low rolling sub locks to the kick pattern and the slow Release lets the rumble roll on between hits - the Drumcode-style rumble built by sub-under-kick rather than a reverb send. Tune sets the sub pitch, Detune beats the two oscillators against each other for movement, Release sets how long the rumble tail rolls, Drive saturates it for weight, and Mix blends the rumble under the dry input.

Sag clipper: the clipping ceiling DROPS as the running level rises, modelling a power supply that sags under load - so sustained loud passages compress and clip harder while transients punch through before the rail collapses. A living, dynamic distortion that breathes, unlike a fixed clipper. Drive pushes it, Sag how far the rail collapses, Mix the blend.

Sample rot: the effective sample rate decays the longer a note sustains - the decimation deepens over a held tone so it grows progressively more aliased and gritty, then refreshes in the gaps. A time-axis companion to bit-rot, on the rate axis instead of the depth axis. Rate sets the rot speed, Mix the blend.

Multi-mode saturator: drives the in0 signal into one of four waveshaping curves - tanh, soft tube, sigmoid or hard clip - with Tone tilting the result darker/brighter, output-level compensation, and a dry/wet Mix. A clean, controllable distortion stage distinct from the modeled fuzz/amp circuits.

Schmitt-trigger fuzz (a first as a synth block): a comparator with memory - the output snaps fully high once the driven input rises past +Hyst and stays high until it falls past -Hyst, squaring the signal into a hard two-level wave that resists chattering near zero. The hysteresis band makes it 'stick', cleaning the buzz of a raw square-up while adding a gated, brutal edge. Drive sets the gain into the trigger, Hyst the dead-band width, Level the output, Mix the blend. A hysteretic square fuzz no clipper or fold reproduces.

Serge wave multiplier: six folding cells at staggered offsets sum into the dense, bright, vocal-formant-like spectrum of a Serge VCM, a richer fold than a single threshold reflection.

SynthMaster-style 12-mode waveshaper: Shape selects soft/hard clip, tube, diode, sine and triangle fold, full/half rectify, sine, crush, sync-wrap and Chebyshev modes, each driven by Drive with Bias for symmetry. Mix and Output blend and trim. Modulate Shape to morph between distortion characters - a one-stop tone-shaping distortion.

Shot noise: adds grit whose loudness follows the PHYSICAL shot-noise law - its amplitude scales with the square root of the instantaneous signal level (sqrt(|x|)), the way photon/electron shot noise grows with current. So the noise tracks the signal's contour instead of sitting flat: a self-masking, signal-dependent fizz that disappears in the gaps. Amount sets the noise gain, Mix the blend.

Signed square: sign(x)*x^2, which squares the magnitude while keeping the sign - so loud parts are pushed louder and quiet parts quieter (a downward expander curve) without the octave-up of a plain square, adding odd-harmonic edge as it expands.

Sinh exciter: shapes the signal through sinh(Drive*x)/sinh(Drive), an expanding transfer curve that is the mirror image of tanh saturation - instead of squashing peaks it pushes mid and high levels outward, exaggerating dynamics and adding bright odd harmonics. A de-compressing exciter rather than a soft-clipper. Normalized so unity input stays unity.

Sizzle: an HF exciter that generates fizzy new top end from the signal's OWN high frequencies (it shapes the highpassed content, so it only sizzles where there is already brightness, never on bass). Adds air, presence and a metallic crackle. Drive sets the harmonic heat, Amount the added sizzle, Mix the blend.

Slew chew: a slew limiter with DIFFERENT rise and fall rate caps, so the waveform is chewed asymmetrically - sharp on one edge, rounded on the other - bending the shape and pumping in even harmonics, the lopsided cousin of a symmetric slew. Rise sets the up-rate, Fall the down-rate, Mix the blend.

Slew-rate distortion (a first as a synth block): limits how fast the output can move between samples, so when Drive pushes the input past that maximum slope the block cannot keep up - fast transients are sheared into ramps and the waveform is dragged toward a buzzing triangle. Where a clipper flattens the peaks, SlewClip mangles the slopes: a harsh, gritty, distinctly digital lo-fi grind that also drops level as it limits. Rate sets the maximum step per sample, Drive the input gain, Mix the blend.

Slew + crush: a slew-rate limiter rounds the fast edges, then a noise-shaped quantizer drops the bit depth - the combined softening and grit of a cheap converter feeding a slow line.

Tracking wavefolder: the fold threshold slews toward the signal level, so the fold density pumps and breathes with dynamics rather than staying fixed - a self-adjusting fold.

Slew-then-fuzz: a slew-rate limiter rounds the fast edges (program-dependent triangular softening) before a hot tanh fuzz, so the fuzz bites on sustained energy but the rounded transients keep it from fizzing - a thick, controlled gnarl.

Slew-rate distortion: separate rise and fall step limits soften fast edges asymmetrically (TIM-style), generating triangular, program-dependent harmonics; mix blends the slewed and dry signals.

Slew step: quantizes to a coarse staircase but then GLIDES toward each new step at a limited rate instead of jumping, so you get the lo-fi stepping of a bit-crusher with smooth ramps between treads - a soft, gooey digital quantization rather than a hard one. Steps sets the resolution, Slew the glide rate, Mix the blend.

Slope overload: a slew-rate-limited follower that can only change so fast, so when the input moves quicker than the limit it lags behind and overshoots - the slope-overload and granular-noise distortion of a delta / CVSD modulator. Slow signals stay clean, fast ones tear. Slew sets the rate limit, Mix the blend.

Smooth clamp: passes the signal linearly until it reaches the Knee, then smoothly tanh-saturates the excess toward the +/-1 rails - a soft-knee limiter with a genuinely flat (undistorted) centre, distinct from a plain tanh that curves everywhere.

Snarl: a high-resonance band-pass parked in the low-mids feeds a saturator, so the signal grows a vicious vocal-formant growl - a snarling, throaty bite midway between a wah stuck in place and a fuzz. Freq sets where it snarls, Drive the aggression, Mix the blend.

Softplus waveshaper: the centred softplus ln(1+e^x)-ln2 as a transfer curve - it passes positive signal almost linearly but smoothly compresses negative excursions toward a floor, an asymmetric soft half-wave shaper rich in even harmonics (octave-up colour).

Softsign waveshaper: the rational sigmoid x/(1+|x|), a soft clipper that saturates far more gradually than tanh and never quite reaches the rails - a smooth, gentle overdrive with a softer knee and longer transition than transcendental saturators.

