# Welcome Next-generation toolkit for musicians, producers, and sound designers.
#### Product Manuals Thank you so much for purchasing a Minimal Audio product! This knowledge base contains manuals for our software products. {% content-ref url="/spaces/vbat4pds7C4cELReQ739" %} [Current Manual ](https://manual.minimal.audio/current-manual/) {% endcontent-ref %} {% content-ref url="/spaces/NY736sQVRHb3rZsTVULZ" %} [Evoke Manual](https://manual.minimal.audio/evoke-manual/) {% endcontent-ref %} {% content-ref url="/spaces/sQJCi65i6KtFRW3aRwIM" %} [Rift Manual](https://manual.minimal.audio/rift-manual/) {% endcontent-ref %} {% content-ref url="/spaces/XmADw5xWIo1liXnM0AYL" %} [Core Effects Manual](https://manual.minimal.audio/core-effects-manual/) {% endcontent-ref %} {% content-ref url="/spaces/U5nwrDkQL67Wjqh7Vdr6" %} [EPROM Memory Rites Manual](https://manual.minimal.audio/eprom-memory-rites-manual/) {% endcontent-ref %} #### Additional Resources [Support](https://support.minimal.audio/en/help) [Feature Requests](https://feedback.minimal.audio/) # Current Manual A powerful synthesizer and sound platform built for endless hours of inspiration.
## Welcome to Current! Thank you for purchasing **Current** by Minimal Audio. This manual covers the key features of Current: a next-generation synth, sampler, and FX engine designed to unlock your creativity. Whether you're building cinematic textures, futuristic leads, or evolving soundscapes, Current gives you the tools to do it all. We’ll continue improving Current with regular updates, new features, and expanded content in **Stream**, our cloud-based library of presets, samples, and wavetables. #### Export Manual You can always export the latest version of this manual by clicking **“Export as PDF”** in the upper-right corner of this page. To download the **full manual**, make sure to choose **“Select all pages”** in the export options. \*Please note that exporting is only available on desktop and is not supported on mobile devices. # What is Current? *** ### A Powerful Synthesizer Current is a virtual instrument plug-in compatible with all major DAW applications such as Ableton Live, FL Studio, Logic Pro, and Pro Tools. It includes multiple types of synthesis and sampling methods, a flexible effects rack, MIDI effects, full modulation capabilities, and an integrated sound platform called the Stream. *** ### Built for everyone We believe that creators of all experience levels deserve a powerful tool that meets their unique needs. Current is designed to inspire endless hours of music-making, whether you prefer to explore presets or dive deep into crafting your own custom patches. *** ### Always something new Thanks to our cloud-connected [Stream](/current-manual/overview-and-navigation/stream-view), Current can continuously access new presets and sounds without you ever having to leave your project. Regular updates include new features, effects, optimizations, and other enhancements. # How to Install Current *** ### Download the installer To access the most up-to-date installers, please log in to your user account and open the [My products](https://www.minimal.audio/account/products/software) page. From there, locate Current and download the relevant installer for your operating system. Note that when connected to the internet, Current will notify you if a new update is available and you can choose to download it directly from the plug-in. *** ### Quit your DAW Before installing, make sure to save and quit any projects that are currently open. This is required for the update to work properly. *** ### Install Current Open the installer, which will be named either Current.pkg (macOS) or Current.exe (Windows). The installer will guide you through the necessary steps for installation. You can choose to install VST2, VST3, AU (macOS), and AAX (Pro Tools) plug-in formats. *** ### Open your DAW Once the installation is complete, open your DAW and locate Current in your audio plug-ins folder. Note that sometimes restarting your computer is required before the plug-in will show up. If the issue persists, look into options for rescanning plug-ins in your DAW, or contact our support team for further assistance. Each DAW is different. For more information on loading plug-ins, reference your DAW’s manual. # System Requirements *** ### Operating Systems Our plug-ins fully support: * macOS 10.11 and higher (including native Apple silicon) * Windows 10 and higher *** ### Plug-in Formats Current is an instrument plug-in that supports the following formats: * VST2 * VST3 * AU (macOS) * AAX (Pro Tools) To use Current you must have a 64-bit digital audio workstation (DAW) that supports third-party plug-ins in at least one of these formats. *** ### Internet Connection An internet connection is required for activation, but not for general use. Current’s Stream view offers a cloud-connected sound platform where you can download new presets and sounds directly from the plug-in. While an internet connection is required to browse new content, the Stream also functions offline, allowing you to search and use everything you've already downloaded without needing to be online. # Overview and Navigation *** ### Overview Current features four primary views: Play, Engine, Effects, and Stream. You can access each view by clicking the corresponding button in the left navigation bar. Each view contains nested panels that offer functionality tailored to that view's specific goal. This layout helps you stay focused in one area of the instrument while navigating between sections. Note that you can set the Default View in the [Additional Settings](/current-manual/additional-settings) so that your preferred view is always open when creating a new instance.
*** Learn more about each view here: 1. [Play](/current-manual/overview-and-navigation/play-view) 2. [Engine](/current-manual/overview-and-navigation/engine-view) 3. [Effects](/current-manual/overview-and-navigation/effects-view) 4. [Stream](/current-manual/overview-and-navigation/stream-view) # Top Bar *** The top bar offers quick access to essential controls and settings, including account information, notifications, global settings, and options for loading and saving presets.
*** ### 1. Tooltips Click here to enable in-app tooltips. Once activated, hover over any control to learn more about its functionality. ### 2. Account Info Click here to view your Minimal Audio account and license information. You can also log out of the plugin from this panel, freeing up one of your seats for use on another computer. ### 3. Notifications Click here to view any active messages or alerts, such as available updates or missing preset warnings. A red dot will appear over the bell icon when there are active notifications to check. ### 4. Preset Browser Click on the currently loaded preset's name to open the preset popup and browse all downloaded presets. ### 5. Save Preset Open the save preset popup, where you can save your current preset to a user pack of your choice. ### 6. Additional Settings Open the global settings dropdown. This provides options such as adjusting the windows size, initializing the current preset, and much more. Please see the [Additional Settings](/current-manual/additional-settings) page for more info. ### 7. Cloud Status This icon indicates whether you are in Cloud or Local mode, and it also shows if any downloads are currently in progress. # Play View *** ### Overview The Play View, introduced in Current 2.0, provides a fresh and expressive approach to sound design. This view includes an interactive XY pad connected to four macro controls, providing new ways to interact with presets. You can also see an overview of the current preset and sound engines, with options to bypass, solo, or quickly access each sound source for detailed editing. Whether you're using presets from the Stream or creating your own from scratch, the Play View is designed to help you stay in the flow.
*** ### 1. Macro XY pad The XY pad displays the current preset pack art and includes two draggable handles, each linked to two macros that control key parameters within the preset. When hovering over an XY pad handle, the corresponding macros are highlighted, and vice versa. A circular icon next to each macro name indicates whether it will be adjusted by horizontal or vertical movements on the XY pad. You can also rename each macro by clicking on its text label. Note that the circular pack art can be customized for user packs. See [Creating Preset Packs](/current-manual/presets-and-sounds/creating-preset-packs) for more info. *** ### 2. Preset info The preset info area displays the name of the currently loaded preset along with its associated pack. Here, you can favorite the current preset or load the previous, next, or a random preset. Note that preset loading matches the preset popup in the [Top Bar](/current-manual/overview-and-navigation/top-bar), including the selected pack and search filters. *** ### 3. Engine Overview The engine area offers an overview of each engine module. Clicking on a module's name takes you directly to it in the Engine View for further editing. You can also bypass and solo each sound source directly from the Play view. *** ### 4. Keyboard & Scales The bottom section of the Play View includes a keyboard along with controls for setting Current's scale and root note. Many presets utilize Current's arpeggiator and chord generator, which require a specific key and scale, so it's recommended to set these to match your project. You can also lock the currently selected scale to ensure it remains consistent across presets. For more info, please see the full [Keyboard & Midi Effects](/current-manual/keyboard-and-midi-effects) article. # Engine View *** ### Overview The Engine View is where you'll find all of Current's core oscillators, filters and more. It includes five sound engines, two filters, dedicated FM and mixer panels, a modulation control bar, and a keyboard section with two MIDI effects.
*** ### 1. Sound Sources Current features two wavetable oscillators, a granular engine, an additive sub oscillator, and a time-stretching sampler engine. These sound sources can be navigated by clicking on their respective tabs. Each sound source tab includes one or two buttons with icons corresponding to tab's sound sources. Clicking this icon toggles the sound source on or off. Command-click (macOS) or Ctrl-click (Windows) on the tab icon to solo a sound source. Right-click the icon to access solo and direct out options. Learn more about each sound source here: 1. [Wavetable Oscillators](/current-manual/sound-engine/wavetable-oscillators) 2. [Granular Engine](/current-manual/sound-engine/granular-engine) 3. [Sub Oscillator](/current-manual/sound-engine/sub-oscillator) 4. [Sampler Engine](/current-manual/sound-engine/sampler-engine) *** ### 2. Filter, FM & Mixer Current features two multi-mode filters, a flexible FM system, and an engine mixer panel. Click on a panel tab to open it for detailed editing. Learn more about each panel here: 1. [Filters](https://manual.minimal.audio/current-manual/) 2. [FM Panel](/current-manual/sound-engine/fm-panel) 3. [Mixer Panel](/current-manual/sound-engine/mixer-panel) *** ### 3. Modulation Control Bar The modulation control bar, located at the center of the Engine View, lets you easily assign modulation via drag and drop, access the mod matrix for detailed editing, swap modulator types, and open individual modulator panels . Learn more about the modulation system here: 1. [Modulation System](/current-manual/modulation) 2. [Mod Matrix](/current-manual/modulation/mod-matrix) *** ### 4. Keyboard Area Current’s keyboard area features an arpeggiator and chord generator for quickly creating melodies and chord progressions. On the right side of the keyboard, you'll find the key and scale selectors. Aligning these with your track ensures that the arp and chord modules will always play in key. Learn more about the keyboard area here: 1. [Keyboard & Midi Effects](/current-manual/keyboard-and-midi-effects) 2. [Arpeggiator](/current-manual/keyboard-and-midi-effects/arpeggiator) 3. [Chord Generator](/current-manual/keyboard-and-midi-effects/chord-generator) # Effects View *** ## Overview The Effects View contains Current’s effect rack with nine freely loadable effect slots. You can also edit and assign modulation from the modulation control bar and adjust settings in the keyboard area.
*** ### 1. Effect Rack Current’s effect rack includes effects such Cluster Delay, Morph EQ, and more. The rack allows you to load up to nine effects of any type and reorder them to craft your perfect effect chain. You can also save these chains as rack presets for easy reuse across different patches. Learn more about the effect rack here: [Effect Rack](/current-manual/effects-rack) *** ### 2. Effect Selector In Current's effect view, click on any effect slot to open the effect selector. Hover over an effect to load it into the selected slot. *** ### 3. Modulation Control Bar The modulation control bar, located at the center of the Effects View, lets you easily assign modulation via drag and drop, access the mod matrix for detailed editing, swap modulator types, and open individual modulator panels . Learn more about the modulation system here: 1. [Modulation System](/current-manual/modulation/modulation-system) 2. [Mod Matrix](/current-manual/modulation/mod-matrix) *** ### 4. Keyboard Area Current’s keyboard area features an arpeggiator and chord generator for quickly creating melodies and chord progressions. On the right side of the keyboard, you'll find the key and scale selectors. Aligning these with your track ensures that the arp and chord modules will always play in key. Learn more about the keyboard area here: 1. [Keyboard & Midi Effects](/current-manual/keyboard-and-midi-effects) 2. [Arpeggiator](/current-manual/keyboard-and-midi-effects/arpeggiator) 3. [Chord Generator](/current-manual/keyboard-and-midi-effects/chord-generator) # Stream View *** ### Overview The Stream is Current’s cloud-connected preset and sound browser. It provides access to new presets, samples, and wavetables that are organized into themed packs. As packs are added, it will appear here, providing a continuous stream of inspiring material for you to draw from. Finding what you're looking for is made easy with text search and a comprehensive tagging system. You can preview, favorite, and load everything directly into the instrument. This allows you to build your library and stay in the flow.
*** ### 1. Stream Tabs View presets, samples, or wavetables, by selecting the relevant tab at the top of the Stream View. *** ### 2. Sort Options The current search results can be sorted in the following ways: * **Shuffle.** Display search results in random order. * **Sort A-Z.** Sort search results alphabetically. * **Newest.** Sort search results by newest, ensuring that new packs and sounds appear at the top. *** ### 3. Local & Cloud Mode These buttons allow you to toggle between Local and Cloud modes in the Stream. In Local mode, the Stream behaves as if there is no internet connection, so you can only browse packs and sounds that are already downloaded. Cloud mode gives you access to everything available in the Stream, whether you've downloaded it or not. *** ### 4. Search Controls On the left side of the Stream View, you'll find all the search controls. Here, you can switch between expansion pack and individual sound searches, search by text, apply high-level filters like "Favorited" and "Owned," and use tag-based filtering to find exactly what you're looking for. *** ### 5. Browser Area Here, you’ll see the current pack or sound search results. **Packs.** Each expansion pack includes a description, ownership and favorited status, and a button to download or purchase the pack through our website. Click on a pack to explore its contents and discover the exact sound you're looking for. **Presets & Sounds.** Each preset or sound includes an audio preview along with essential information such as the pack name and preset type. You can favorite and download the individual sound or load it immediately using the button on the left. # Sound Engine *** ### Overview Current's powerful sound engine includes two wavetable oscillators, a granular sampler, an additive sub oscillator, and a time-stretching sampler. These modules can be combined in different ways to create complex, hybrid sounds. Two morphing filters and dedicated FM and mixer panels provide additional sound shaping and routing options. This semi-modular approach makes sound design both accessible and deeply customizable. ### Key Features [Wavetable Oscillators](/current-manual/sound-engine/wavetable-oscillators) Current includes two high-fidelity wavetable oscillators powered by spectral processing, delivering alias-free waveform reproduction. Use the Position knob to explore dynamic timbral shifts across waveforms, enabling richly expressive patches. [Wavetable Wave & Warp Effects](/current-manual/sound-engine/wavetable-wave-and-warp-effects) Explore a diverse library of wavetables from raw analog classics to bowed strings and aggressive bass growls. Customize each wavetable with wave and warp effect slots, including formant shifting, wave shaping, and filtering. You can also drag and drop your own audio files to create custom wavetables. [Additive Sub Oscillator](/current-manual/sound-engine/sub-oscillator) Sculpt precise, powerful low-end with an additive synthesis engine that uses sine wave partials. Fine-tune harmonic content, apply wave-shaping and pitch envelopes, and inject movement into your bass with spectrum effects. [Sampler Engine](/current-manual/sound-engine/sampler-engine) Load loops, one-shots, or noise from the Stream or your personal collection. Advanced time-stretching keeps everything in sync with your project tempo, making the sampler a versatile layer or centerpiece in any patch. [Dual Multi-Mode Filters](/current-manual/sound-engine/filters) Route filters in series or parallel with morphing, comb, and vowel modes. Perfect key tracking ensures tuned resonance for musical and resonator-style effects. [FM& AM Modulation](/current-manual/sound-engine/fm-panel) Unlock deep modulation possibilities with a flexible FM/AM system. Any module can modulate another or even itself enabling harmonic enrichment, instability, and experimental textures. A built-in noise source adds an extra edge. [Mixer Panel](/current-manual/sound-engine/mixer-panel) The mixer panel gives you a clear view of your signal flow. Control levels, solo sources, send direct outputs, and shape your overall patch with intuitive gain controls. # Wavetable Oscillators *** ### Overview Current includes two wavetable oscillators that utilize spectral processing to perfectly reproduce a series of waveforms with virtually no aliasing or other artifacts. You can navigate through these waveforms using the Position knob to create timbral movement and build expressive patches. The Stream provides a wide variety of wavetables ranging from raw analog tones to expressive bowed strings, powerful bass growls, and much more. Once a wavetable is loaded, it can be further manipulated using the wave and warp effect slots, which include formant shifting, wave shaping, filtering, and other creative possibilities. You can also import and create your own wavetables by dragging an audio file onto the waveform display.
*** ### 1. Wavetable Controls **Position.** Set the position of the currently loaded wavetable. Each wavetable consists of multiple frames that can be played back in any sequence you like when combined with modulation. **Wave Effect Type.** Choose from a variety of different waveform manipulation effects. The **Wave** effects range from hard sync and other classic wave-shaping techniques to detuned flanging and bit reduction. **Wave Effect Amount.** Adjust the amount of waveform manipulation. This is a great way to customize the current wavetable or add additional movement to a patch. **Warp Effect Type.** Choose from a variety of different spectral warping effects. The **Warp** effects use frequency-domain and additive processes to apply filtering, formant shifting, harmonic shifting, and other unique effects. **Warp Effect Amount.** Adjust the amount of spectral warping. This is a great way to customize the current wavetable or add additional movement to a patch. Learn what each wavetable effect does here: [Wavetable Wave & Warp Effects](/current-manual/sound-engine/wavetable-wave-and-warp-effects). *** ### 2. Unison **Unison Voices.** Set the number of unison voices. Adding more voices will create a denser sound, but it will also require somewhat more CPU. **Unison Detune.** Adjust the amount of detuning between the unison voices. **Unison Width.** Adjust the stereo width of the unison effect. This combines panning and phase manipulation to create a wide stereo image. Note that this will manipulate the stereo image even without detuning or phase randomization. *** ### 3. Display Controls **Octave.** Transpose the tuning of the wavetable oscillator by one or more octaves. **Tunning Mode.** This section explains how to set the tuning of the wavetable oscillator. * **Key.** This option provides standard key tracking behavior with variable semitone offset. * **Fixed.** This option forces the wavetable oscillator to be tuned to a specific note, regardless of the notes played on the keyboard. * **Ratio.** This option allows you to shift the tuning up or down by multiplying or dividing it by a whole number ratio. It is particularly useful for FM synthesis and creating layers based on the harmonic series. * **Scale.** Lock the tuning to the root note of the currently selected scale. Notes on the keyboard will be ignored, and the tuning will be transposed when the scale changes. **Semitone (Key Tunning).** Transpose the tuning of the wavetable oscillator in semitones. **Fixed Note (Fixed Tunning).** Set the fixed note for the wavetable oscillator, which will remain constant regardless of the notes played on the keyboard. **Tunning Ratio (Ratio Tunning).** Set the tuning of the wavetable oscillator by multiplying or dividing its current frequency with a whole number ratio. **Scale Tunning Interval (Scale Tunning).** Set the fixed tuning interval relative to the currently selected scale to the right of the keyboard. **Blend.** When activated, the oscillator will smoothly interpolate between adjacent frames to create a smoother sound. When inactive, it is much easier to set the wavetable position to a specific frame. **Oscillator Phase.** Set the start phase of the oscillator in degrees. **Random Phase** Adjust how much randomization will be applied to the oscillator's phase when a new voice starts. If you want the oscillator phase to always start at the same point, then set this to 0%. Phase randomization is especially useful when using unison because it will help decorrelate the unison voices and create a diffused sound. **Waveform Fade.** Adjust the amount of fade windowing at the beginning and end of the current wavetable frame. Note that this windowing occurs after the **Wave** effect and before the **Warp** effect. **Fundamental.** Toggle the first harmonic of the waveform on or off. This can be useful when combining the wavetable oscillator with a sub-oscillator. *** ### 4. Generic Controls **Pitch.** Adjust the pitch of the wavetable oscillator in semitones. **Fine.** Adjust the pitch of the wavetable oscillator in cents. **Pan.** Adjust the panning of the wavetable oscillator. **Level.** Adjust the gain of the wavetable oscillator. *** ### 5. Wavetable Import It is possible to create your own wavetables using Current’s wave-slicing algorithm. To access the import options, simply drag and drop an audio file onto the wavetable display. This will bring up the different import options. **Existing Wavetable.** Import an existing wavetable file without applying any processing. Use this option if you have wavetables from other synthesizers or third-party packs that you would like to use. **Instrument.** This option is most effective for organic sounds. It aims to preserve the original waveform with minimal distortion. **Synth.** This option is most effective for synthesized sounds. It normalizes each frame to ensure a consistent volume level in the waveform. **With Pitch.** This uses the **Instrument** import algorithm but provides a text editor where you can enter the pitch of the source material. If you know the original pitch of the sound, this is often the best option. # Wavetable Wave & Warp Effects *** ### Overview Current’s wavetable oscillators feature two effect slots that can further manipulate the waveform in various ways. The 40+ effects include spectral processing, formant shifting, harmonic effects, waveshaping, and more. All processing is done in the frequency domain, ensuring an exceptionally clear sound with virtually zero aliasing.
*** ### 1. Wave Effects Choose from a variety of different waveform manipulation effects. The **Wave** effects range from hard sync and other classic wave-shaping techniques to detuned flanging and bit reduction. **Pitch:** Effects that shift the harmonic spectrum up and down to create oscillator sync and harmonic series effects. * **Scan.** A unique approach to hard sync, using overlapping grains to achieve smooth oscillator sync with formant-shifting characteristics. * **Series.** Shifts up and down the harmonic series. Downward shifts stay locked to the waveform length, resulting in an intriguing formant-shifting effect. * **Sync.** Classic hard sync with depth control determining the sync rate. * **Press.** A variation on hard sync that separately syncs each half of the waveform, preserving more of its original tonal qualities. **Shape:** Phase modulation effects that can be used to create pulse width modulation and other wave-shaping effects. * **Skew.** Emulates the classic pulse width modulation found in vintage synthesizers. * **Bend.** Similar to pulse width modulation, but it forces the waveform towards the center or outer edges rather than shifting it left or right. * **Pinch.** Compresses or expands the waveform toward its center or outer edges, similar to Bend but with a fuller, more aggressive sound. * **Twist.** Generates an effect similar to FM feedback using the original waveform to modulate its own phase. **Time:** Delay-based effects that produce flanging, detuning, and similar effects: * **Reflect.** Uses four copies of the waveform delayed in different directions, creating a sound that blends hard sync with flanging. * **Flange.** Classic flanging effect where the wavetable is copied, delayed, and layered with the original waveform. * **Drift.** Combines flanging and phase rotation. Modulating this effect can produce detuned oscillator sounds. * **Dense.** Multiple copies of the wavetable are delayed and inverted, resulting in a complex effect similar to multiple parallel flangers and phase shifters. **Fold.** Zero aliasing wavefolder effects reminiscent of classic "West Coast" synths, along with unique algorithms: * **Asym.** Asymmetrical wavefolding generating both even and odd harmonics. * **Sine.** Sine wave-based wavefolding that produces a relatively clean odd harmonics. * **Hard.** Triangle wave-based wavefolding creating edgier odd harmonics. * **Wrap.** Intense hard wrap wavefolding that results in aggressive harmonics with noticeable discontinuities. **Reduce.** Zero aliasing bit crushing, sample reduction, and other decimating effects: * **Crush.** Classic bit crushing that allows you to either maximize or minimize the waveform’s individual bits. * **Bitwise.** Bitwise processing that generates complex waveforms. * **Redux.** Sample rate reduction synced to the current waveform length. * **Chop.** Zeros out a variable portion of the waveform, producing a sound similar to pulse width modulation but with a distinctly thin character. *** ### 2. Warp Effects Choose from a variety of spectral-based effects in the **Warp** section. These include spectral filtering, phase manipulation, formant shifting, harmonic effects, distortion, and more. **Filters.** Spectral filter effects based on standard filter types: * **Smooth.** Lowpass or highpass filter with a gentle slope. * **Steep.** Lowpass or highpass filter with an aggressive slope. * **BP.** Bandpass filter with adjustable bandwidth. * **Notch.** Single notch filter for precise frequency cutting. * **Comb.** Spectral version of classic comb filtering. * **Vowel.** Formant filter that simulates vocal sounds. **Spectral.** Advanced effects that harness the spectral engine for precise harmonic and phase manipulation. * **Parse.** Independently manipulates the gain even and odd harmonics to create a complex spectrum. * **Phaser.** Spectral phaser effect with exceptionally smooth notches and an even frequency response. * **Ripple.** Similar to Phaser, but preserves lower harmonics while rotating the phase of higher harmonics for a wet, dispersion-like sound. * **Data.** Creates extreme, evenly spaced notches for a clean, digital spectrum. * **Nerve.** Produces a complex phase and frequency responses with many notches and peaks. * **Shuffle.** Applies random gain and phase rotation to each harmonic, blurring the originally sound. * **Disperse.** Rotates each harmonic’s phase differently, resembling all-pass dispersion. Modulate for detuning effects. **Formant.** Effects that alter the waveform’s formants via spectral processing. Note: these effects have no impact on a saw wave due to its perfectly even spectral content. * **Shift.** Shifts formants up or down in frequency. Lower harmonics are preserved when shifting up. * **Spread.** Shifts even and odd harmonics in opposite directions, creating complex spectrums and vowel-like sounds. * **Contra.** Short for Contrast, this effect emphasizes or minimizes the difference between quiet and loud harmonics. **Harmonic.** Effects that manipulate individual harmonics in ways reminscent of additive synthesis. * **Stack.** Adds a harmonically shifted version of the spectrum to the original. Negative values replace the original spectrum with the shifted one, while positive values layer them together. * **Shift.** A unique frequency shifter that adjusts the spectrum without creating inharmonic content, unlike traditional frequency shifters. * **Stretch.** Positive values expand harmonics toward higher frequencies, while negative values compress them toward lower frequencies, which also results in a lowpass filter effect. **Distort.** Spectral distortion and compression effects with zero aliasing. * **Soft.** Positive values apply soft clipping, thickening the sound, while negative values fold the waveform, producing thinner harmonics. * **Hard.** Similar to Soft, but with hard clipping for a more aggressive tone. * **Tube.** Asymmetrical clipping that generates even harmonics, reminiscent of analog vacuum tubes. * **Maximize.** Positive values compress the waveform, and negative values expand it. # Granular Engine *** ### Overview Current’s granular engine allows for the complete transformation of samples into new textures, sequences, rhythms, and more. Granular processing breaks a sound into smaller pieces, known as grains, and enables you to rearrange and manipulate them in ways that would otherwise be impossible. Load any sample from the Stream directly into the granular sampler or process sounds from your own library. The grains in various ways, allowing you to create granular sequences, massive clouds, stutter effects, and more.
*** ### 1. Granular Controls **Position.** Set the primary playback position where grains will be generated. **Spray.** Adjust the amount of randomization that is applied to the playhead of each grain when it starts playing. **Speed .** Set the playback speed for the sample. A value of 100% will preserve the original timing. Higher values will play the sample faster, and lower values will play it slower, all the way down to 0%, where the playback will freeze. **Speed Sync.** When activated, **Speed** will be synced to an even ratio. Note that this will only synchronize the sample to the **DAW’s** timeline if the **BPM** of the sample matches that of your project. **Layer Span .** Adjust the spacing between the playheads of each individual grain layer. **Bipolar Span .** When activated, the SPAN playheads will be evenly spaced around the primary playhead, which is determined by its position. **Stereo Offset.** Adjust the offset between the left and right playheads. This can be used to create a variety of interesting stereo effects. **Offset Sync.** When activated, the **Offset** time will sync to the current **BPM.** **Rate.** Set the amount of time between when groups of grain layers are triggered. **Rate Mode** * **Free.** Set the rate in seconds. * **Sync.** Set the rate as a division of the current BPM. This is useful for synced looping and stutter-like effects. * **Key.** In this mode, the grain rate will track currently playing notes with a semitone offset determined by **Rate**. This can be used to preserve the tonality of the sample as you play different notes. **Grain Size.** Set the length of each grain window as a percentage of the current **Rate** setting. **Filter Mode.** Select a basic filter type that the sampler will be sent through. **Filter Cutoff.** Set the cutoff frequency for the filter. *** ### 2. Display Controls **Grain Layers.** Set the number of grains that will be generated within the amount of time determined by **Rate**. This can be used to create very dense textures, and grain "sequences" when combined with different layer patterns. Note that higher settings will require more CPU. **Layer Patter.** Choose how the grain layers will be played back within the amount of time determined by RATE. These modes will produce a variety of effects depending on the **Rate** and **Size** settings, ranging from random clouds to dense stabs and undulating waves of granular goodness. **Root Note.** Set the current sample's root note to ensure that it accurately tracks notes on the keyboard. This setting is automatically configured when loading samples downloaded from the **Stream**. **Octave.** Transpose the tuning of the wavetable oscillator by one or more octaves. **Tunning Mode** This section explains how to set the tuning of the wavetable oscillator. * **Key.**This option provides standard key tracking behavior with variable semitone offset. * **Fixed.** This option forces the wavetable oscillator to be tuned to a specific note, regardless of the notes played on the keyboard. * **Ratio.** This option allows you to shift the tuning up or down by multiplying or dividing it by a whole number ratio. It is particularly useful for FM synthesis and creating layers based on the harmonic series. * **Scale.** Lock the tuning to the root note of the currently selected scale. Notes on the keyboard will be ignored, and the tuning will be transposed when the scale changes. **Semitone (Key Tunning).** Transpose the tuning of the wavetable oscillator in semitones. **Fixed Note (Fixed Tunning).** Set the fixed note for the wavetable oscillator, which will remain constant regardless of the notes played on the keyboard. **Tunning Ratio (Ratio Tunning).** Set the tuning of the wavetable oscillator by multiplying or dividing its current frequency with a whole number ratio. **Scale Tunning Interval (Scale Tunning).** Set the fixed tuning interval relative to the currently selected scale to the right of the keyboard. **Punch.** When active, the first grain of each new note will have an immediate onset, bypassing the rising slope of the current grain's shape. This is useful for preserving transients and allows you to control the entire attack portion of your sound with an envelope, similar to what you would do with a standard sampler. **Playback Mode** Choose how the sample will play back when triggered: * **Free.** This mode allows you to scrub freely through the sample using the **Position** control, and the play heads will loop. * **One-Shot.** Play through the sample once and then stop. * **Loop** →. Play through the sample and loop. * **Loop** → ←. Play through the sample and loop back and forth. **Sample Reverse.** Reverse the current sample. **Grain Direction.** Choose the playback direction for each grain's playhead. **Sample Gain.** Apply additional gain to the sample. This can be useful for matching the sample's level to the rest of your patch without having to use the **Level** control. *** ### 3. Additional Controls **Grain Shape.** Adjust the shape of the grain window. **Grain Shape Skew.** Adjust how the grain shape is distributed between the start and end of the grain. **Pitch.** Adjust the pitch of the wavetable oscillator in semitones. **Fine.** Adjust the pitch of the wavetable oscillator in cents. **Pan.** Adjust the panning of the wavetable oscillator. **Level .** Adjust the gain of the wavetable oscillator. # Sub Oscillator *** ### Overview Current’s additive sub oscillator is built to produce precise and powerful low-end with minimal effort. Additive synthesis uses a bank of sine waves, known as partials, to simulate different waveforms. This is especially useful for a sub oscillator because it allows you to select the desired number of harmonics. It also enables harmonic mixing and other creative effects to create movement in the low-end. Features such as an integrated pitch envelope, additive wave-shaping, and spectrum effects make it a comprehensive tool for all bass-related needs.