Sovtek (Green Russian) Big Muff-style fuzz: cascaded transistor gain into two symmetric silicon-diode clipping stages for the thick, smooth, mid-scooped wall of sustain - darker and bassier than the US Muff.

Band clipper: splits the signal into low and high bands and clips ONLY the highs, leaving the lows clean - so you get crunchy, distorted top end riding over an undistorted, solid bottom, the inverse of the usual full-range fuzz that turns bass to mush. Drive sets the high-band clip, Mix the blend.

Stochastic resonance: the counter-intuitive effect where adding NOISE to a weak, sub-threshold signal HELPS it through a nonlinearity instead of burying it. The signal drives a bistable double-well system (x' = Barrier*x - x^3 + Drive*in + noise) that hops between its two states; a tuned amount of noise makes those hops follow the weak input, recovering and amplifying detail a gate or expander would simply cut. Too little noise and nothing crosses, too much and it is random - the sweet spot in between is the resonance, so SWEEP Noise to find it. A gritty, alive texture/recovery tool with no equivalent in the catalog. Drive scales the input into the wells, Noise the assist level, Barrier the well depth/threshold, Mix the blend.

Sub-bass enhancer: a flip-flop toggled per rising zero crossing generates a half-frequency square tracked by the input envelope and low-passed, added under the dry signal at Sub. Reinforces weak low end on kicks, bass and 808s. Monophonic by nature - best on clean low-register sources.

Subharmonic generator: zero-crossing detection on the input drives a divide-by-four flip-flop, multiplying the input's rectified amplitude to synthesize a tone two octaves below, then smooths it with a one-pole low-pass. Sub sets the level of the generated sub, Tone opens the low-pass cutoff (darker to brighter sub), and Mix sums the sub onto the dry signal. Adds weight and low-end body to bass, kicks and leads.

Cascaded tanh stages: several tanh gain stages in series compound their soft saturation, building the progressive, harmonically dense overdrive of a multi-stage tube preamp rather than a single clip.

Tape machine: combines soft tape saturation, a slow wow pitch wobble via a modulated delay, and a hint of hiss into one block - the glued, warm, slightly-unstable character of analog tape.

Tape-style saturation: a soft tanh stage with a touch of linear blend emulates magnetic-tape compression, with Warmth rolling off the highs for a rounder tone and Mix blending dry/wet. Gentle glue and harmonic thickening rather than overt distortion. See the Studer and Ampex analog models for machine-specific tape.

Tilt-weighted saturation: the spectrum is tilted before a tanh stage and tilted back after, so the distortion bites hardest on the boosted band - dial Tilt positive to fizz only the highs, negative to grind only the lows, while the overall balance is restored.

Transformer saturation: a hysteresis loop (the output lags and remembers, like a magnetized iron core) plus soft clipping models an audio transformer's low-end thickening and gentle history-dependent distortion.

Transient exciter: harmonics are added ONLY during attacks - a fast/slow envelope split detects each onset and injects bright odd harmonics that fade as the note settles, so picks, hits and consonants get crisp bite while sustains stay clean. The opposite of smearing. Amount sets the bite, Sharp the harmonic edge, Mix the blend.

Transient-keyed folder: a fast-minus-slow envelope detector measures the attack of each event and opens a wavefolder only on those transients, so the body of a sound stays clean while every hit cracks with a burst of fold harmonics - percussive brightening, not sustained grind.

Tri-state quantizer: collapses the signal to just three levels - full positive, full negative, or zero inside a central dead band - so it squares up like an infinite clipper but with a silent gap around zero, giving a gated, telegraph-like buzz. Dead sets the size of the zero zone, Mix the blend.

Triangle-to-sine shaper: the soft-clipping transfer that classic analog VCOs use to round a triangle into a near-perfect sine, useful for warming any signal or deriving a sine from a triangle core.

Tube-style saturation: an asymmetric transfer curve (offset by Bias) adds the even and odd harmonics of a valve stage, tamed by a Tone low-pass and blended via Mix. Warmer and rounder than the harder Drive/Waveshaper - subtle settings thicken and glue, higher Drive gives singing tube grit. See the TubePre and VariMu analog models for circuit-specific versions.

Wampler Tumnus-style transparent boost/overdrive (Klon-lineage): a clean op-amp boost summed with a mild germanium-diode clip stage for a touch of grit while keeping the dry signal intact - the famous transparent mid-push.

ProCo Turbo RAT-style distortion: a high-gain op-amp stage into hard LED clipping for a sharper, louder, more aggressive RAT with a fierce midrange bite.

Cassette/VHS tape emulation: the input runs through a short modulated delay whose time wobbles via an internal 0.7 Hz LFO, then a one-pole low-pass rolls off highs and random pseudo-noise hiss is summed in. Wow sets the LFO delay-modulation depth (pitch wobble), Hiss scales the added noise level, and Dropout raises the probability of brief signal dropouts driven by a per-sample random envelope. Mix blends the degraded signal against the dry input for subtle aging or full lo-fi destruction.

Vinyl character that reads the signal through a slowly modulated delay for wow pitch-drift, injects random impulses for surface crackle, and pushes the result through a tanh saturator for groove distortion. Wow scales the pitch-drift depth, Crackle sets how often surface pops appear, Drive sets the saturation amount, and Mix sets dry/wet. Use it to age a clean source with turntable wobble, dust noise and warm grit.

Virtual bass / missing-fundamental enhancer: isolates the sub-bass band, rectifies it to synthesize a harmonic series (2f, 3f, 4f...) of the fundamental, then mixes those upper-bass harmonics back with the dry signal. The ear fuses the harmonics into the residue pitch of the absent fundamental, so a small speaker that cannot reproduce 50 Hz still seems to - the MaxxBass/psychoacoustic-bass principle. Distinct from a sub-octave generator, which adds a lower octave the speaker still cannot play.

Crush-then-fold: a low-bit quantizer's staircase is fed straight into a triangle folder, so the quantization steps themselves get folded - a layered digital-plus-fold timbre neither stage makes alone.

West-coast wavefolder that multiplies the signal by Fold and reflects it through triangle folding boundaries, adding bright harmonics that bloom as level rises. Bias shifts the fold symmetry for asymmetric timbres, Mix blends dry/wet and Output trims gain. Unlike clipping, folding keeps energy moving, so the tone stays lively even at extreme settings.

Reflecting waveshaper: excursions past a slowly DC-tracked threshold are mirrored back down by an adjustable amount, folding ring-like overtones that recenter as the signal's bias drifts.