*** ### 1. Sub Controls **Sub Waveform (Top Bar).** Choose the waveform type for the sub oscillator. The sub oscillator utilizes additive synthesis to provide a high degree of control over the low-end harmonics in your patch. **Partials.** Specify the number of partials (harmonics) that the sub oscillator can produce. A single partial means that the oscillator generates a simple sine wave. Adding more partials will introduce upper harmonics that depend on the current sub oscillator mode. **Monophonic Mode.** When activated, the sub oscillator will be forced into monophonic mode, even if the rest of the instrument is polyphonic. This can be useful for maintaining a clean, present low-end while still being able to play chords using the other engine modules. **Sub Lock.** When enabled, the sub oscillator will be forced to play within a one-octave range. This can be used in a variety of creative ways, particularly when combined with other engine modules. **Sub Lock Range.** Set the lowest note that can be played when sub lock is active. For example, if you set the range to start with C, all notes will be transposed to the same octave, and C will be the lowest available note. **Octave.** Transpose the tuning of the wavetable oscillator by one or more octaves. **Tunning Mode** This section explains how to set the tuning of the wavetable oscillator. * **Key:** This option provides standard key tracking behavior with variable semitone offset. * **Fixed:** This option forces the wavetable oscillator to be tuned to a specific note, regardless of the notes played on the keyboard. * **Ratio:** This option allows you to shift the tuning up or down by multiplying or dividing it by a whole number ratio. It is particularly useful for FM synthesis and creating layers based on the harmonic series. * **Scale:** Lock the tuning to the root note of the currently selected scale. Notes on the keyboard will be ignored, and the tuning will be transposed when the scale changes. **Semitone (Key Tunning).** Transpose the tuning of the wavetable oscillator in semitones. **Fixed Note (Fixed Tunning).** Set the fixed note for the wavetable oscillator, which will remain constant regardless of the notes played on the keyboard. **Tunning Ratio (Ratio Tunning).** Set the tuning of the wavetable oscillator by multiplying or dividing its current frequency with a whole number ratio. **Scale Tunning Interval (Scale Tunning).** Set the fixed tuning interval relative to the currently selected scale to the right of the keyboard. **Oscillator Phase.** Set the start phase of the oscillator in degrees. *** ### 2. Harmonic Detuning & Routing **Detune.** Adjust the amount of detuning in the upper harmonics. This detuning is applied to each harmonic differently, resulting in a rich yet stable sound that is perfect for sub-bass. **Detune Modulation.** Adjust the amount of modulation applied to detuning of upper harmonics. This uses internal LFOs that track the oscillator's frequency to create additional movement and flavors of detuning. **Direct Out.** When active, the sub oscillator will not pass through the filters or effects rack. This is useful for keeping the low end of your audio signal clean while still being able to process the rest of your patch. *** ### 3. Effects **Spectra Mode.** Choose from a variety of additive spectrum effects. **Spectra.** Adjust the currently selected spectrum effect. This control sets the balance between harmonics in various ways. Modulating it can be a great way to introduce movement to your low end. **Knock Amount.** Adjust the amount of pitch envelope applied to the sub oscillator. This can be used to quickly create kicks, 808s, stabs, or any bass sound that requires some punch! **Knock Decay.** Set the duration for the pitch envelope's decay. The knock envelope has been carefully tuned to maximize the sweet spots. **Drive Type.** Choose from a variety of distortion types that are carefully tuned for sub-bass. **Drive Amount.** Adjust the amount of gain applied to the sub before passing through the currently selected distortion type. This gain is applied differently to each partial in the sub-oscillator to better emphasize the low end. *** ### 4. Generic Controls **Pitch.** Adjust the pitch of the wavetable oscillator in semitones. **Fine.** Adjust the pitch of the wavetable oscillator in cents. **Width.** Adjust the stereo width of the upper harmonics. This works especially well with MOD active, but it can also be used to add some mono-compatible widening if there are enough partials. **Level.** Adjust the gain of the wavetable oscillator. # Sampler Engine *** ### Overview Current’s sampler can be used to play loops, one-shots, noise, and any samples from the Stream or your personal library. It includes an advanced time-stretching algorithm that allows you to easily adjust the tempo of loops and other sounds to fit into your projects. This makes it well-suited to serve as the center of a patch, as well as a source for layering anything that is needed.
*** ### 1. Sample Controls **Fade In.** Set the percentage of the sample that will fade in when a note starts. **Fade out.** Set the percentage of the sample that will fade out before the sample ends. Note that this is only available in one-shot mode. **Crossfade.** Set the percentage of the sample that will fade out before the sample ends. Note that this is only available for one-shot samples. **Start.** Set the sample's start point. **End.** Set the sample's end point. **Loop Start.** Set the sample's loop start point. This can be set independently of the primary start by toggling the **Start Link** button. **Start Link.** When activated, the loop start and primary start will be linked. Otherwise, each one can be set independently. *** ### 2. Sampler Modes **Warp Mode** Choose between two sampling modes, each with a different set of features. * **Repitch.** In this mode, the speed of samples changes as their pitch changes, similar to classic samplers. Unison controls are also available in this mode, allowing for densely layered samples. * **Flex.** This mode utilizes a high-quality time-stretching algorithm to maintain the original sample's timing, regardless of pitch. This time stretching can be manipulated to produce a variety of interesting effects. *** ### 3. Flex & Repitch Controls The sample includes two modes that are ideal for different use cases. **Flex Mode** Flex mode provides high-quality time and pitch manipulation, making it the ideal choice for samples where you want to adjust playback speed and pitch independently—such as changing the tempo of a loop without affecting its pitch. When using **Flex** mode, the following controls become available: 1. **Sourcer Material.** Choose from three time-stretching modes that are tuned for specific types of samples. 2. **Source BPM.** Set the BPM of the source sample. Setting the BPM to that of the currently loaded sample ensures that the sample is correctly stretched to match your project. Note that this is set automatically when loading factory content. 3. **Flex Speed.** Set the playback speed of the sample independently of its pitch. 4. **Speed Mode** * **Free.** This mode allows you to freely adjust the speed, creating totally fluid time-stretching effects. * **Rati.** In this mode, **Speed** will be locked to a whole ratio, allowing for quick and precise time stretching.
*** **Repitch Mode** Repitch mode offers classic sample playback behavior, where playback speed and pitch are interconnected. Unison controls are also accessible in this mode. When using **Repitch** mode, the following controls become available: 1. **Filter Mode.** Select a basic filter type that the sampler will be sent through. 2. **Filter Cutoff.** Set the cutoff frequency for the filter. 3. **Unison Voices.** Set the number of unison voices. Adding more voices will create a denser sound, but it will also require somewhat more CPU. 4. **Unison Detune.** Adjust the amount of detuning between the unison voices. 5. **Unison Width.** Adjust the stereo width of the unison effect. This combines panning and phase manipulation to create a wide stereo image. Note that this will manipulate the stereo image even without detuning or phase randomization. *** ### 4. Tunning **Root Note.** Set the current sample's root note to ensure that it accurately tracks notes on the keyboard. This setting is automatically configured when loading samples downloaded from the **Stream**. **Octave.** Transpose the tuning of the wavetable oscillator by one or more octaves. **Tunning Mode** This section explains how to set the tuning of the wavetable oscillator. * **Key**: This option provides standard key tracking behavior with variable semitone offset. * **Fixed**: This option forces the wavetable oscillator to be tuned to a specific note, regardless of the notes played on the keyboard. * **Ratio:** This option allows you to shift the tuning up or down by multiplying or dividing it by a whole number ratio. It is particularly useful for FM synthesis and creating layers based on the harmonic series. * **Scale:** Lock the tuning to the root note of the currently selected scale. Notes on the keyboard will be ignored, and the tuning will be transposed when the scale changes. **Semitone (Key Tunning).** Transpose the tuning of the wavetable oscillator in semitones. **Fixed Note (Fixed Tunning).** Set the fixed note for the wavetable oscillator, which will remain constant regardless of the notes played on the keyboard. **Tunning Ratio (Ratio Tunning). S**et the tuning of the wavetable oscillator by multiplying or dividing its current frequency with a whole number ratio. **Scale Tunning Interval (Scale Tunning).** Set the fixed tuning interval relative to the currently selected scale to the right of the keyboard. *** ### 5. Playback **Playback Mode.** Choose how the sample will play back when triggered: * **One-shot**. Play through the sample once and then stop. * **Loop** →. Play through the sample and loop. * **Loop** → ←. Play through the sample and loop back and forth. **Sample Reverse.** Reverse the current sample. **Random Start.** Adjust how much randomization is applied to the sample start position **Sample Gain.** Apply additional gain to the sample. This can be useful for matching the sample's level to the rest of your patch without having to use the **Level** control. *** ### 6. Generic Controls **Pitch.** Adjust the pitch of the wavetable oscillator in semitones. **Fine.** Adjust the pitch of the wavetable oscillator in cents. **Pan.** Adjust the panning of the wavetable oscillator. **Level.** Adjust the gain of the wavetable oscillator. # Filters *** ### Overview Current includes two multi-mode filters. The filters can be routed in series or parallel and provide a variety of types, including morphing, comb, vowel, and more. Perfect key tracking is also available for perfectly tuned resonance and resonator effects
*** ### 1. Filter Controls **Filter Type (Top Bar).** Choose from a variety of filter types, including morphing, comb, formant, and more. **Cutoff.** Adjust the filter's frequency in Hz or as a semitone offset in key track mode. **Key Track Mode.** When activated, the filter will track the pitch of each individual note in the same way as the oscillators, and **Cutoff** will offset this frequency in semitones. **Resonance.** Adjust the resonance of the filter. Higher values will result in sharper peaks in the frequency spectrum. **Filter Spread.** Adjust the relative cutoff of the left and right channels to create wide stereo filtering effects. Positive values gradually increase the right filter and lower the left filter. Negative values have the opposite effect. **Morph.** Manipulate the internal filter configurations to create more nuanced and complex effects. The filter will be changed in different ways depending on the selected filter type. *** ### 2. Display Controls **Filter Inputs.** Choose which sound sources will be sent through the filter. **Filter Mix.** Control the balance between the incoming signal and the filtered output. *** ### 3. Filter Routing **Series Routing.** In **Series** mode, **Filter 2** processes the output of **Filter 1**. It is also possible to add an input source to **Filter 2** separately from **Filter 1**. **Parallel Routing.** In **Parallel** mode, both filters will work independently of each other. Any combination of the two separate filters can be used to process each input. # FM Panel *** ### Overview Current features a flexible FM system, allowing any sound source to frequency modulate (FM) or amplitude modulate (AM) another module, including itself. This capability can be used for FM synthesis or to introduce extra harmonics and instability into your patches. A hidden noise source is also available for adding extra grit. On the left side of each row, you’ll find the name of the carrier, which is the module that will be modulated based on the other settings.
*** ### FM/AM **1. Source.** Select the sound source that will modulate the carrier. The **Feedback** will result in the carrier modulating itself. Note that a hidden noise source is also available. **2. Amount.** Adjust the depth of the modulation being applied. **3. Mode.** Choose between through-zero frequency modulation and a unique form of amplitude modulation. Note that the sampler does not support AM/FM when in **Flex** mode. # Mixer Panel *** ### Overview Current includes an engine mixer panel. The mixer panel offers a centralized view for adjusting each sound source’s level, with additional options like solo, direct out, and engine output gain.
*** ### Mixer **1. Solo.** Solo an individual sound source; only one sound source can be soloed at a time. You can also solo a sound source by Command-clicking (macOS) or Ctrl-clicking (Windows) on its icon button in the respective engine tab. **2. Direct Out.** When active, the sound source will not pass through the filters or effect rack. **3. Level.** Adjust the gain of each individual sound source. This control functions identically to the Level control found on the individual sound source panels. **4. Engine Output Gain.** Set the output gain for the polyphonic synth engine before it is sent to the effect rack. This feature is useful for gain staging before reaching the effects rack or for modulating the level of all sound sources simultaneously. # Effects Rack *** ### Overview Current's flexible effect rack allows you load up to nine effects of any type and reorder them to create your ideal effect chain. You can also save these chains as rack presets for easy reuse across different patches. Virtually all Minimal Audio effects are available in the rack, including Cluster Delay, Morph EQ, and Rift's distortion algorithms, which are featured in the Polar Distortion effect.
*** ### 1. Rack settings The effect rack features full effect chain bypassing, along with options to save and load rack presets. *** ### 2. Effect slots Click on a slot to view and edit the currently loaded effect. You can rearrange the order of effects by dragging and dropping each slot. On the left side of the effect slot, you'll find the bypass button, allowing you to toggle an individual effect on and off. On the right side, the effect selector button lets you swap between different effect types. Additionally, you can copy and paste effect slots by holding Option (macOS) or Alt (Windows) while dragging and dropping the slots. *** ### 3. Effects All effects support sub-presets, making it easy to quickly find inspiration or save your settings for use in another patch. Learn about each individual effect here: * [Cluster Delay](/core-effects-manual/effects/cluster-delay) * [Flex Chorus](/core-effects-manual/effects/flex-chorus) * [Fuse Compressor](/core-effects-manual/effects/fuse-compressor) * [Hybrid Filter](/core-effects-manual/effects/hybrid-filter) * [Morph EQ](/core-effects-manual/effects/morph-eq) * [Polar Distortion](/core-effects-manual/effects/polar-distortion) * [Ripple Phaser](/core-effects-manual/effects/ripple-phaser) * [Swarm Reverb](/core-effects-manual/effects/swarm-reverb) * [Wave Shifter](/core-effects-manual/effects/wave-shifter) # Keyboard and MIDI Effects *** ### **Overview** Current’s keyboard area brings together essential voicing controls, pitch modulation, and scale-based music tools all integrated into a performance-ready interface. On the left, you’ll find powerful creative tools like the **Arpeggiator** and **Chord Generator**, which can be reordered to shape how notes and harmonies are generated. On the right, key and scale settings ensure everything stays in tune with your project. *** ### Key Functions * **Keyboard Scale & Root Selection**\ Define the root note and scale to keep all generated notes in key. The Arpeggiator and Chord Generator both follow this setting, making it easy to lock in harmonically. * **Voicing Controls**\ Adjust global pitch, voice count, glide, and legato behavior for expressive and playable patches. * **Mod & Pitch Wheel Settings**\ Customize mod wheel depth, pitch bend range, and performance responsiveness directly from the panel. *** ### Arpeggiator * **Melodic & Rhythmic Patterns**\ Choose from note modes, rhythmic styles, swing, and skip probabilities to generate dynamic sequences. * **Step Controls**\ Customize how patterns evolve over time with transposition shifts, alternate steps, offsets, and one-shot behavior. * **Rate & Sync**\ Set speed in BPM or milliseconds and fine-tune groove with swing and exponential shaping. *** ### Chord Generator * **Chord Sets & Scale Matching**\ Each chord set includes seven chords that snap to the selected scale, with drag-and-drop reordering and editing. * **Chord Type & Voicing**\ Build from triads or suspended chords and apply inversions or advanced voicings for richer textures. * **Creative Controls**\ Add/remove intervals, adjust strum timing, and use smart randomization to spark new ideas quickly. *** ### Good to Know * The **Arp** and **Chord** tabs can be reordered by dragging their labels enabling arpeggiated chords or chorded arps. * **Scale Lock** ensures scale settings stay consistent when switching presets. * Learn more: [Keyboard & Scales](/current-manual/keyboard-and-midi-effects/keyboard-and-scales) | [Arpeggiator ](/current-manual/keyboard-and-midi-effects/arpeggiator)| [Chord Generator](/current-manual/keyboard-and-midi-effects/chord-generator) # Keyboard & Scales *** ### Overview Current's keyboard area features essential keyboard and synth voicing controls, along with an integrated [Arpeggiator](/current-manual/keyboard-and-midi-effects/arpeggiator) and [Chord Generator](/current-manual/keyboard-and-midi-effects/chord-generator) that can be accessed on the left side of the keyboard.
*** ### 1. Scale On the right side of the keyboard, you'll find the key and scale selectors. Aligning these with your track ensures that the arp and chord modules will always play in key. **Scale Root.** Choose the root note for the currently selected scale. The scale will be used by the arpeggiator and chord generator to produce notes that are always in key. Therefore, make sure to match it with your project. **Scale.** The currently selected scale will be used by the arpeggiator and chord generator to ensure that they always stay in key. Make sure to match both the scale and its root note to your project. **Scale Lock.** When active, the scale and root note will remain the same while changing presets. *** ### 2. Voicing **Global Pitch.** Adjust the pitch of all sound sources simultaneously. **Glide.** Set the amount of time it takes for overlapping notes to glide from the previous note. **Voices.** Set the maximum number of voices that can be played at the same time. If the maximum number of voices is exceeded, the oldest voices will be deactivated. Current will operate in monophonic mode when the voice count is set to one. **Legato Mode.** When active, modulation will only re-trigger if there are no overlapping notes. This allows you to play multiple notes with modulation being triggered only at the beginning of that sequence. *** ### 3. Mod & Pitch Wheel **Mod Wheel.** Adjust the depth of mod wheel modulator. **Pitch Wheel.** Adjust the pitch bend amount. **Pitch Bend Range.** Set the pitch bend wheel's range in semitones. # Arpeggiator *** ## Overview Current’s keyboard area includes an arpeggiator that can be used to quickly create melodies. The arp and chord tabs can be dragged to change their order, enabling the arpeggiation of chords or the transformation of arpeggios into chord sequences.
*** ### 1. Arpeggiator Tab **Arpeggiator Tab.** Click on the tab to view the arpeggiator. The **Arp** and **Chord** can be reordered by dragging either of their tabs. *** ### 2. Note Pattern **Note Mode.** Choose the melodic pattern that will be applied to the currently playing notes. **One-Shot Mode.** When activated, the arpeggiator will play through the note pattern once and then stop. **Steps.** Set the number of times that each note will be transposed according to the current Shift setting. **Step Shift.** Adjust the interval that the arpeggiator transposes with each additional **Step**. This shifting is automatically locked to the currently selected scale. **Alternate Steps.** When active, any additional **Steps** that are added will be inserted between each note that is played through the arpeggiator. When inactive, each note played through the arpeggiator will be played in sequence, shifted, and then repeated. **Step Offset.** Shift the arp pattern forward or backward by a certain number of steps. *** ### 3. Rhythmic Pattern **Rhythmic Mode.** Choose from a variety of rhythmic patterns to apply to the arpeggiation. The patterns range from simple backbeats to complicated sequences, and even exponential rhythms. **Swing.** Adjust the amount of swing that will be applied to the arpeggiation. **Rhythm Start.** Shift the arpeggiator rhythm forward or backward by a certain number of steps. **Exponential Curve.** Adjust the intensity of the currently selected exponential rhythm. **Step Lenght.** Set the length of each step according to the **Rate** and the currently selected rhythmic pattern. **Rate.** Adjust the speed at which new notes are generated by the arpeggiator. **Rate Sync.** When activated, the arpeggiator **Rate** will be set as a BPM-synced value. Otherwise, it will be set in milliseconds. **Skip.** Set the percentage chance that an arpeggiator note will be randomly skipped. This is a great way to add unpredictability to the arpeggiator. # Chord Generator *** ## Overview Current’s keyboard area includes a chord generator that can be used to quickly create chord progressions. The chord and arp tabs can be dragged to change their order, enabling the arpeggiation of chords or the transformation of arpeggios into chord sequences.
*** ## 1. Chord Tab **Chord tab.** Click on the tab to view the chord generator. The **Arp** and **Chord** can be reordered by dragging either of their tabs. *** ## 2. Chord Sets **Chord Set Preset.** Each preset consists of seven chords, one for each note in the currently selected scale. These chords will automatically snap to the key to the right of the keyboard, making it easy to match them to your track. **Sscale Degree.** To select a chord, click on its corresponding button here. The individual chord settings are displayed on the right when selected and can be adjusted separately for each note in the scale. If you want to copy a chord from one note in the scale to another, simply drag and drop the button. *** ## 3. Chord Type & Voicing **Chord Type.** Choose one of three base chord types on which the rest of the chord will be built. * **Natural.** A basic triad chord consisting of intervals 1, 3, and 5. * **Sus Low.** A suspended chord consisting of intervals 1, 2, and 5. * **Sus High.** A suspended chord consisting of intervals 1, 4, and 5. **Chord Voicing.** Choose an additional voicing option to be applied after adding or subtracting notes from the chord. * **Inversions.** Standard inversion options that can be used to create smoother chord progressions. * **Creative.** These are unique voicing options that can produce massive stacked chords or spread out the notes across multiple octaves. *** ## 4. Additional Controls **Interval Grid.** This grid of buttons allows you to add or subtract individual intervals from the currently selected chord, including options for one octave above and below. Note that this will affect which voicing options are available. **Strum.** Adjust the spacing between each note in the chord to create an effect similar to strumming a guitar. Positive settings will strum from the lowest notes in the chord up to the highest, while negative settings will start high and end low. **Randomize Chord.** Use smart randomization to generate settings for the currently selected chord. # Modulation *** ### **Overview** Current’s modulation system provides deep control through an intuitive visual interface located at the center of the **Engine** and **Effects** views. From this central **Modulation bar**, you can assign, edit, and manage modulators like Envelopes, LFOs, and Curve Sequencers, as well as access full modulation routing via the **Mod Matrix**. Modulation is assigned via drag-and-drop, right-click, or from the matrix, with all assignments clearly displayed as modulation sliders beside their targets. Each modulator type can be swapped on the fly, preserving connections and making experimentation easy. *** ### Key Functions * **Modulation Control Bar**\ Access all modulators, assign modulation, swap modulator types, and open the matrix from a centralized UI. * **Modulation Matrix**\ View and manage all modulation assignments, either globally or per control/modulator, with advanced filtering and connection bypass. * **Depth Modulation**\ Modulate the amount of modulation (e.g., macro → LFO depth) using nested connections—controlled directly from the modulation slider. * **Multiple Assignments**\ Any parameter can accept multiple modulation sources, managed via a dropdown next to the control. * **Keyboard & MPE Modulators**\ Built-in support for velocity, pitch bend, pressure, and other MIDI/MPE signals with fully editable response curves and ranges. *** ### Modulator Types * **Envelope**\ A 5-stage AHDSR with looping, one-shot, and synced behavior ideal for both classic envelopes and creative modulation. * **Morphing LFO**\ Morph between shapes with rate sync, trigger modes, fade-in, randomization, and phase offset. * **Curve Sequencer**\ A versatile draw-based modulator with grid-snapping, shape tools, randomization, and sub-presets. * **Envelope Follower**\ Converts amplitude from any source (pre/post level) into a modulation signal. Great for dynamic FX or internal ducking. * **Keyboard & MPE**\ Respond to velocity, note number, pressure, or MPE dimensions like Slide, Strike, and Press—with full curve and range editing. # Modulation System *** ## Overview Minimal Audio's modulation system is centered around the modulation control bar, located in the middle of both the Engine and Effects views. Here, you can quickly view all modulators, assign modulation via drag-and-drop, access the mod matrix, change a modulator’s type, and open modulator views for further editing.
*** 1. Click the **Matrix** button to open the full modulation matrix. Here, you can view and edit all modulation connections at once, and filter them by source or destination. Learn more on the [Mod Matrix](/current-manual/modulation/mod-matrix) page. 2. Click on a modulator to open its panel and adjust its settings. Additionally, you can copy and paste modulators by holding Option (macOS) or Alt (Windows) while dragging and dropping. 3. You can assign modulation by dragging and dropping onto the circular icon. Modulation can also be assigned via the Mod Matrix or by right-clicking on a control and selecting "Add Modulator." 4. The nine central modulator types can be swapped by clicking the modulator’s name. Options include [Envelope](/current-manual/modulation/envelope), [LFO](/current-manual/modulation/morphing-lfo), [Curve](/current-manual/modulation/curve-sequencer), and [Follower](/current-manual/modulation/envelope-follower). Swapping modulator types will preserve all existing modulation assignments, allowing you to easily alter the movement throughout a patch. 5. On the right side of the modulation control bar, you'll find the [Keyboard and MPE Modulators](/current-manual/modulation/keyboard-and-mpe-modulators), which offer immediate access to modulation sources like velocity and pitch bend. To access the MPE mode option, open the key modulator panel. When MPE mode is active, all six keyboard modulators switch to MPE controls, such as Strike and Slide. Learn more about how to [enable MPE](/current-manual/additional-settings/enable-mpe-support). *** ## Modulation assignments Once a modulation connection is created, most modulation settings can be adjusted directly from the knob or slider. Additional settings can be edited in the [Mod Matrix](/current-manual/modulation/mod-matrix) or by right-clicking on the control. ### Modulation Amount
Once modulation is assigned, a circular "modulation slider" appears next to the control. This slider allows you to adjust how much modulation is applied to the parameter. * Drag the modulation slider to adjust the modulation depth. * Right-click to access options for bipolar modulation, connection bypass, or to update the modulation assignment. * Option-Shift-click (macOS) or Alt-Shift-click (Windows) on the modulation slider to toggle bipolar mode. * You can also drag another modulator onto the modulation slider to modulate the connection’s depth. ### Depth Modulation
"Depth Modulation" refers to modulating the amount of one modulation connection using another modulator. A common example would be using a macro knob to control how much an LFO modulates a parameter. You can create a depth modulation connection by dragging and dropping any modulator onto an existing modulation slider or by using the [Mod Matrix](/current-manual/modulation/mod-matrix). * Once assigned, you can control the depth modulation amount by dragging the modulation slider. To adjust the original modulation as if no depth modulation were assigned, hold the Shift key and drag the modulation slider. * Right-click to access options for bipolar modulation and to update the modulation assignment. ### Multiple Modulation Assignments
Once multiple modulators are assigned to a parameter, a "▼" icon will appear next to the control. Clicking this icon opens a popup where you can select which modulation slider to display for editing. Selecting a modulator will also highlight that modulation throughout the plugin and open the modulator panel when possible. More information on modulator highlighting is provided below. # Mod Matrix *** ## Overview Current's modulation matrix offers a dedicated popup for editing all aspects of modulation across an entire preset. The mod matrix popup can operate in two different ways: 1. View a complete overview of all modulation assignments within a preset. 2. Focus on modulation connections for a specific parameter or modulator. *** ## Full Mod Matrix
*** To view all modulation connections at once, click the **“Matrix”** button on the far left of the modulation control bar. Optional connection filtering is available at the top of the full matrix popup. You can select a modulation source (modulator) or destination (parameter) to display all associated connections. Use the bypass button to toggle connection filtering on and off. ## Parameter & Modulator Popups
*** It is often useful to focus on the connections associated with a specific parameter or modulator without having to sort through all existing modulation connections. Current addressed this by making it possible to quickly open the mod matrix popup for any control or modulator. To open the popup for an individual parameter or modulator, hold down the Command key (macOS) or Ctrl key (Windows) and click on a knob, slider, or modulator in the modulation control bar. Alternatively, you can right-click and select "View in Mod Matrix." # Envelope *** ## Overview The envelope modulator is a 5-stage AHDSR (Attack, Hold, Decay, Sustain, Release) envelope with per-stage curve control and optional BPM-sync. It offers Looping and One-Shot modes, expanding its functionality for LFO tasks, one-shot wavetable scanning, and more.
*** ## 1. Envelope Modes Choose between three modes for how the envelope behaves. **Standard.** This mode provides classic envelope behavior that tracks the note on and off. **One-Shot.** In this mode, the envelope will play through all of its stages. The sustain stage will no longer hold while a note is down, but its level can still be set. This is great for percussive sounds and for scrubbing through a one-shot sample or wavetable. **Loop.** In this mode, the envelope will loop through the attack, hold, and decay stages. The sustain stage will be ignored, and the release will still be triggered when the note ends. This can be used to create "function generator" signals similar to those found in many modular synths. *** ## 2. Envelope Controls **Attack.** Set the attack time. **Hold.** Set the hold time. **Decay.** Set the decay time. **Release.** Set the release time. **Sync.** When active, all envelope stages will be synced to the current BPM. **Curve.** Adjust the response of the envelope stage from exponential (negative) to linear (0%) and logarithmic (positive). *** ## 3. Display Controls **Time Scale.** Set the time scale for the envelope graphic. **Automatic Time Scale.** When active, the time scaling of the envelope graphic will always snap to the smallest value that displays the entire envelope. **Envelope Level.** Adjust the level of the envelope. This can be used to attenuate and invert the output of the modulator, allowing for adjustment everywhere it is being used." # Morphing LFO *** ### Overview The LFO modulator can morph between four classic waveforms, with the ability to randomize each shape for smooth random modulation, sample and hold shapes, and more. Additionally, trigger modes and fade controls allow it to adapt to various use cases, from attack-decay envelopes to freely looping random shapes.
*** ### 1. Trigger Modes Choose how the modulator responds to incoming MIDI notes: * **Free.** The modulator will not respond to MIDI and will instead be synced to the DAW's timeline position. * **Trigger.** The modulator will be triggered by incoming MIDI and loop continuously after being triggered. * **One-Shot.** The modulator will be triggered by incoming MIDI and will only play through once each time a note is played. *** ### 2. Main Controls **Rate.** Adjust the **LFO Rate**. **Rate Mode.** Choose between different types of BPM synchronization for the LFO rate. (e.g. Sync) **Randomize.** Adjust the amount of LFO randomization. Note that each waveform randomizes in a unique way. **Level.** Attenuate and invert the LFO’s output signal. This will impact the modulation wherever it is assigned. **LFO** **Shape.** Choose from sine, triangle, downward ramp, or square LFO shapes. When SNAP is disabled, these shapes can be continuously morphed. **Shape** **Snap.** Enable snapping between LFO shapes. When disabled, the LFO shapes are continuously morphed. *** ### 3. Display Control **Phase.** Adjust the phase offset of the LFO. This setting determines the starting point of the LFO when triggered. In **Free** mode, it adjusts the phase offset relative to the DAW's timeline position. **Fade.** Set how quickly the LFO fades in or out. A value of zero will result in no fade. # Curve Sequencer *** ### Overview The curve sequencer allows you to create custom modulation shapes using a variety of draw tools and precise editing features. It's versatile enough for both sequencing and LFO tasks. Use different shape tools to create rhythmic patterns, generate random shapes and save them as sub-presets, and more.