Blended waveshaper: one knob crossfades the transfer curve from soft tanh saturation to sinusoidal folding, sweeping the harmonic character from warm clip to bright fold in a single stage.

West-coast wave multiplier (Serge/Buchla-style): cascades several triangle wavefolders so the signal is folded again and again as Drive rises, multiplying the harmonics far beyond a single Wavefolder for ringing, metallic, formant-rich timbres. Drive sets the fold depth, Stages the number of cascaded folders (more = denser), Bias the fold asymmetry, and Mix the dry/wet blend.

Waveset distortion (Trevor Wishart, 'Audible Design'): slices the in0 signal into wavesets - the segments between upward zero-crossings - and plays each one Repeat times before moving on, dropping the input in between. Repeating every waveset time-stretches and drops the pitch in gritty, vowel-like steps that track the signal's own period, not a fixed grid - the classic granular-but-pitch-synchronous Wishart sound. Repeat sets how many times each waveset loops, Mix blends dry/wet. in0 = Audio In.

Morphing waveshaper: one knob crossfades the drive curve from a tanh saturator (odd harmonics, soft clip) to a sine wavefolder (dense fold harmonics), sweeping continuously from warm overdrive to bright metallic folding on the same input.

Memoryless waveshaper with four transfer curves (Shape: tanh, atan, cubic soft-clip, sine fold) driven by Drive and blended via Mix. Each curve adds a different harmonic signature, from smooth saturation (tanh/atan) to a foldback character (sine). Lighter-weight than Drive when you just want one fixed shaping curve.

Sinusoidal wavefolder: drives the signal through sin() so that increasing index folds it through multiple sine lobes (Serge-style), staying perfectly bounded while adding rich symmetric harmonics.

Transformer saturation: asymmetric soft-clipping knees (different for positive and negative swings) add even-harmonic colour, plus a low-passed component for iron-core low-end thickening. Subtle weight and warmth on bass, drums and the mix bus. See the NevePre analog model for a transformer-preamp variant.

XOR fold: bit-wise exclusive-ORs the current sample against a delayed copy of itself, a digital comb that carves jagged, metallic, glitch-ridden notches no analog filter can make - the harmonics interfere at the BIT level rather than the amplitude level. Time sets the delay, Mix the blend.

Zener clamp: a voltage-reference clamp that limits asymmetrically - a soft forward knee one way, a harder reverse-breakdown wall the other - so the waveform is squashed lopsidedly the way a Zener-diode protection circuit clips, adding strong even harmonics. Forward sets the soft side, Reverse the breakdown wall, Mix the blend.

Zero-cross sample-hold: tracks the signed peak within each half-cycle and freezes the output to it until the next zero crossing, rebuilding the waveform as flat plateaus that snap on every crossing - a PWM-like, octave-rich square reconstruction.

Zero-cross sample-hold: latches the input value at each rising zero crossing and holds it until the next, reducing the waveform to one stair-step per pitch period - a pitch-synced lo-fi staircase.

Peak-hold envelope: captures the loudest recent peak and holds it, then decays slowly - a control-rate 'freeze the loudness' source for driving other parameters, distinct from a plain release-only follower.

Asymmetric compressor: independent envelope followers level the positive and negative half-waves with separate ratios, so unequal polarity gains introduce even harmonics and a tube-like asymmetry on top of the leveling - part compressor, part saturator.

Automatic gain control: tracks the signal's average level and slowly scales it toward a target, evening out long-term loudness swings (quiet passages come up, loud ones come down) the way a broadcast leveler does.

Choke gate: every new onset slams the gain shut for a brief window, killing whatever tail was still ringing - the hi-hat choke, applied to anything. Successive hits clamp each other off into a tight, staccato, gasping rhythm. Time sets the choke window, Mix the blend.

Program-dependent compressor: blends a fast and a slow release envelope so brief peaks recover quickly while sustained loud passages release slowly, the auto-release behaviour of classic bus compressors - transparent glue.

Peak-following compressor: tracks the input envelope with Attack/Release ballistics and, above Threshold, reduces gain by the set Ratio, with Makeup to restore level. Fast attack tames transients while slow release glues sustained material. A clean general-purpose dynamics stage - see the analog pack (FET, Opto, VariMu) for coloured compression.

Upward compressor: instead of pulling loud parts down, it pushes signal below the threshold up, raising low-level detail and ambience - density and presence without limiting the peaks.

Amplitude contrast: a power curve applied to the signal's envelope around a reference level pushes loud parts louder and quiet parts quieter (positive) or evens them out (negative), preserving waveform shape.

Crest-factor follower: tracks the running peak-to-RMS ratio of the input (about 1.4 for a steady sine, ~1 for a square, high for spiky/transient or sparse material) - a control signal measuring how 'peaky' the dynamics are, for transient-aware modulation or auto-dynamics. Time sets the averaging window.

Tames sibilance by splitting off a high band with a one-pole low-pass, tracking its level with a fast-attack envelope, and applying gain reduction to that band only when it crosses the threshold before recombining it with the lows. Freq sets the sibilance band, Threshold sets where reduction begins, Amount scales how hard the high band is pulled down, and Mix sets dry/wet. Because only the highs are compressed, it removes harsh esses without dulling the rest of the signal.

Deflate: the opposite of an inflator - a cubic curve that sucks the body out of low-level signal so quiet detail shrinks back and the sound feels smaller, thinner and pulled-in. Use it to deflate an over-full source or for a claustrophobic effect. Amount sets the deflation, Mix the blend.

De-esser: detects energy in a high band (the 's' and 't' sounds) and ducks only that band when it exceeds a threshold, taming harsh sibilance on vocals without dulling the whole signal.

Sidechain ducker that follows the level of the key input (in 2) with a release-smoothed envelope and pulls down the main signal whenever that key exceeds the threshold. Threshold sets the key level that triggers ducking, Amount sets how far the main signal drops, and Release sets how quickly it recovers once the key falls back. Use it for music-under-voice ducking or rhythmic pumping driven by a separate trigger.

Dynamic EQ band: an SVF band-pass at Freq/Q tracks an envelope follower, and when that band's energy crosses Threshold the band is subtracted from the signal in proportion to Amount. Freq and Q place and narrow the band, Threshold sets where reduction begins, and Mix blends the result against dry. It only acts when the band gets loud, so it tames resonances and harshness without static EQ cuts.

Entropy gate: measures zero-crossing density (how noisy vs tonal the signal is) and gates on it, so you can pass tone and mute hiss/noise, or the reverse - a timbre-keyed gate, not a level gate.

Adaptive clipper: the soft-clip ceiling follows the signal envelope, so the amount of clipping stays proportional as levels change - consistent grit from quiet to loud passages instead of a fixed wall.

Envelope follower that rectifies the input and smooths it with independent Attack and Release times into a control signal. Gain scales the output for driving a filter cutoff, VCA or any mod input (auto-wah, ducking, dynamics). Fast attack tracks transients; a longer release gives a smoother contour.

Envelope follower: tracks the rectified amplitude of the input with separate Attack and Release times, outputting a smooth control signal that rises quickly on transients and falls slowly back - the standard way to turn audio into a modulation source. Patch its output into any parameter's mod input so a filter, VCA or effect responds to playing dynamics; Gain scales the result. Unlike the duckers (which bury the follower inside one effect) this exposes the envelope itself.

Gated AR envelope VCA: a second-input gate opens an attack/release envelope that shapes the audio input's level - a self-contained note-on amplitude envelope without a full synth voice.

Envelope slope: outputs the per-sample rate of change of the amplitude envelope - strongly positive on attacks, negative on decays, near zero on steady sustain - a bipolar onset/transient detector and dynamics-derived modulation source. Gain scales the (small) derivative to a usable range.

Auto volume swell: a slow-attack envelope suppresses each note's initial transient and fades the body in (the violin bow-swell / no-pick effect), with no pedal or LFO.

Downward expander: attenuates signal that falls below Threshold by the set Ratio (the inverse of a compressor), tightening quiet passages and reducing bleed and hiss between notes. Attack/Release set the ballistics. Gentler than a gate - it fades low-level material rather than hard-muting it.

Feedback-topology compressor: the level detector watches the already-compressed output instead of the input (the classic 1176/opto behavior), so the gain reduction is self-referential - this softens the knee, makes the effective ratio program-dependent, and gives the smoother, 'rounder' character feedback designs are prized for. Threshold, Ratio, Attack/Release in ms, Makeup.

Noise gate: when the detected level falls below Threshold it attenuates the signal toward Range (the floor), opening and closing with Attack/Release ballistics. Range at -80 dB fully mutes between events; smaller values leave a residual for gentler ducking. Use it to silence hiss and bleed between phrases or for rhythmic gating.

Contact bounce: when the gate opens it chatters - a few fast random on/off bounces before it settles, the way a mechanical relay or switch contact bounces on closing. Adds a glitchy, machine-gun stutter to every note onset. Bounce sets how much it chatters, Mix the blend.

Hysteresis gate: separate open and (lower) close thresholds give Schmitt-trigger immunity to chatter near the threshold, with a smoothed gain ramp so the gate fades rather than clicks.

Inflate: a psychoacoustic loudness exciter - a gentle cubic curve that lifts the body and harmonics of the signal so it sounds bigger and louder without raising the peak level. The 'inflator' move for making a mix feel fuller. Amount sets the inflation, Mix the blend.

Brick-wall peak limiter: instantly clamps gain so peaks never exceed Threshold, then releases smoothly back to unity over Release, with Output trimming the post-limit level. Set Threshold as the ceiling and drive the input for transparent loudness. See Maximizer for loudness-optimized limiting.

Lookahead limiter: the signal is delayed through a short buffer while the gain is computed from the (still-undelayed) incoming peak, so the gain reduction is already in place when the peak reaches the output - catching transients a feed-forward limiter would overshoot. Release sets the recovery, Thresh the ceiling.

Temporal masking gate: a loud event briefly DEAFENS the block to what follows, modelling forward auditory masking - quiet detail in the wake of a transient is pushed down (the ear can't hear it anyway), tightening busy material and emphasising the hits. Distinct from a normal gate: the threshold is set by the recent loudest peak, not a fixed level. Amount sets the masking depth, Hold the masking time, Mix the blend.

Loudness maximizer that applies a gain boost, tracks the peak envelope, and divides back any sample exceeding the ceiling before hard-clamping to it, acting as a brick-wall limiter. Boost sets how hard the input is driven up and Ceiling sets the absolute output peak in dB. Push Boost while keeping Ceiling near 0 dB to raise apparent loudness without overshooting the output.

Multiband dynamics processor that splits the input into low, mid and high bands (crossovers near 250 Hz and 2.5 kHz) and applies independent compression and gating to each. Threshold sets the level above which a band is compressed at Ratio, while Gate sets the level below which a band is attenuated downward. Mix blends the processed sum against the dry signal, useful for tightening or de-noising specific frequency regions at once.

Three-band compressor: crossovers split the signal into low, mid and high bands (Low/Mid and Mid/High), each compressed independently against a shared Threshold and Ratio with fast-attack/slow-release ballistics, then summed with Makeup. Tame a busy mix's bands separately - control boomy lows without dulling the highs. See the SSL/dbx analog models for coloured bus compression.

Two-band compressor: splits the signal at a crossover and compresses the low and high bands independently before recombining, so a loud low end stops pumping the highs (and vice versa) - the core of multiband dynamics.

Noise gate: passes the in0 audio only while its level is above Threshold, otherwise silences it - cleans up hiss, bleed and tails between notes. A peak follower with a Release time smoothly opens and closes the gate so it doesn't chatter.

Chopping gate: while the input sits above threshold it passes clean, but as it falls below the gate chops it with a fast square on/off instead of fading - so decaying tails break into a rhythmic glitchy stutter rather than smoothly muting. Rate sets the chop speed.

High-frequency-keyed gate: triggered by high-band energy (a one-pole high-pass detector), it clamps hiss and cymbal bleed without choking sustained low-frequency tone.

Extreme dynamics on one knob: Function sweeps from gating expansion through limiting compression to full dynamic reversal, where loud passages turn quiet and quiet turns loud.

Over-the-top multiband compressor (Xfer OTT-style): splits the signal into low / mid / high bands and applies BOTH downward and upward compression to each at once - loud parts are pulled down and quiet detail is pushed up - for the dense, controlled, minimal-dynamic-range sound on modern EDM / dubstep / future-bass synths and drums. Depth sets how hard the up + down compression bites (the OTT % knob), Time the attack/release across all bands (fast = tight, slow = more transient), Low / Mid / High trim each band's output in dB, and Mix blends against dry. Unlike MultiComp / MBDynamics this also compresses upward (raises the quiet parts), which is what gives OTT its signature.