*** ### 1. Curve Presets The Curve modulator includes sub-presets that can be saved and loaded from the top bar of the preset area, allowing you to easily reuse your favorite modulation shapes. *** ### 2. Trigger Modes Choose how the LFO responds to incoming MIDI notes: * **Timeline.** Locks the Curve to your DAW's timeline, keeping playback synchronized with the project position and tempo. * **Trigger.** Resets on incoming MIDI, then loops continuously. * **One-Shot.** Resets on incoming MIDI and plays through once per note. * **Scrub.** disables playback rate and lets you scan through the held Curve using the **Phase** control. This is useful for driving the Curve with another modulator or for remapping modulation behavior. ### 3. Curve Controls **Rate.** Adjust the Curve modulator’s rate in Hz or BPM-synced values. **Sync.** Enable or disable BPM synchronization for **Rate**. **Phase.** Sets the phase offset of the LFO, determining where the modulation cycle begins. In **Timeline** mode, it offsets the phase relative to the DAW's timeline position. **Snap.** Synchronizes note values to a predefined grid, ensuring notes align precisely with your timeline. This makes it easy to create sequences that remain rhythmically accurate and consistently in time. **Level.** Attenuate or invert the modulator’s output. This affects every assignment that uses the Curve. *** ### 4. Curve Editor Settings **Undo.** Undo previous changes to the **Curve** editor. **Redo.** Redo previous changes to the **Curve** editor. **Horizontal Grid Division.** Choose how the Curve Editor is rhythmically divided: * **Standard.** Grid divisions divisible by two. * **Triplet.** Grid divisions that fit onto a triplet grid. * **Odd.** Grid divisions that do not fit on a standard or triplet grid. **Vertical Grid Division.** Choose how the **Curve Editor´s** modulation level is divided. This can be useful for snapping the **Curve** to precise values needed for tasks such as pitch modulation. **Clean Curve.** Reset the current **Curve** shape. **Snap to Grid.** When active, all edits will snap to the horizontal and vertical grid. **Randomize Curve.** Generate different types of modulation shapes. Try changing the Curve's grid sizes to adjust how the shapes are generated. Right-click on the randomize button to select a specific randomization type. * **Random Shape.** Randomly generate any of the following types. * **Smooth.** Shapes similar to sine waves. * **Linear.** Shapes similar to triangle waves. * **Chaos.** Complex shapes that are not always on the grid. * **Steps.** Step sequencer patterns. * **Segments.** A combination of steps and linear ramps. * **Gates.** Sequences for turning signals on and off. * **Ramp Down.** Stab and downward sweeping shapes. * **Ramp Up.** Pumping and upward sweeping shapes. *** ### 5. Curve Editor Use the Curve Editor to create custom modulation shapes. When the mouse tool is selected, you can click and drag to select multiple points, and the following key commands are available: * **Move Off Grid.** Hold down **shift** while dragging on a point. * **Straighten Curve.** **Shift-click** on a line or selection. * **Move Segment.** **Command-click** and drag on a line. * **Move Segment.** **Control-click** and drag on a line. * **Delete Point.** **Double-click** on an existing point. *** ### 6. Draw Tools On the right side of the Curve Editor, you'll find the draw tool buttons. The mouse tool allows for manual drawing and editing of shapes, while the other tools create shapes based on the current grid division settings. **Slope.** Adjust the shape of the currently selected draw tool. **Invert.** When active, the shape tools will be inverted, providing even more options. # Envelope Follower *** ### Overview The envelope follower can be used to create modulation signals from nearly any point within the polyphonic synthesis engine. It can track the amplitude of individual sound sources, both pre and post level control, allowing you to apply the dynamics of one sound source onto another, create internal sidechain ducking, and much more.
*** ### 1. Input Source **Follower Source.** Choose which sound source(s) the envelope should follow. * The **Summed** option will use all active sound sources after they have passed through the **Engine** filters, but before they pass through the **Effects** rack. * Individual sound sources are also available, enabling you to create ducking effects between modules. * The **Post level** options include the gain from the module's **Level** control, while the **Pre Level** options do not. *** ### 2. Follower Controls **Invert Level.** When activated, the envelope follower will be inverted, making it easier to use for ducking effects. **Attack Time.** Set the amount of time it takes for the envelope follower to reach the maximum level of the input signal. **Release Time.** Set the amount of time it takes for the envelope follower to return to a lower value when the input signal becomes quieter. **Sync.** Enable BPM synchronization for the envelope follower's attack and release. **Level.** Attenuate the envelope follower’s output signal. This will impact the modulation wherever it is assigned. # Keyboard & MPE Modulators *** ### Overview The keyboard and MPE modulators offer modulation sources for standard MIDI sources like velocity and pitch bend, as well as MPE-specific sources such as Slide and Press. Each source can be restricted to a specific range, and its response can be adjusted from exponential to logarithmic to achieve the exact type of response required.
Note that these modulators are not pre-assigned to any parameters.
*** ### 1. Keyboard Mode Choose between **Standard** and **MPE** keyboard modes: * **Standard.** Classic MIDI keyboard controls, such as velocity and mod wheel. * **MPE.** Offers all available polyphonic expression values, such as glide and pressure. While you can use an **MPE** controller in **Standard** mode and vice versa, it’s recommended to adjust the setting to match your controller to enable all associated features. *** ### 2. Range Controls Each keyboard modulation source's response can be customized to best suit your patch and playing style. Simply click and drag the circular handles to adjust the input and output ranges, and drag the diagonal line to shift the curve from exponential to logarithmic. You can also set these ranges using the text values at the bottom, which is helpful when you need precise control. **Input Min.** Set the input value that results in the minimum output. This is useful for focusing the key modulator on a specific range of input values. **Input Max.** Set the input value that results in the maximum output. This helps to narrow the key modulator’s focus to a particular range of input values. **Output Min.** Set the minimum modulation value. This can be used to attenuate and offset the key modulator value before it affects any parameters. **Ouput Max.** Set the maximum modulation value. This also attenuates and offsets the key modulator value before it influences any parameters. # Presets and Sounds *** ### **Overview** Current supports the creation of custom **user preset packs** that integrate seamlessly into the **Stream** browser and **Play** **View**. You can fully customize pack artwork, name, description, and metadata, making it easy to organize personal libraries or distribute third-party content. In addition, Current’s factory content (wavetables, samples, presets) can be relocated to an external drive, allowing for more flexible storage when managing large libraries. *** **Learn more about:** [How to create Preset Packs](/current-manual/presets-and-sounds/creating-preset-packs) [Managing Library Storage](/current-manual/presets-and-sounds/moving-the-sound-library) # Creating Preset Packs *** ### Overview In this section, we will explain how to create your own preset packs that can be browsed in the Stream. This will allow you to easily utilize the Stream for third-party or preset packs and customize the pack artwork that is shown in the [Play view](/current-manual/overview-and-navigation/play-view). You have the option to fully customize the pack's name, art, tagline, and description. Additionally, each preset can be saved with tags, allowing for easy searchability. *** ### Creating a Pack To create a pack, select "Create User Pack" from the global settings dropdown. This will create a placeholder pack art and a JSON file that can be opened using a text editor. Inside the JSON, you will find a place for the pack's tagline and description. Here are the ways you can customize the pack: * Pack name: the name of the folder. * Pack contents: any presets contained in the folder. * Pack artwork: add a PNG with the name `primary_image.png` to the pack folder. * Pack tagline: update the tagline contained within the `pack.json` file. * Pack description: update the description contained within the `pack.json` file. After modifying the pack, it is necessary to select "Rescan Preset Folders" from the global dropdown menu for the changes to take effect. Please note that you only need to do this once after making a change, as all instances of Current will be updated. # Moving the Sound Library *** ### Overview All presets, samples, and wavetables downloaded from the Stream are stored in the “Factory” folder within Current’s application support directory. If you’re downloading a large amount of content, this folder can become quite large, so you may want to move it to an external drive or another location. Note that no user presets or samples are stored in this folder. *** ### Moving the factory folder Follow these steps to store this content library in a custom location on your computer or an external drive: 1. Quit your DAW to ensure no instances of Current are running. 2. Locate the “Factory” folder at the following paths: * macOS: Mac HD/Library/Application Support/Minimal/Current * Windows: C:\ProgramData\Minimal\Current 3. Move the Factory folder to your preferred location. 4. Open Current and select “Locate.” Then, navigate to the folder’s new location. 5. Restart your DAW so the changes apply to all instances of Current. *** ### Locating the factory folder If the Factory folder is has been saved in multiple locations, you can choose the desired one by selecting “Locate Factory Folder” from the global settings dropdown. # Additional Settings ### **Overview** Current’s global settings offer deep control over workflow, system behavior, and customization. From preset management and graphics performance to oversampling and parameter locking, the global menu provides access to everything needed to tailor the plugin to your environment. To access these options, click the **gear icon** in the top right of Current’s interface. *** ### Global Settings **Preset Management** * **Initialize Preset** – Resets to the default patch. * **Show User Presets** – Opens your user preset folder for organizing content. * **Rescan Preset Folders** – Refreshes the list of available presets. * **Create User Preset Pack** – Creates a new user pack with editable metadata and placeholder art. **Factory Content** * **Install Factory Content** – Downloads over 2GB of official presets, wavetables, and samples. * **Locate Factory Folder** – Select the location of your factory content. Useful if moved to another drive. **Documentation & Support** * **View Manual** – Opens the full online documentation. * **Walkthrough** – Re-launches the interactive plugin onboarding. * **Support** – Opens Minimal Audio’s support page in your browser. *** ### Audio & Graphics Settings **Audio Engine** * **Glide Mode** – Choose between *Legato*, *Release*, or *Always* for voice glide behavior. * **Oversampling** – Increases global audio quality at the cost of CPU. Ideal for FM/AM or extreme pitch shifting. **Graphics Settings** * **Default View** – Choose which tab (Play, Engine, Effects, Stream) opens by default. * **Window Size** – Set default plugin window dimensions. * **Frame Rate** – Controls animation smoothness. * **Enable OpenGL** – Helps avoid graphical issues on some setups. # Global Settings *** ## Overview The global settings popup in Current offers various options for customizing your setup and performing actions. These include adjusting the plugin window size, enabling oversampling, creating a user preset pack, and more. Access the popup by clicking the gear icon on the right side of Current’s Top Bar. *** ## Presets & Content **Initialize preset.** Reset the current settings by loading the “Default” preset. **Show user presets.** Open the folder containing Current’s user presets. Here, you can organize and customize your packs. Make sure to rescan preset folders after making any modifications. **Create user pack.** Create a user preset pack with placeholder artwork and pack info. Refer to the Create User Preset Packs article for information on customizing packs. **Rescan preset folders.** Rescan your user preset folders to ensure what you see in Current matches the contents of the Presets folder. Note that this process happens automatically when a new instance of Current is loaded. **Install factory content.** Download and install all factory packs included with Current, totaling over 2 GB of presets, wavetables, and samples. Note that content already downloaded will not be re-downloaded. **Locate factory folder.** The "Factory" folder is where all content downloaded from the Stream is store. If you’ve moved this folder to a custom location, such as an external drive, use this option to locate it. Refer to the Moving The Sound Library article for more info. **Embed session content.** When enabled, user audio files (such as wavetables and samples) will be embedded into your DAW’s session, ensuring access on computers where the original files are unavailable. This setting is shared between plugin instances. **Embed preset content.** When enabled, user audio files (such as wavetables and samples) will be embedded into user presets by default, ensuring access on computers where the original files are unavailable. This is the same as selecting the “Include User Content” option when saving a preset. Note that embedding user content will increase the size of the associated preset file. *** ## Documentation **View manual.** Open Current’s online manual in your default browser. **Walkthrough.** Launch Current’s onboarding walkthrough, which is presented after activating the plugin for the first time. *** ## Support **Get help.** Open our online support page in your default browser. **Collect Support Info.** Use this option to collect all relevant information that might be helpful for our support team when tracking down possible bugs. The .zip file it creates contains the plugin’s logs, current preset, license file, and global settings file. **View logs.** Reveals the log files stored on disk. This might be requested by our support team while trying to diagnose an issue. **Log crash reports.** When enabled, OS crash reports will be added to the logs. This should only be enabled if you are troubleshooting a crash with our support team. **Log Level.** Sets the level of detail in Current’s logging. Normally, there’s no need to adjust this unless requested by support for troubleshooting. *** ## Audio Engine & Playback **Internal BPM.** Scale the internal tempo so that it is 1/4x, 1/2x, 2x, or 4x the DAW's tempo. This setting is applied to all BPM-synced values, such as LFO rate, and is specific to each instance of the plugin, but it does not change when loading presets. **Oversampling.** Set the global oversampling factor for the entire audio engine. Some modules always oversample or handle aliasing in other ways regardless of this setting, so it’s typically not required. However, oversampling can be beneficial when using extreme FM/AM or sample re-pitching. Be aware that oversampling can significantly impact CPU usage. This setting is not shared between plugin instances. **Glide mode** Set the glide mode for Current’s synth engine. * **Legato.** Glide only when MIDI notes overlap. * **Release.** Glide whenever voices overlap, including during their release stage. * **Always.** Glide continuously, regardless of whether voices are overlapping. **Limit to one voice per note.** When enabled, only one voice can play per MIDI note number. For example, triggering a second A0 will stop the first A0 voice. This setting is not shared between plugin instances. **Add mod wheel to MPE slide.** When enabled, the mod wheel value is added to the MPE Slide value in MPE mode. This setting is for backward compatibility and is not recommended. It is not shared between plugin instances. **Output processed MIDI.** When enabled Current's will output any MIDI that has been processed by the arpeggiator and chord generator. This defaults to active and is saved with your preset. Note that not all plugin formats and DAWs support instrument MIDI output. Please refere to your DAW's manual. **Engine control rate.** Controls how frequently modulated parameters are updated within Current’s polyphonic engine. Lower values support higher audio rates but consume more resources. This setting is not shared between plugin instances. **Internal block size:** Controls how often modulated parameters are updated outside of the polyphonic engine, such as within the effects rack. Lower values support higher audio rates but require more resources. This setting is not shared between plugin instances. * Smaller refresh rates can improve sound quality at the expense of the CPU by increasing the precision of fast modulation signals. This only applies in certain situations and is generally only worth experimenting while synthesizing drum hits. *** ## Graphics Settings **Default view.** Choose which view will be displayed when creating a new instance of the plugin. This setting is shared across all plugin instances. **Window size.** Set the default plugin window size. This setting is shared across all plugin instances. **Frame rate.** Adjust how often Current’s animations update. A higher frame rate improves the visual experience but may consume more resources. This setting is shared between plugin instances. **Enable OpenGL.** When enabled, graphics are rendered using OpenGL. This can help reduce graphical issues on certain setups, particularly on Windows. This setting is shared across all plugin instances. # Key Commands *** ### Overview The following key commands are available for all of our software products, assuming the relevant feature exists. ### Parameter Controls (Knobs and Sliders) * **Right-click** or **Control-click** (macOS) to open a context menu with options to access the modulation matrix, modify modulation connections, reset the parameter, or lock it to maintain its value between presets. * **Command-click** (macOS) or **Ctrl-click** (Windows) to open the modulation matrix for the selected parameter when supported. * **Shift-click** and drag on a knob or slider to fine-tune the parameter’s value. * **Double-click** on a knob or slider to reset it to its default value. ### Engine Icon Buttons * **Regular click** to toggle bypass. * **Command-click** (macOS) or **Ctrl-click** (Windows) to toggle soloing for the module. * **Right-click** or **Control-click** (macOS) to open a context menu with solo and direct out options. ### Modulator Control Bar * **Right-click** or **Control-click** (macOS) on a modulator to open a context menu with options to access the modulation matrix, modify modulation connections, and reset the modulator to its default state. * **Command-click** (macOS) or **Ctrl-click** (Windows) on a modulator to open the relevant modulation matrix. * **Option-click** (macOS) or **Alt-click** (Windows) and drag on a modulator to copy and paste it to another modulator slot. ### Effect Rack Slots * **Option-click** (macOS) or **Alt-click** (Windows) and drag on an effect slot to copy and paste it to another effect slot. ### Stream Browser * Use **Up** and **Down arrows** to navigate between packs and individual presets or sounds. * Press the **Return key** to open the selected pack or load the selected preset or sound. * Press the **Escape key** to exit an opened pack. ### Preset & Sound Popups * Use **Up** and **Down arrows** to navigate between packs and individual sounds. * Press the **Return key** to open the selected preset or sound. ### Curve Modulator * **Shift-click** and drag a point to move it off-grid. * **Shift-click** on a line or selection to straighten the selected curves. * **Command-click** (macOS) or **Ctrl-click** (Windows) and drag a line to move it. * **Double-click** on a point to delete it. * **Right-click** on the random shape button (dice icon) to reveal randomization type options. This setting is unique to each Curve instance. # MIDI Learn ### Overview This plugin supports native **MIDI Learn**, letting you map the knobs and sliders on your MIDI controller directly to plugin parameters with no DAW configuration required. Mappings are saved with the plugin instance, so they recall with your project and persist across preset changes. You can also save them to a file for reuse, and set a default map that loads automatically with every new instance. ### Learning a Control 1. Right-click the knob or slider you want to control and select **Learn MIDI**. 2. Move a control on your MIDI controller. The parameter is now mapped and follows your hardware. 3. Repeat for any other parameters you want to map. Closing the plugin window cancels a pending **Learn MIDI**. ### Editing a Mapping Right-click a mapped control to change or clear its mapping: * **Unlearn MIDI CC.** Removes the mapping. The menu shows which CC is assigned, for example **Unlearn MIDI CC 74**. * **Relearn MIDI.** Reassigns the control to the next knob or fader you move. ### How Mappings Behave * MIDI CCs respond on all channels (omni). * Each parameter responds to a single CC. Learning a new CC on a parameter replaces its previous assignment. * A single CC can drive several parameters at once. Learning the same CC on another parameter keeps both mappings. ### Saving and Loading MIDI Maps Open the **Global Settings** menu and select **MIDI Map**: * **Save MIDI Map.** Saves all current mappings to a `.ma_midimap` file. * **Load MIDI Map.** Restores mappings from a previously saved file. * **Clear MIDI Map.** Removes all mappings, showing a confirmation of how many will be removed. MIDI maps are specific to each plugin, so a map saved with one Minimal Audio product can't be loaded into another. ### Using a Default MIDI Map Open the **Global Settings** menu and select **MIDI Map → Set Default Map**. This makes the currently loaded map the default for every new plugin instance, so your controller always maps to Lucid the same way. To remove the default, select **Clear MIDI Map**, then **Set Default Map** again to save an empty map as the default. # Enable MPE support *** ### Overview Current fully supports MPE with the standard +/- 48 semitone pitch bend range. The flexible Keyboard modulator panel offers additional customization options for each MPE value, allowing you to customize how Current responds to your performances.