Parallel (New York) compression: a heavily-compressed copy is blended back UNDER the dry signal, so the transients and peaks stay intact while the body and low-level detail are lifted - punch and density without squashing the dynamics (the drum-bus / mix-bus trick). Distinct from a normal compressor, which replaces the signal: here the crush sits in parallel. Threshold/Ratio set the parallel crush, Attack/Release its ballistics, Makeup the parallel gain, Blend how much of the compressed copy is mixed under the dry.

Peak limiter: gain drops instantly whenever the signal would exceed the ceiling and recovers gradually, holding output below a hard threshold without the slow ratio behaviour of a compressor - transparent loudness control.

Percentile gate: the threshold is not fixed - it slowly tracks the signal's own loud peaks, so the gate passes only the top fraction of dynamics and adapts as the material gets louder or softer over time. Self-calibrating, unlike a fixed-dB gate. Open sets how much of the top passes, Mix the blend.

Tempo-synced sidechain-style volume pump that ducks the input each cycle and recovers using a sample-clock phase for coherent timing. Rate sets the duck frequency in Hz, Depth sets how far the level drops, and Curve shapes the recovery ramp from snappy to gradual. Mix blends the pumped signal against the dry input for the classic EDM ducking effect without an external sidechain.

Slew gate: opens on MOTION, not loudness - it passes signal only while its rate of change (slew) is high, so fast transients and bright content get through while slow, steady tones are gated out. A movement-sensitive gate that does the opposite of a sustain pedal: keeps the attacks, drops the drones. Threshold sets the motion needed, Mix the blend.

RMS compressor: detects level with a root-mean-square window instead of peaks, so gain reduction follows perceived loudness smoothly and ignores brief spikes - the gentle, musical compression of classic RMS-detector units.

Sidechain ducker: the audio level is pulled down in proportion to a second input's envelope, the pumping kick-ducks-bass / broadcast voiceover effect, driven by an external key.

Self-adjusting gate: the threshold slews toward a slow running average of the level, so the gate auto-tracks a drifting noise floor and opens only on signal that rises above its own recent average.

Soft downward expander: below the threshold the gain falls off by the set ratio (smoothly, not a hard gate), widening dynamic range and pushing low-level noise/bleed down without chopping.

Soft-knee compressor: a smooth knee region around the threshold eases gain reduction from 1:1 into the set ratio, so compression blends in gradually instead of switching hard at the threshold.

Soft thresholding: the wavelet-denoising shrinkage operator sign(x)*max(|x|-T,0), which subtracts the threshold from the magnitude rather than hard-gating - so signal below T is removed and signal above is passed but pulled down by T, a continuous deadband distinct from a hard noise gate.

Splat: a transient that crosses the threshold briefly blows the gain into hard saturation, then recovers - so big hits 'splat' with a momentary overdriven smear before settling clean, the overshoot artifact of a slamming converter or a maxed preamp. Thresh sets the trigger, Amount the splat heat, Mix the blend.

Aggressive parallel smash: a fast peak-following envelope drives heavy gain reduction above a fixed threshold, and the gain-reduced signal is pushed through a tanh saturator for crushed, distorted dynamics. Amount steepens the gain-reduction curve (harder squash), Tone scales the saturated output level, and Mix blends the smashed signal in parallel with the dry input. Useful for adding punch and grit to drums and bus material.

Sub-bass synthesizer: isolates the low band and drives it through a soft nonlinearity to regenerate and reinforce the fundamental, adding felt low end on small speakers without just boosting EQ.

Thyratron latch: a gas-tube trigger that FIRES when the input crosses a strike level and stays latched on - passing full signal - until the level falls below a lower hold point, then snaps off. A latching, hysteretic on/off zap that holds a note open after a hit. Strike sets the fire level, Hold the drop-out level, Mix the blend.

Transient shaper: a fast vs slow envelope follower separates the attack (fast > slow) from the sustain (fast < slow), letting Attack and Sustain each be boosted or cut independently, with Output trimming the result. Add punch to drums, or tighten/lengthen sustain - all independent of input level, unlike a compressor.

Transient designer: a fast and a slow envelope track the signal; their difference isolates the attack while the slow part is the sustain, so you can punch up or soften each independently - add snap or glue without a threshold.

Transient-only gate: passes the signal while the fast envelope outruns the slow one (the attack) and mutes the sustain - isolates clicks / picks / hits, the inverse of a sustain ducker.

Transient designer: a fast and a slow envelope follower track the signal; their difference is the attack and the slow one is the body, letting you boost or cut the punch and the sustain of a sound independently.

Transient designer: a fast minus slow envelope isolates attack vs sustain energy, scaled independently so you can sharpen or soften hits and swell or dampen tails without a threshold.

True-peak limiter: estimates the inter-sample peak with a 4-point band-limited reconstruction of the midpoint between samples and limits against that, catching the over-0 dBFS overshoots a sample-peak limiter misses and that clip a downstream converter (the ITU-R BS.1770 true-peak concern). Output is one sample delayed so the gain aligns with the reconstructed peak - an inter-sample-aware ceiling, distinct from a plain lookahead limiter. Ceiling sets the ISP ceiling, Release the recovery.

Upward compressor that tracks the input envelope and, when it sits below the threshold, applies makeup gain proportional to how far below it is and to the ratio, lifting quiet passages toward the threshold. Threshold sets the level below which boosting begins, Ratio sets how aggressively the deficit is filled, Makeup adds a fixed output gain, and Mix sets dry/wet. Use it to raise low-level detail and tighten dynamic range from the bottom up rather than taming peaks.

Variance gate: opens not on loudness but on COMPLEXITY - it tracks the short-term variance (the energy of the fluctuation around the local mean) and passes only when the signal is busy/noisy, muting steady tones and DC-like calm. A texture-sensitive gate. Threshold sets the activity needed, Mix the blend.

Zero-cross gate: a noise gate that only ever opens or closes AT a zero crossing of the signal, so it never produces the click a normal gate makes when it slams shut mid-waveform. The gate decision is latched at each crossing from the envelope vs Threshold. Click-free gating for harsh, percussive, or already-distorted material. Threshold sets the open level, Mix the blend.

AM-radio lo-fi: band-limits in0 to a tinny midrange, adds a faint carrier hum and a wash of static, the sound of a distant transistor radio. Band sets the midrange tightness, Static the noise level, Mix the blend. in0 = Audio.

Avalanche: a feedback line whose gain briefly exceeds unity after a loud trigger, so the sound builds on itself into a swelling roar before a tanh ceiling and a decay tame it back down - a self-amplifying cascade that snowballs and settles. Trigger sets the trip level, Decay the avalanche length, Mix the blend.

Barkhausen buzz: magnetic-domain jumps emit a crackle whose intensity tracks the RATE of magnetization change (dB/dt) - so fast-moving signal hisses and buzzes with domain noise while steady levels stay quiet. The audible signature of a magnetizing core. Amount sets the buzz level, Mix the blend.

Boomerang: a reverse delay that catches the signal and throws it back REVERSED through a sliding window, with feedback so each throw comes back again - swelling, backwards-shimmer echoes that arc out and return. Time sets the window length, Feedback how many returns, Mix the blend.

Cloth rustle: soft high-frequency noise bursts triggered by how fast the signal MOVES, like fabric brushing past a microphone - it whispers and rustles on motion and falls silent when the signal holds still. Amount sets the rustle level, Mix the blend.

Creak: a stress-driven stick-slip squeak - the input level winds up tension that periodically slips, sweeping a thin resonant tone upward in little jerks, like a creaking door, rope or floorboard. The louder you push, the faster and higher it creaks. Tune sets the squeak pitch, Mix the blend.

Crumble: the longer a note sustains the more of its samples drop out and hold, so a held tone progressively crumbles into a stuttering, gap-riddled fragment - then knits back together in the silences. Rate sets the crumble onset, Mix the blend.

Crystallize: each transient seeds a high shimmering partial locked to a tuned pitch grid (so the sparkle is always musical, never random), ringing out and accreting into a crystalline upper layer. Tune sets the grid root, Amount the shimmer level, Mix the blend.

Diode clipper: a symmetric pair of clipping diodes giving a soft-knee crunch that rounds into hard saturation as it's pushed - the core of countless distortion pedals. Drive sets the gain, Bias skews the symmetry toward even harmonics, Level the output. in0 = Audio.

Tape dropout: random brief mutes, as if the oxide flaked off the tape - the signal cuts out for a few milliseconds at random, with a quick fade so it ticks rather than clicks. Sparse and subtle for vintage wear, dense for a glitchy, failing-media stutter. Rate sets how often dropouts happen, Length their duration, Mix the blend.

Foldback distortion: instead of clipping, any signal past the threshold is reflected back on itself, generating bright, ring-mod-like upper harmonics that grow chaotically with drive - harsher and more digital than soft clipping. Drive sets the level into the fold, Thresh the fold point, Level the output. in0 = Audio.

Frequency shifter: builds an approximate quadrature (Hilbert) pair of the input through two allpass paths and ring-modulates them with a complex exponential, shifting every partial by a fixed Hz amount (not a pitch ratio) - the inharmonic, Bode-style shifter.

Geiger counter: emits sharp random CLICKS whose density tracks the input level - loud input is a frantic crackle of clicks, quiet input an occasional tick, like a Geiger counter responding to radiation. Each click is a fast-decaying impulse fired by a Poisson process whose rate is driven by |signal|. A novel level-to-texture sonifier. Sensitivity sets the click rate, Decay the click length, Mix the blend.

Gravel crunch: dense bursts of low-passed noise grains gated by the signal level, like boots grinding on gravel - the more signal, the more it crunches underneath. A grounded, gritty texture rather than a hiss. Density sets the crunch amount, Mix the blend.

Groan: the input level wakes a deep, slowly wavering sub-tone that moans underneath the signal - a wobbling low resonance whose pitch drifts on a slow random LFO, adding a creaking, living, beast-like undertone to drones and pads. Tune sets the groan pitch, Mix the blend.

Integrate-and-dump: the input is accumulated into a bucket and, the moment the bucket overflows past Threshold, it DUMPS its whole contents as one spike and resets to zero. Loud or sustained input fills it fast (rapid spikes), quiet input fills it slowly (sparse spikes) - a charge-pump rhythm generator whose pulse rate tracks the signal energy. Rate sets the fill speed, Threshold the dump level, Mix the blend.

Ionize: transients ignite bursts of high, crackling electric sparks - bandpassed noise gated into random arcs, like a plasma discharge or a Tesla coil snapping. Distinct from a tonal sparkle: this is pure electric noise. Amount sets the arc level, Mix the blend.

Clock jitter: the sampling instant is dithered by a tiny random delay each sample, so the signal acquires the smeared, noisy edge of a jittery sample clock - subtle phase-noise grime that frosts transients and high frequencies. Amount sets the jitter, Mix the blend.

Magnetostrictive ring: a magnetic core changes shape with the SQUARE of the drive (magnetostriction), exciting a high metallic resonance an octave up - so the signal grows a singing, ferromagnetic ring that tracks its envelope, the hum you hear from transformers and tape heads. Freq sets the ring pitch, Amount the ring level, Mix the blend.

Megaphone / bullhorn: forces in0 through a harsh, peaky midrange band and clips it, the distorted, honking voice-of-authority sound. Honk sets the resonant peak, Drive the clipping, Mix the blend. in0 = Audio.

Metal fatigue: the input's energy accumulates as 'stress' in a metal part; when the stress crosses a building threshold the metal CRACKS - a bright inharmonic ping - and partially relieves, so sustained loud input produces irregular, escalating metallic snaps and creaks, like a stressed sheet or cooling engine. Buildup sets how fast stress accrues, Threshold the crack point, Mix the blend.

Tube-style overdrive: a smooth tanh soft-clip with a midrange-focused drive, warming and compressing the signal the way a pushed valve preamp does - the Tube Screamer voicing. Drive sets the gain into the clip, Tone the post brightness, Level the output. in0 = Audio.

Multi-stage phaser: a cascade of all-pass sections swept by a built-in LFO, with feedback for deeper notches - from a subtle shimmer to a vocal, resonant sweep. Rate sets the LFO, Stages the notch count, Feedback the resonance, Mix the depth. in0 = Audio.

Plosive pop: each transient triggers a short low-frequency thump under the signal - the 'p'/'b' plosive blast or a mic-pop, a dull pressure pulse that fattens hits with sub-bass weight. Tune sets the pop pitch, Amount the thump level, Mix the blend.

Tape print-through: on a wound reel the magnetic field of a loud passage slowly imprints a faint GHOST of itself onto the tape layers pressed against it - so on playback a dull copy appears both one layer BEFORE the sound (the eerie pre-echo that creeps in just ahead of a loud transient on old tapes) and one layer AFTER it (the post-echo). A plain delay cannot make a pre-echo; this does, at the cost of one print-spacing of latency. Spacing sets the reel-layer time between the ghosts and the original, Amount the print strength, Tone how dull the ghosts are, Mix the print intensity. A vintage-tape character and a uniquely 'impossible' pre-echo effect.