To enable MPE in Current, follow these steps: 1. Ensure MPE support is enabled in your DAW. 2. Click on one of the keyboard modulators on the right side of the modulation control bar to open the keyboard modulators. 3. Click on “MPE” on the far right of the modulator panel to enable MPE in Current. 4. Assign the desired MPE modulators to parameters. Note that MPE modulators are not pre-assigned. Your DAW may require you to manually enable MPE mode.Follow these steps to enable MPE in Ableton Live: 1. Connect your MPE-capable hardware, controller, or phone app with your computer. 2. Open Live’s Preferences: Link/MIDI. 3. Activate the MPE button for each device. 4. Right-click on Current's "Device Title Bar" in Ableton and select "Enable MPE Mode" For more information on enable MPE in Ableton, see [MPE in Live 11 and later FAQ](https://help.ableton.com/hc/en-us/articles/360019144999-MPE-in-Live-11-and-later-FAQ#:~:text=To%20enable%20MPE:%20*%20Connect%20your%20MPE%2Dcapable,Activate%20the%20MPE%20button%20for%20each%20device.). Other common DAWs MPE Support Guide: * [Logic Pro X](https://support.apple.com/guide/logicpro/use-mpe-with-software-instruments-lgcp8f599497/mac) * [Bitwig ](https://www.bitwig.com/stories/a-full-review-of-mpe-84/) # Import User Samples and Wavetables *** ### Overview Current supports multiple ways to import your wavetables and samples. * **Drag and drop.** Drag and drop an individual audio file or folder onto the waveform display. * **File browser.** Hover over the waveform display and click the 'Folder' icon to open a file browser. Choose this option if you would like to import multiple audio files or folders. **Import Behavior** * **Audio files.** Selected files will be added to the "User" pack. * **Folders.** Entire folders will be imported as individual packs. **Note.** Subfolders will not be imported so ensure folders contain only audio files. When adding wavetables, you will be prompted with different import options: * **Import existing wavetable** Use this for third-party wavetables ready to be loaded. * **Other options** These use algorithms to slice the audio file into individual frames to create a wavetable. For more information on wavetable import options, see [Wavetable Oscillators](/current-manual/sound-engine/wavetable-oscillators). **Storage Locations for Sliced Wavetables** * **macOS**: /Library/Application Support/Minimal/Current/Wavetables/Imported * **Windows**: C:\ProgramData\Minimal\Current\Wavetables\Imported **Note**: Subfolders will not be imported so ensure folders contain only audio files. # Parameter Locking *** All automatable parameters in Minimal Audio plugins support locking between presets. When enabled, the parameter’s value will remain unchanged as presets are loaded. To enable parameter locking, simply right-click on a knob or slider and select “Lock.” A common use case for this is locking the dry/wet mix amount on an effect, but you may also find it useful to lock other controls, such as macros or gain settings. # Evoke Manual Go beyond pitch correction and vocoding with vocal resynthesis.
## Welcome to Evoke! Thank you for purchasing **Evoke** by Minimal Audio. This manual covers the features, workflow, and philosophy behind **Evoke**, a powerful and inspiring vocal resynthesis plugin that helps vocalists and creative producers of all levels create stunning new vocal effects. **PDF manual export** You can export the latest version of this manual by clicking **Export as PDF** in the upper-right corner of this page. To download the **full manual**, select **All pages** in the export options. Please note that PDF export is available on desktop only. # What is Evoke? ***
### A hypermodern vocal processor Evoke is an audio effect plugin built on vocal resynthesis. It analyzes the input signal and uses that information to synthesize a completely new sound based off of the original. This lets you transform your vocal’s character and create never-before-heard sounds while preserving the nuances that make each voice unique. While Evoke shares similarities with traditional pitch correction and vocoding effects, it differs in some key ways: it requires no additional routing, does not rely on classic techniques such as envelope followers or filter banks, and outputs a completely new signal rather than a processed version of the input. Learn more about vocal resynthesis: [What is Resynthesis?](/evoke-manual/resynthesis) *** ### Sound design playground In addition to the core resynthesis engine, Evoke includes a flexible effects rack ideal for both enhancement and creative processing. Eight swappable effects are included, such as multi-band compression, frequency shifting, reverb, distortion, and more. Evoke also includes the powerful modulation system that is shared with our flagship products Current and Rift. Modulate any parameter with sequencers, envelope followers, and LFOs to add movement and depth. *** ### Built for everyone Although deeply technical under the hood, Evoke prioritizes fast, user-friendly workflows to inspire endless hours of music-making. Explore an expertly crafted library of more than 300 presets, or dive deep and create your own custom patches. # How to Install Evoke *** ### :download: Download the installer To get the latest installers, log in to your minimal.audio account and open the [My products](https://www.minimal.audio/account/products/software) page. Locate **Evoke** and download the installer for your operating system. Note that when connected to the internet, Evoke will notify you if an update is available, and you can download it directly from within the plugin. *** ### :circle-xmark: Quit your DAW Before installing, make sure to save and quit any projects that are currently open. This ensures the update installs correctly. *** ### :square-check: Install Evoke Open the installer: `Evoke.pkg` (macOS) or `Evoke.exe` (Windows). The installer will guide you through setup. You can choose to install the VST2, VST3, AU (macOS), and AAX (Pro Tools) plugin formats. *** ### :book-open: Open your DAW After installation, open your DAW and locate Evoke in your audio plug-ins folder. Note you may need to restart your computer before the plugin appears. If it still doesn’t show up, try rescanning plugins in your DAW or contact our support team for assistance. Please refer to your DAW’s manual for more information on loading and rescanning plug-ins. # System Requirements *** ### :computer-classic: Operating Systems * macOS 10.11 or later (native Apple silicon supported) * Windows 10 or later *** ### :plug: Plug-in Formats Evoke is an audio effect plugin and supports the following formats: * VST2 * VST3 * AU (macOS) * AAX (Pro Tools) To use Evoke, you must have a 64-bit digital audio workstation (DAW) that supports third-party plugins in at least one of these formats. # Quick Start *** ### Overview If you already use automatic tuning or harmonization tools, many of Evoke’s core concepts and workflows will feel familiar. Beyond that, Evoke adds comprehensive Resynthesis controls to create a wide range of vocal characters and transform your sound in new ways. Of course, you can also access these capabilities immediately through Evoke’s preset library. *** ### Initial Setup When you open a new instance, it’s important to set up Evoke to match your input. This provides the information it needs for optimal pitch tracking and harmonization. Evoke’s pitch tracking is intended for monophonic sources. A vocal is typical, but any pitched sound works. If you’d like to use Evoke on non-pitched or polyphonic sources, [**Global Modes**](/evoke-manual/global-modes), such as **MIDI Instrument** and **External**, can be used to bypass pitch tracking.
*** 1. **Set the scale.** In the **Keyboard Panel** (bottom-right), choose **Root Note** and **Scale Type** to match your project. You can customize the scale by toggling notes on the keyboard. 2. **Set Pitch Range.** To the left of the keyboard, set **Pitch Range** to optimize tracking. When audio is playing, a purple indicator highlights the recommended range. Select it to optimize Evoke for your input. ### Using Presets After setting Evoke’s scale and pitch range, follow these steps to start exploring presets and make them your own.
*** 1. **Load a preset.** click the preset name in the center of the **Top Bar** to open the browser. Open **Minimal Picks** (a collection of our favorites) and load a preset. 2. **Shape with Macros.** Adjust the two **Macro** knobs on the left side of the **Modulation Bar**. They can dramatically shape the preset and help you tailor it to your source. 3. **Blend the result.** use the **Dry Wet** slider (above the scale controls) to mix the processed signal with your original input. ### Designing Presets Here are common first steps for creating your own presets in Evoke.
*** 1. **Choose a character mode.** Use the icon dropdown in the top-left of the **Resynth View** to select a resynthesis mode, ranging from natural to highly synthetic. These modes have a major impact on how Evoke is resynthesizing the signal. 2. **Adjust Retune Speed and Amount.** In the center of the **Resynth View**, set **Retune Speed** and **Amount** to achieve the tuning that suits your style. These are the controls commonly found in automatic tuning software. Faster speed settings produce the popular hard-tuning effect. 3. **Go deeper.** Adjust Resolution and Formant, add harmony voices, and load effects in the **Effects View**. Read on to learn about the full feature set and sound-shaping capabilities of Evoke! # Overview and Navigation *** ### Overview This section introduces Evoke’s interface and the purpose of each area. You’ll learn how to navigate the plugin and what core features each area provides.
*** ### 1. Top Bar The [Top Bar](/evoke-manual/overview-and-navigation/top-bar) is where you load and save presets, view notifications, and access additional settings. Global output gain and limiter controls are on the right side of the Top Bar. Use them to control Evoke’s final output level. *** ### 2. View Tabs The tabs in the top-left of the plugin window open Evoke’s two main views: [Resynth](/evoke-manual/resynthesis) and [Effects](/evoke-manual/effects-rack). The **Effects** tab also includes a bypass button to quickly toggle the entire effects rack on and off. *** ### 3. Global Mode The [Global Modes](/evoke-manual/global-modes) dropdown in the top-right corner configures Evoke’s overall behavior and how it responds to external inputs. It includes the default **Pitch Track** mode, which works using only the main input signal, as well as advanced modes that integrate external MIDI or sidechain audio. *** ### 4. Main View The center panel displays the selected view based on the selected view tab. The [Resynth View](/evoke-manual/resynthesis) controls the core resynthesis processing, including auto-tuning, multi-voice harmonization, vocal modeling, and more. It is the first stage in Evoke’s signal chain and offers extensive options for shaping the character and tone of the resynthesized vocal. The [Effects View](/evoke-manual/effects-rack) provides a flexible effects rack applied to the resynthesized signal. Here you can load and reorder multiple effects to further enhance or transform your sound. *** ### 5. Modulation Evoke’s [Modulation System](/evoke-manual/modulation/modulation-assignments) includes two macro controls, six swappable modulators, and a full-featured mod matrix. Here you can quickly assign modulation via a drag-and-drop workflow, edit individual modulators, and swap modulator types without losing existing modulation connections. *** ### 6. Dry/Wet Controls A dedicated **Dry/Wet** section lets you set the global mix between the dry input and the processed wet signal to achieve the right balance. It is also possible to apply pitch correction on the dry signal by toggling **Dry Retune**. When enabled, the dry path is [retuned](/evoke-manual/resynthesis/retune-controls) the same way as the resynthesized output, keeping both signals harmonically aligned. *** ### 7. Keyboard Panel The [Keyboard Panel](/evoke-manual/keyboard-panel) lets you set the current musical scale and other settings so Evoke matches your project and is optimized for you input material. We recommend that you start here when opening a new instance. Getting these settings right will greatly improve resynthesis and pitch correction results. By default, these settings persist across presets. You can disable this by toggling the lock button on the right side of the panel. # Top Bar *** ### Overview The **Top Bar** offers quick access to essential controls and settings, including account information, notifications, settings, and options for loading and saving presets.