RAT-style distortion: a hard op-amp clip into a sweepable lowpass 'filter' control, giving the aggressive, fuzzy-yet-focused ProCo RAT grind. Drive sets the gain into the clip, Filter rolls off the top (counter-clockwise = darker), Level the output. in0 = Audio.

Rattle: while the signal is loud enough a loose part buzzes against it - fast random noise bursts gated by the input envelope, like a snare wire, a blown speaker or a rattling panel that only sounds when driven hard. Goes quiet the instant the signal drops. Thresh sets the drive needed, Amount the rattle level, Mix the blend.

Power-supply hum injector: adds mains-frequency hum (and its octave, the way a full-wave rectifier ripples at 2x mains) whose level GROWS with the signal - modelling a sagging power supply that hums harder when the amp is pushed. Distinct from a static hum: it ducks away in silence and blooms on transients. Freq sets the mains frequency, Amount the worst-case hum, Mix the blend.

Robot voice: ring-modulates the input against a fixed carrier and imposes a vowel formant, turning speech or any signal into the classic talking-robot timbre. Pitch sets the carrier, Vowel the formant, Mix the wet. in0 = Audio.

Rotary speaker (Leslie): a spinning-horn cabinet that adds pitch-doppler vibrato and amplitude tremolo, sweeping between slow (chorale) and fast (tremolo) - the swirling organ and guitar cabinet. Speed morphs slow to fast, Depth the swirl, Mix the wet. in0 = Audio.

Rust: a corrosion that ACCUMULATES the longer the signal is present - a crackle/grit bed that grows as the contact oxidizes, then slowly cleans up in silence. Unlike a static crackle, it gets worse over a held passage. Speed sets the rusting rate, Mix the blend.

Scrape flutter: the fast, nervous high-frequency wobble of tape scraping past a fixed guide or head - a rapid (tens of Hz) random micro-pitch and amplitude jitter plus a faint signal-gated scrape hiss, the gritty motion noise distinct from the slow musical wow. Rate sets the flutter speed, Depth the jitter intensity, Mix the blend.

Shatter: the signal is smashed into tiny grains that play back from random points in a short buffer at random gains (some silent), so the sound fractures into a jagged spray of shards - a stochastic granular shatter, not a tidy looped stutter. Size sets the shard length, Chaos how often and how violently it re-shards, Mix the blend.

Sigh: when a note releases (the level falls away) it triggers a downward filter sweep, so phrase endings trail off into a soft darkening sigh. A release-keyed motion you can't get from a static EQ. Fall sets how long the sigh takes, Mix the blend.

Sign flip: at a steady clock it randomly inverts the polarity of the whole signal for that window, scrambling the phase into a harsh, fizzing, broken texture - a pure waveform-polarity destroyer with no level change, just sign chaos. Rate sets the flip clock, Mix the blend.

Sparkle: every transient triggers a brief random high bell 'ting', so hits and picks throw off glittering, fairy-dust overtones at random pitches above the note - an onset-driven shimmer quite unlike a reverb or a fixed octaver. Amount sets the sparkle level, Decay the ting length, Mix the blend.

Sproing: each transient launches a cartoon spring 'boing' - a sine whose pitch DROPS rapidly after the hit (the opposite of WaterDrop) with a dispersive, comedic wobble. Turns drum hits and clicks into bouncy spring-toy sounds. Tune sets the start pitch, Drop how far it falls, Decay the bounce length, Mix the blend.

Sputter: the signal cuts in and out at irregular intervals with little bursts of crackle at each break - a failing cable, a dying tube, a loose connection. The randomness of the timing is the point: it never settles into a rhythm. Rate sets the average break rate, Mix the blend.

Stammer: an onset captures a tiny grain and replays it a handful of times with falling level before the sound continues - a quick involuntary repeat that trips over itself, the verbal stammer made audible. Rate sets the repeat speed, Decay how fast the stammer dies, Mix the blend.

Steam hiss: a high, airy band of noise that swells and breathes like escaping steam or a hi-hat wash, with the input level pushing the pressure up. Tone sets how bright/sharp the jet is, Amount the pressure, Mix the blend.

Sub-octave generator: tracks the in0 signal and synthesises a clean sine/square one octave below, fattening basslines and kicks with weight a normal octaver can't. Tone shapes the sub from pure sine to growl, Mix blends it under the dry signal.

Tape noise floor: adds a band-limited hiss that behaves like real tape - it is loudest in the SILENCES and ducks down under the signal (self-masking), instead of the constant flat hiss of just summing in noise. Tone shapes the hiss colour, Amount the floor level, Mix the blend. Pairs with the tape/print-through blocks for an authentic worn-tape bed.

Tinnitus: a thin high sine that you only hear in the GAPS - it ducks away while the signal plays and rings out in the silences, building up after loud passages and slowly fading, exactly like the ear-ringing after a loud show. An eerie, fatiguing ambience or a sound-design unease tool. Freq sets the ring pitch, Amount the loudest ring, Mix the blend.

Passive guitar-amp tone stack: the interacting Bass / Mid / Treble shelving network of a Fender/Marshall preamp, with the characteristic mid scoop when the controls interact. Bass boosts the lows, Treble the highs, Mid cuts or boosts the middle. in0 = Audio.

Tumble: a feedback echo whose delay time slowly GROWS after each onset, so the repeats droop downward in pitch and spread apart - the sound of something tumbling away down a flight of stairs. Time sets the starting gap, Feedback the tumble length, Mix the blend.

Twang: each transient excites a tuned resonator whose pitch droops as it decays, so picks and hits bloom into a springy, boinging twang - the wobble-board / saw-blade / loose-spring voice. Tune sets the resonant pitch, Decay the twang length, Mix the blend.

Vaporize: the attack passes clean but the sustain dissolves into a cloud of filtered noise driven by the signal's own envelope, so notes evaporate from solid tone into airy vapor as they hold. Amount sets how much vaporizes, Mix the blend.

Vinyl record emulation: passes in0 through a wow/flutter pitch wobble (a slowly-modulated delay), a band-limiting filter and added surface crackle - the warm, worn character of a played record. Wow sets the pitch wobble, Crackle the surface noise, Mix the blend.

Cross-modulator (meta): blends two inputs through one of four cross-modulation algorithms - crossfade, amplitude mod, ring mod, or sine wavefold of in0 by in1 - with Amount morphing from the clean carrier into the modulated signal. One knob from subtle movement to clangorous metallic timbres.

Water drop: each transient in the input strikes a resonator whose pitch RISES as it rings out - the unmistakable 'bloop' of a drip into water (the cavity shrinks as the bubble collapses, so the frequency sweeps UP). A percussion-to-droplet converter. Tune sets the base pitch, Rise how far the pitch sweeps up, Decay the ring, Mix the blend.

Wax cylinder: the 1900s phonograph sound - a steep midrange band (everything below ~250 Hz and above ~3 kHz gone), heavy slow wow from the hand-cranked mandrel, constant surface crackle, and soft horn-driven saturation. The most extreme lo-fi in the box, older than tape. Age scales the bandlimiting + saturation, Wow the pitch drift, Surface the crackle, Mix the blend.

Attack-Decay envelope: a rising edge on the in0 gate fires a one-shot ramp up over Attack then back down over Decay, ignoring how long the gate is held - the classic percussive/pluck envelope. Patch its CV output into a VCA, filter cutoff or any param.

Full ADSR envelope: a held in0 gate ramps up over Attack, falls to the Sustain level over Decay and holds there; releasing the gate fades to zero over Release - the standard four-stage envelope for any voice or modulation.

Attack-Release (ASR) envelope: while the in0 gate is high the output ramps up to full over Attack and holds; when the gate falls it ramps back to zero over Release - a smooth sustaining envelope for pads and swells.

Delayed ADSR: like ADSR but with a Delay stage before the attack - the gate opens, nothing happens for Delay, then the four-stage envelope runs. Useful for staggered swells and per-voice timing offsets.

ADSR envelope: a gate drives the classic attack/decay/sustain/release contour, applied as a VCA to the audio input - the fundamental synth envelope as a self-contained block.

Peak-hold envelope with linear decay: latches the loudest recent peak, holds it for a set time, then ramps down at a constant slope (not exponentially) - a control source with a straight-line fall a plain release follower cannot make.

TB-303-style acid filter: a smooth, squelchy 18 dB resonant lowpass that screams and 'wows' as Reso climbs - the liquid, rubbery acid-bassline character. Drive overdrives the input for grit, Reso self-oscillates near max. in1 modulates cutoff for that classic envelope-swept squelch.

Adaptive notch: a constrained second-order IIR notch whose centre frequency is steered by normalized-gradient descent on the output power, so it hunts down and removes a single steady whistle, hum or feedback tone wherever it sits - no reference input or manual tuning. Distinct from the reference-based LMS/NLMS cancellers (which need a copy of the noise) and from a fixed notch (which can't track). InitFreq seeds the search, Width the notch sharpness, Adapt the tracking speed.

Air absorption: models how the atmosphere swallows high frequencies over DISTANCE - a gentle, physically-shaped low-pass that gets progressively darker the farther away the source is, the cue your ear uses to hear depth. Stack it for distance/perspective without reverb. Distance sets how far, Mix the blend.

Cascaded allpass: passes all frequencies at unity gain but shifts their phase, building the swirling notches of a phaser when mixed with the dry signal or smearing transients on its own. Freq sets the centre, Stages the number of allpass sections (steeper phase), Mix the dry/wet for phasing.

Alpha-trimmed-mean filter: sorts a 7-sample window, discards the Trim lowest and Trim highest values, and averages what remains - Trim=0 is a plain moving average, Trim=3 is the median, and values in between blend Gaussian-noise rejection with impulse rejection. A tunable bridge between linear smoothing and rank filtering.

Envelope-following resonant band-pass (auto-wah): the input level sweeps a band-pass from Base upward by Range, with Sens setting how strongly playing dynamics open it and Attack the follow speed. Reso sets the peak sharpness and Mix the blend. Funky on guitar, clav and bass; raise Reso for a vocal quack.

A-weighting filter: the standardized IEC 61672 / ANSI S1.4 frequency response that approximates the ear's sensitivity at moderate levels - a steep low-cut, a gentle presence rise around 2-4 kHz and a high roll-off - built as the exact 6th-order analog prototype (poles at 20.6, 107.7, 737.9, 12194 Hz) bilinear-transformed and normalized to 0 dB at 1 kHz. Thins a signal to its 'perceptually loud' band; the classic SPL-meter weighting as an audio filter.

Bar resonator (a first as a synth block): rings the input through the modes of a free-free metal or wooden BAR - the widely-stretched overtones (1, 2.76, 5.40, 8.93...) of a marimba, glockenspiel or music-box tine. Because the partials leap apart so fast it imposes a clear, bright, struck-mallet pitch on whatever passes through, turning drums or noise into tuned-percussion tones. Freq sets the bar's pitch, Sharpness the ring time, Mix the wet/dry blend.

Bell resonator (a first as a synth block): rings the input through the partials of a cast BELL - the hum, prime, tierce, quint and nominal tones (0.5, 1, 1.2, 1.5, 2, 2.5, 3) whose deliberately-tuned MINOR THIRD gives a bell its dark, mournful clang. Feeding a source through it casts that bronze, struck-bell colour over it. Freq sets the strike tone, Sharpness the ring time, Mix the wet/dry blend. A tuned-bell spectrum distinct from the bar and plate resonators.

Bessel lowpass: a 2nd-order IIR filter tuned to the Bessel family Q of 1/sqrt(3), which gives maximally flat group delay - so transients pass through with the least possible phase smearing, at the cost of a gentler magnitude rolloff than Butterworth. The filter family of choice when waveform shape matters more than steep cutoff.

Bilateral smoother: averages a 7-sample window but weights each neighbour by how close its amplitude is to the centre sample (a Gaussian range kernel of width Range), so smooth regions are denoised while sharp transients - whose neighbours differ a lot - are left intact. A transient-preserving lowpass, unlike a plain moving average. Adds 3 samples latency.

RBJ biquad: the textbook second-order filter with a type selector (low-pass, high-pass, band-pass, notch) and a resonance/Q control - the general-purpose EQ/filter primitive computed from the standard cookbook coefficients.

Acoustic body resonator: three high-Q bandpass modes scaled by a Size knob stamp the boxy, woody resonant signature of an instrument body onto any input, like playing it through a guitar/violin shell.

Buchla 292-style vactrol lowpass gate: a combined lowpass filter + VCA where a control voltage on in1 opens both together through a slow, organic vactrol response - the soft, bongo-like 'bonk' and gentle plucks of West Coast synthesis. Response sets the vactrol attack/decay sluggishness.