*** ### 1. Tooltips Click to enable in-app tooltips. Once enabled, hover over any control to learn more about its function. ### 2. Account Info Click to view your Minimal Audio account and license information. You can also log out of the plugin from this panel to free up a seat for use on another computer. ### 3. Notifications Click to view active messages or alerts, such as available updates or missing preset warnings. A red dot appears over the bell icon when there are notifications to check. ### 4. Preset Browser Click the current preset name to open the preset popup and browse all preset packs. ### 5. Save Preset Click to open the Save Preset popup and save your current preset to a user pack of your choice. ### 6. Random Preset Click randomly select and load a preset from the preset library. ### 7. Plugin Settings Click to view additional settings and actions such initializing the preset and settings the plugin’s window size. ### 8. Output Gain Use the Output Gain slider to adjust the plugin’s final output level. Click the Limiter button next to the slider to choose between two limiter modes. **Purple** applies gentle limiting and saturation, helping prevent clipping while maintaining a smooth sound. **Red** applies more aggressive, punchier soft clipping. # Keyboard Panel *** ### Overview Evoke’s Keyboard Panel contains controls for the global scale, pitch detection, and input processing. Start here after loading a new instance of Evoke to ensure the plugin is optimized for your incoming audio.
*** {% hint style="info" %} By default, all **Keyboard Panel** settings are preserved (locked) when you change presets. This is because these settings are more relevant to the input signal than to the rest of Evoke’s processing. If you would like to recall the **Keyboard Panel** settings that were saved with a preset, click the **Lock** button in the top-right of the panel. {% endhint %} ### 1. Input Controls The **Input Controls** provide tools for gain staging and cleaning up the input signal. These adjustments occur before any other processing. ### 2. Pitch Range The **Pitch Range** setting provides a way to limit Evoke’s pitch detection to a specific frequency range. Matching this setting to your input material can help stabilize pitch tracking. ### 3. Keyboard Evoke’s **Keyboard** can be used to enable or disable notes in the current scale and provides visual feedback on pitch detection, such as the currently detected note. ### 4. Scale Settings Use the **Scale Settings** to set the root note, choose the preset scale type, and adjust Evoke’s reference pitch. These settings ensure Evoke matches your project, especially when using multi-voice harmonization. # Scale and Tuning *** ### Overview Use the scale and tuning controls to ensure Evoke only plays notes relevant to your input material. We recommend that you set these whenever loading a new instance to improve detection and enable scale-aware processing (e.g., diatonic harmonization).
*** ### 1. Keyboard Evoke’s **Keyboard** lets you enable or disable specific notes in your scale. Click any key to toggle it. It also provides visual feedback: the currently playing note, the currently detected note, and which notes are included in the scale. {% hint style="info" %} The currently detected note appears as a white highlight at the top edge of its key. Use this to decide which notes to include or exclude from the scale. The longer a pitch is detected, the longer the highlight persists before fading out. {% endhint %} ### 2. Scale Controls **Scale Root.** Choose the root note for the selected scale. Changing the root will transposes all scale notes accordingly. **Scale Type.** Select a preset scale for pitch tracking and harmonization. You can further customize it by toggling individual keys on the **Keyboard**. {% hint style="info" %} Even if you customize **Chromatic** to match a specific scale, harmonization remains chromatic. Scale-aware (diatonic) processing is enabled only when you select a non-chromatic option in the **Scale Type** dropdown. {% endhint %} ### 3. Reference Frequency By default, Evoke uses the standard concert pitch **A4 = 440 Hz**. Change the **Reference Pitch** to match sources tuned differently (e.g., **A4 = 432 Hz**) when required. ### 4. Preset Locking When **Preset Locking** is on, all **Keyboard Panel** settings, including **Input** and **Pitch Range**, are preserved when you change presets. This is the default behavior in Evoke because these settings are tied to the input signal rather than the preset. Turn **Lock** off to load the **Keyboard Panel** settings saved with the selected preset. Settings affected by **Preset** **Locking:** * Scale Root * Scale Type * Reference Pitch * Keyboard Notes * Input Gain * Input Gate # Input and Pitch Range *** ### Overview Use the **Input** and **Pitch Range** controls to clean up the input before any processing and to define how pitch detection operates across frequency ranges. These settings help optimize Evoke for your input, but they typically don’t require frequent adjustment.
*** ### 1. Input Gain Set the input level before any pitch detection or processing. This is useful for gain staging or driving a preset. Raising the level of very quiet signals can improve pitch detection, although this is not usually necessary. ### 2. Input Gate Set the amount of gating applied to the input signal before any pitch detection or processing. This helps remove unwanted noise that can cause unstable pitch detection and other artifacts. Two **Gate Speed** options are included: * **Fast.** Reacts quickly to level changes. Ideal for dynamic sources. * **Slow.** Reacts more gradually. Ideal for sustained sounds. ### 3. Pitch Detector Range The **Pitch Range** setting limits Evoke’s pitch detection to a specific frequency range. Match it to your input to reduce pitch flutter and other tracking artifacts. This setting also affects Evoke's total latency: lower ranges require more latency, while higher ranges can run with less. Four **Pitch Range** options are available: * **Full.** Detects pitches across the entire frequency range. Good for quick setup, but often less stable than the more restrictive options. * **High.** Limits pitch detection to higher frequencies. * **Mid.** Limits pitch detection to midrange frequencies. * **Low.** Limits pitch detection to low/bass frequencies. {% hint style="info" %} While audio is playing, the circular indicator next to a range option highlights the recommended setting. This can help if you’re unsure which range to choose. Note that a range that isn’t always recommended may still product good results. For instance, if both **High** and **Mid** are highlighted during different sections of a track, either will likely work. Choose the one that’s recommended more often. {% endhint %} # Resynthesis *** ### Overview The core of Evoke is its resynthesis processing. This process captures key features from the input signal, lets you manipulate those elements with the built-in controls, and then uses them to reconstruct a new version of the sound. The **Resynth View** provides access to this resynthesis process, including creative character modes, detailed vocal modeling, auto-tuning, harmonization, and spectral shaping. Designed to blur the line between real and imaginary, it preserves the expressive nuances that make each voice unique and unlocks new possibilities for lead, backing, and textural vocal performances. *** ### What is Resynthesis? **Resynthesis** is the process of analyzing a sound to capture its core elements, then reconstructing it with a synthesizer using that information. While the final result may sound similar to the input, it is an entirely new signal. By breaking sounds down into the building blocks of **pitch**, **spectral envelope**, and **timbre**, each of these elements can be manipulated independently before being used to resynthesize the input. This allows you to transform a sound in ways that aren’t possible with traditional processing, replacing or reshaping certain aspects of the signal while preserving others. In Evoke, the input’s **pitch** is automatically detected and retuned, similar to traditional auto-tuning effects, unlocking everything from natural enhancement to hard-tuning and complex harmonies. The **spectral envelope** is captured using a vocal modeling process that analyzes the voice’s frequency content and overall dynamics in detail. This allows Evoke to recreate the expressive nuances of the original performance while giving you the flexibility to reshape the tone in creative new ways. Finally, Evoke combines all of this with a specially tuned synthesis engine that offers a wide range of **timbres**, allowing you to quickly explore character profiles ranging from natural choral effects to futuristic voices and textured sounds like liquid or static. ***
*** ### 1. Resynth Response At the center of the **Resynth View** is the **Resynth Response** graphic, which displays the vocal-modeling filter used to resynthesize the input signal. Adjustments to controls such as **Resolution** and **Formant** are reflected here in real time. You can also create custom [**Spectrum Filter**](/evoke-manual/resynthesis/spectrum-filter) shapes by clicking directly on the response graphic or by using the **Spectrum Control Bar**, which appears on hover. After creating a filter shape, adjust or modulate it with the [**Spectrum Controls.**](/evoke-manual/resynthesis/spectrum-filter) ### 2. Character Modes The [**Character Modes**](/evoke-manual/resynthesis/character-modes) dropdown provides options for how Evoke resynthesizes the input signal. Think of these modes as full synthesizer presets that inject different timbres into the resynthesis process. Choose from diverse vocal characters, from natural unison to synthetic and textural effects. ### 3. Resynthesis Controls The [**Resynthesis Controls**](/evoke-manual/resynthesis/resynthesis-controls) provide access to core resynthesis settings and can significantly shape the output’s character and tone. On the left are the **Character Controls**, which adjust the timbre defined by the current **Character Mode**. Behavior varies by mode. **Shape** and **Color** act as mode-specific macro controls. On the right are the **Vocal Modeling Controls**, which adjust the spectral envelope captured from the input signal. These controls include formant shifting as well as adjusting the resolution of the spectral envelope. ### 4. Harmonization Voices Evoke’s [**Harmonizer Voices**](/evoke-manual/resynthesis/harmonizer-voices) let you layer up to four resynthesized voices, each with its own tuning and mix controls. Use them to create lush choruses, octave stacks, and even robotic tuning effects. ### 5. Retuning Controls The [**Retuning Controls**](/evoke-manual/resynthesis/retune-controls) provide essential auto-tuning parameters such as **Retune Speed** and **Amount**, along with a tuning display that shows retuning in real time. ### 6. Spectrum Controls The [**Spectrum Controls**](/evoke-manual/resynthesis/spectrum-filter) provide immediate control over the **Spectrum Filter**, which you can customize by clicking the **Resynth Response**. Use them to quickly change the overall tone or create movement across the entire spectrum. ### 7. Freeze Controls The [**Freeze Controls**](/evoke-manual/resynthesis/resynthesis-controls) provide a way to hold the input signal’s current spectral envelope, so individual vowels or other sounds can be frozen in time. Freezing can be automated by modulating the **Freeze** button or by enabling **Retrigger Mode**, which automatically freezes at intervals synced to BPM or set by a millisecond value. # Character Modes *** ### Overview Evoke includes a wide selection of **Character Modes** that shape the personality of the resynthesized output. Each mode uses a distinct internal process, so one may produce lush unison and choral textures while another creates futuristic, robotic effects. On a technical level, these modes determine the timbre and harmonic structure used during resynthesis. They do not change the fundamental pitch or the spectral envelope; those are set by the retuning and vocal modeling stages, respectively. {% hint style="info" %} Trying different character modes after loading a preset can produce interesting variations since they have such a large impact on the sound. {% endhint %}
*** **Character Modes** are grouped into three categories: * **Natural.** Produce organic results that complement the human voice. * **Synthetic.** Emphasize modern synthetic timbres with complex frequency spectra. * **Texture.** Create non-pitched timbres such as noise, static, or liquid textures. ### Character Modes * **Unison.** Thickens the sound by layering slightly detuned copies of the voice. * **Choral.** Emulates a small vocal ensemble for lush, harmonized textures. * **Contour.** Reminiscent of a bowed string instrument, for woody, organic sounds. * **Oracle.** Produces resonant overtones for deep harmonic effects. * **Poly-Sync.** Uses a hard-sync method to produce rich harmonics. * **Harmonic.** Produces chord-like effects based on the harmonic series. * **Vocoid.** A modern twist on classic vocoder and talkbox sounds. * **Pulsar.** Layers and spreads multiple oscillators to produce complex harmonics. * **Droid.** Uses spectral processing to create futuristic digital timbres. * **Mecha.** Produces resonant, robotic sounds reminiscent of sci-fi voices. * **Corrupt.** Glitchy, unstable effects that simulate digital audio corruption. * **Static.** Noise-based, with variable amounts of crackling and digital noise effects. * **Liquid.** Wet, fluid sounds with evolving textural movement. * **Alloy.** Metallic, spectral sounds with harmonic shifting and rich feedback. * **Data.** Digital textures reminiscent of futuristic user interfaces. # Resynthesis Controls *** The Resynthesis Controls provide access to Evoke’s core resynthesis engine. Use them to sculpt timbre, pitch, and the spectral envelope, which together define the sound’s overall tone and identity.
*** ### 1. Character Modes **Character Modes** select the timbre and harmonic structure Evoke will use when resynthesizing the input. They also define how **Shape** and **Color** behave. See the [Character Modes](/evoke-manual/resynthesis/character-modes) page for more details. ### 2. Utility Controls These controls are minimally impacted by the current Character Mode and they can be used to adjust the level of realism in the resynthesized output. **Detune.** Introduces slight pitch variations to each resynthesized voice. Use it to create thicker, more natural-sounding tuning and harmonization. **Breath**. Controls the amount of noise injected into the resynthesized signal during unpitched sections such as breaths and plosives. At 100%, only noise is used, which produces the most realistic effect. At 0%, no noise is added, and only the tuned signal is used, which has a much more synthetic sound. {% hint style="info" %} More highly processed **Character Modes** often benefit from reducing or disabling **Breath** because they no longer sound natural, and therefore, realistic untuned sections can sound out of place. {% endhint %} ### 3. Character Controls These controls affect the timbre and tone of the resynthesized output, and the specifics of how they work are determined by the current **Character Mode**. See the [Character Modes](/evoke-manual/resynthesis/character-modes) page to learn how each mode impacts these controls. **Shape.** The primary control for the resynthesized character. Often adjusts the harmonic structure of the sound. **Color.** The secondary control for the resynthesized character. Often brightens or darkens the tone, or introduces natural detuning. **Width.** Controls the stereo width of the resynthesized signal. This widening occurs before the per-voice panning in **Harmonizer Voices**. ### 4. Global Pitch **Pitch.** The central Pitch knob adjusts the overall pitch shift applied to the resynthesized signal. It is measured in semitones in **Chromatic** mode and in scale degrees in non-chromatic **Scale Types**. **Pitch Hold.** When enabled, changes to **Pitch** and per-voice tuning controls take effect only when the retuned note changes. This helps preserve the original melodic contour while allowing pitches to be manipulated in real time. {% hint style="info" %} Try enabling **Pitch Hold** when modulating **Pitch**. This will produce much more natural and controlled results, allowing you to create complex movement and melodic sequences without losing the shape of the original melody. {% endhint %} ### 5. Vocal Modeling These controls affect the spectral envelope used in the resynthesized output. Use them to shape the vocal’s identity so it sounds lower or higher, closer to the original voice or more like a synthesizer. These controls are visualized in the **Resynth Response**, making it clearer how each one affects the overall sound. **Resolution.** Controls the fidelity and detail of the vocal model. At 100%, the original spectral envelope is reproduced almost perfectly, while at 0% the output sounds more like a synthesizer than a vocal. 50% is generally a good setting for sounds reminiscent of classic vocoders. **Formant.** Shifts the spectral envelope up or down in frequency so it sounds higher or lower in character without changing pitch, similar to how different singers can sound different while singing the same part. **Blur.** Smears the spectral envelope over time. The effect is similar to time stretching, but low and high frequencies smear differently. At 100%, the envelope is essentially held. At 0–50%, it often sounds more organic and can create a unique doubling effect when blended with the dry signal. ### 6. Freeze Controls Use these controls to freeze the analysis of the input signal, holding the current pitch and spectral envelope to produce sustained vowels and other effects. Because only the analysis is frozen, all of Evoke’s controls continue to function, letting you create evolving soundscapes, and more. **Freeze.** Toggle to capture and hold the current input’s pitch and spectral envelope. **Retrigger.** When enabled, a new freeze is captured at the interval set by **Rate**. * **Rate.** Sets how often the freeze is retriggered. * **Sync.** Synchronizes retriggering to tempo-based note values. {% hint style="info" %} Assign modulation to **Freeze** to create frozen sequences and glitchy movement. The **Follower** modulator can produce interesting results when it freezes and sustains either quiet sections or loud peaks. {% endhint %} # Harmonizer Voices *** ### Overview Evoke’s **Harmonizer Voices** provide up to four resynthesized voices with individual tuning and mix controls, enabling rich, layered harmonies and other creative effects.
*** ### 1. Voice Tabs Each of the four voices can be accessed and enabled using the tab buttons at the top of the **Harmonizer Voices** area. The current tuning settings are also displayed on these tabs, making it easier to see which voice is responsible for each harmony layer. Values are shown in semitones in **Chromatic** mode and in scale degrees in non-chromatic **Scale Types**. ### 2. Tuning Controls Use each voice’s tuning controls to create multi-voice harmonies and transposition effects. **Interval.** Sets the interval offset of the voice relative to the base retuned pitch. It is set in semitones in **Chromatic** mode and in scale degrees in non-chromatic **Scale Types**. **Octave.** Shifts the voice up or down by a whole octave. This provides a wider pitch range and the possibility of easy octave stacking. ### 3. Tuning Mode Each voice can use one of two tuning modes: * **Fixed.** Locks the voice to a constant note or interval, ignoring pitch tracking. * **Track.** Follows the detected pitch, so the tuning controls remain relative to the current retuned note. {% hint style="info" %} The **Fixed** tuning mode is useful for creating static notes and chords, which can produce more synthetic-sounding effects. Try using a single voice with a very low fixed interval, then layer additional voices on top. You can also modulate **Interval** in this mode to create pitch sequences independent of the input pitch. {% endhint %} ### 4. Mix Controls **Level.** Adjusts the volume of each voice in the mix. Use it to achieve the desired balance between voices, or modulate it to create rhythmic effects. **Pan.** Positions the voice in the stereo field (left to right) to create spatial effects and improve separation between voices. {% hint style="info" %} Try modulating **Pan** to create auto-pan effects. Pan each voice differently to build complex stereo movement. {% endhint %} # Retune Controls *** ### Overview If you already use automatic tuning tools, the **Retune Controls** will feel familiar. Use them to set how Evoke retunes the detected pitch used for resynthesis, from transparent pitch tracking to ultra-hard tuning. The detected pitch is first snapped to the current **Scale**, then corrected based on **Retune Amount** and **Retune Speed**. The **Tuning Display** shows the corrected note and its deviation from the target so you can visualize the effect of these settings. {% hint style="info" %} These controls are also used to retune the dry signal when **Dry Retune** is enabled in the **Dry/Wet** area. Retuning the dry signal can help glue the input and resynthesized melodies into a single effect. {% endhint %}
*** ### 1. Tuning Display The **Tuning Display** shows the current retuned note after pitch correction is applied. The center shows the current note name. On either side, indicators show how far the note is from target pitch within a ±100-cent range. Use this to visualize how the **Retune** **Controls** affect the sound. ### 2. Retune Controls **Retune Amount.** Controls how much pitch correction is applied. At 100%, notes are corrected to their target pitch. At 0%, there is no correction and the original pitch passes through. The applied amount is then smoothed by **Retune Speed**, so **Retune Amount** will have little effect at slow speed settings. **Retune Speed.** Adjusts how quickly pitch correction is applied. Slower settings result in more gradual correction, allowing more of the original pitch to pass through at note onsets. Very fast settings produce hard-tuning effects. **Glide Mode.** When enabled, **Retune Speed** is replaced by **Retune Glide Time**, which adds synthetic portamento between notes, similar to a traditional synthesizer. Longer times produce more pronounced glides, while shorter times keep transitions tight. # Spectrum Filter *** ### Overview Evoke’s **Spectrum Filter** provides additional shaping of the resynthesized signal through spectral filtering. Filter shapes can be drawn directly on the **Resynth Response** in the center of the **Resynth View**. After creating a shape, further manipulate it using the **Spectrum Controls** in the bottom-right. Use this for tonal adjustments in place of a traditional EQ, or design complex filter curves that can be modulated for creative movement. *** ### Spectrum Filter Response The **Resynth Response** displays the current spectral envelope and can also be used to create custom filter shapes.
*** ### 1. Spectrum Filter Response Hover over the **Resynth Response** to highlight the current (unmodulated) **Spectrum Filter** shape. Click and drag to edit the shape and create your own filter responses. {% hint style="info" %} Hold **Command** (macOS) or **Ctrl** (Windows) while dragging to edit only the odd bands on the response curve. Add **Option** (macOS) or **Alt** (Windows) to invert this behavior and edit only the even bands. Double-click a band to reset it. {% endhint %} ### 2. Spectrum Control Bar Hover over the **Resynth Response** to reveal the **Spectrum Control Bar** in the top-right. Use it to perform actions such as generating and resetting the filter response. **Randomize.** Click the dice icon to generate a random filter shape for inspiration and unexpected tonal shaping. **Options Dropdown.** Click the wrench icon to view additional actions: * **Reset.** Reset the filter shape so no processing occurs. * **Low-pass.** Generate a centered low-pass filter that can be adjusted with the **Spectrum Controls**. * **High-pass.** Generate a centered high-pass filter that can be adjusted with the **Spectrum Controls**. * **Band-pass.** Generate a centered band-pass filter that can be adjusted with the **Spectrum Controls**. * **Notch.** Generate a centered notch filter that can be adjusted with the **Spectrum Controls**. * **Comb.** Generate a comb filter that can be adjusted with the **Spectrum Controls**. * **Invert.** Vertically invert the filter shape, flipping each band’s gain value. * **Reverse.** Horizontally reverse the filter shape, swapping each band’s frequency position. *** ### Spectrum Filter Controls The **Spectrum Filter Controls** let you manipulate the entire filter response at once. Use them to tune the overall response or create movement when combined with modulation. Hover over this area to highlight the affected filter response on the **Resynth Response**, including any modulation.
*** 1. **Bypass.** Click the spectrum icon to enable or disable the **Spectrum Filter**. 2. **Spectrum Controls.** Additional spectrum shaping is controlled by three parameters: **Tilt.** Adjusts the balance between low and high frequencies, tilting the filter toward brighter or darker sounds. **Shift.** Moves the entire filter up or down in frequency, similar to a standard filter’s cutoff control. **Scale.** Controls the intensity of the filter’s gain changes. At 0% the filter has no effect, while at 200% it exaggerates the response, pushing it toward extremes. # Effects Rack *** ### Overview Evoke’s **Effects Rack** includes 8 studio-grade effects you can load into up to 12 freely assignable slots. Once loaded, effects can be rearranged, swapped, or removed. The included effects are ideal for creating mix-ready presets, as well as creative sound design applications.
*** ### 1. Effect Rack Tab Open the **Effects Rack** by clicking the **Effects** tab at the top of the plugin window. This tab also includes a **Rack** **Bypass** button. Toggle it to switch the entire rack on or off and quickly compare the resynthesized signal with and without **Effects Rack** processing from any view. ### 2. Effect Slots Each **Effect Slot** can host any of the 8 included effects, providing a building block to enhance and further shape your sound. Effect slots support sub-presets and can be reordered, bypassed, and duplicated. See [**Shared Settings**](/evoke-manual/effects-rack/shared-settings) for details. ### 3. Effect Selector The **Effect Selector** lists all available effects. Click an effect to load it into the rack. The following effects are included: * [**Chorus.**](/evoke-manual/effects-rack/chorus) Add rich unison, stereo enhancement, and detuned feedback. * [**Compressor.**](/evoke-manual/effects-rack/compressor) Shape dynamics with up to three bands of dual compression. * [**Delay.**](/evoke-manual/effects-rack/delay) Create echoes, slapbacks, and tempo-synced rhythmic patterns. * [**Distortion.**](/evoke-manual/effects-rack/distortion) Add smooth saturation, tube distortion, or full-blown destruction. * [**Equalizer.**](/evoke-manual/effects-rack/equalizer) Balance and sculpt your sound with a flexible parametric EQ. * [**Filter.**](/evoke-manual/effects-rack/filter) Create complex movement with a stereo morphing filter. * [**Reverb.**](/evoke-manual/effects-rack/reverb) Place your sound in realistic spaces or create massive ambience. * [**Shifter.**](/evoke-manual/effects-rack/shifter) Add frequency shifting and ring modulation with FM and feedback. # Shared Settings *** ### Overview All effect types share some core settings and controls that can be used to customize the **Effects Rack** and speed up your workflow.
*** ### 1. Effect Bypass Toggle an effect on or off with the **Effect Bypass** button in the top left. Use it to audition and understand the effect’s impact on the current preset. ### 2. Drag Handle Click and drag the **Drag Handle** to quickly reorder effects. Changing the effect order can yield interesting variations. {% hint style="info" %} Hold **Option** (macOS) or **Alt** (Windows) and use the **Drag Handle** to copy one effect slot onto another. {% endhint %} ### 3. Effect Dropdown Click the effect name to view key options for changing the effect slot and loading effect presets. * **Factory.** Browse factory presets created by our team. * **User.** Access the **Default** preset and other presets you have saved. * **Save Preset.** Save the current settings as a new preset for easy recall. * **Show Presets.** Reveal the effect’s preset folder on your computer. Once open you can delete presets, or organize existing presets into multiple folders. * **Swap Effect.** Replace the current effect with another effect type. * **Remove Effect.** Remove the selected effect from the chain, clear all of its settings. ### 4. Effect Display Each effect includes a real-time display that shows how it is processing the signal. Most displays are interactive, letting you adjust parameters directly. Some effects include multiple display tabs. For example, Delay, Distortion, and Reverb provide an effect-specific display and additional filter controls. See the corresponding effect pages for details. ### 5. Mixing Controls Each effect includes utility controls for parallel processing and gain staging. * **In.** Sets the input level before the effect for optimal processing or to drive level-dependent effects. It can also be used as a send control for time-based effects such as Reverb and Delay. * **Out.** Sets the level after processing to apply any required gain compensation. * **Mix.** Blends the unprocessed (dry) and processed (wet) signal to find the ideal balance. # Chorus *** **Chorus** creates lush unison effects by layering up to 4 time and pitch-modulated copies of the input, mimicking multi-voice ensembles to add density and stereo width. It ranges from smooth and natural to over-the-top detuned feedback.
*** ### 1. Effect Dropdown The **Effect Dropdown** lets you remove or swap the effect and load or save sub-presets. See [**Shared Settings**](/evoke-manual/effects-rack/shared-settings) for dropdown options and detailed descriptions. ### 2. Chorus Voices Sets the number of modulated delay voices (up to 4). More voices create a denser, more complex modulation. ### 3. Chorus Display Shows the number of active voices and visualizes their stereo delay times as you adjust parameters. ### 4. Chorus Controls **Size.** Sets the modulation delay-time range. Larger values increase detuning and separation from the dry signal; smaller values produce a tighter sound with more audible phase cancellation. **Feedback.** Feeds a portion of the modulated signal back into the input, adding resonant, detuned delay effects. **Width.** Controls the stereo spread of the modulated voices. Higher values widen the chorus’s stereo image; lower values preserve the original stereo image. **Rate.** Sets the modulation speed. Slow rates provide gentle movement; faster rates create shimmering or warbling effects. ### 5. Mix Controls **In.** Sets the level of the input signal before the effect. **Out.** Sets the final level after processing and dry/wet mixing. **Mix.** Blends the unprocessed (dry) and processed (wet) signals. # Compressor *** ### Overview **Compressor** is a flexible dynamics processor for single or multi-band operation. With up to 3 bands of upward and downward compression, it provides precise control across the spectrum, from subtle enhancement to over-the-top effects.
*** ### 1. Effect Dropdown The **Effect Dropdown** lets you remove or swap the effect and load or save sub-presets. See [**Shared Settings**](/evoke-manual/effects-rack/shared-settings) for dropdown options and detailed descriptions. ### 2. Compressor Bands Selects the number of compression bands. * **1-Band.** Traditional full-spectrum compression that affects all frequencies equally. * **2-Band.** Splits the signal into low and high bands for targeted control. * **3-Band.** Splits the signal into low, mid, and high bands for full-spectrum shaping. ### 3. Compressor Display The **Compressor Display** lets you adjust crossover frequencies and per-band threshold and ratio settings. The display provides the following controls: * **Crossover Frequencies.** Drag the vertical handles to set the crossover points between bands and target specific frequency ranges. * **Downward Threshold.** Drag the upper wide horizontal line on each band to set its downward compression threshold. Downward compression reduces gain when the signal exceeds this level. * **Downward Ratio.** Drag the band’s stacked lines to set the downward compression ratio. Higher ratios apply more gain reduction; 1:1 applies none. * **Upward Threshold.** Drag the lower wide horizontal line on each band to set its upward compression threshold. Upward compression adds gain when the signal falls below this level. * **Upward Ratio.** Drag the band’s stacked lines to set the upward compression ratio. Higher ratios apply more gain boost; 1:1 applies none. {% hint style="info" %} Upward or downward compression can be disabled per band. To toggle, **Command-click** (macOS) or **Ctrl-click**(Windows) the band’s threshold or ratio in the display. The affected controls will be grayed out when inactive. {% endhint %} ### 4. Compressor Controls **Per-Band Makeup Gain.** Sets the output gain of each compressor band individually. This is useful for balancing the level of each band after applying the desired amount of compression. **Attack.** Controls how quickly the compressor responds once the signal exceeds the threshold. Faster settings will more tightly control transients, while slower settings provide punchier and more transparent leveling. **Release.** Determines how quickly compression eases off after the signal drops below the threshold. Faster settings will product louder pumping effects while slower settings are more transparent but result in more overall gain reduction. **Depth.** Scales the intensity of compression across all bands. 0% applies no compression; 200% exaggerates the per-band settings. This can be thought of as increasing or decreasing the ratio of all compressors at the same time. ### 5. Mix Controls **In.** Sets the level of the input signal before the effect. This can be used to change the level before compression is applied, producing a more or less intense effect. **Out.** Sets the final level after processing and dry/wet mixing. This can be used to apply makeup gain across all bands at once. **Mix.** Blends the unprocessed (dry) and processed (wet) signals. This can be used for parallel compression effects, allowing you to compress more aggressively while still letting some of the dry signal through. # Delay *** ### Overview **Delay** adds echoes, rhythmic patterns, and spacious textures. It includes a band-pass filter, ducking, and stereo width controls, making it suitable for everything from tight slapback effects to evolving ambient trails.
*** ### 1. Effect Dropdown The **Effect Dropdown** lets you remove or swap the effect and load or save sub-presets. See [**Shared Settings**](/evoke-manual/effects-rack/shared-settings) for dropdown options and detailed descriptions. ### 2. Filter Control These controls affect the variable-width band-pass filter placed within the delay’s feedback line. Use them to focus on specific frequencies, reduce low end, or produce warmer effects. These settings can also be adjusted by switching the **Display Tabs** to reveal the draggable **Filter Display**. **Filter Frequency.** Sets the center frequency of the band-pass filter where the delay is most pronounced. **Filter Width.** Adjusts the bandwidth around the center. Narrow settings isolate the delay to a small band; wider settings let more of the original signal through, producing a wider frequency response. ### 3. Delay Display The **Delay Display** visualizes stereo delay times and feedback in real time as you adjust parameters. Switch the **Display Tabs** to reveal the **Filter Display**, which provides a draggable filter response for adjusting the delay’s filter settings. ### 4. Delay Controls **Time.** Controls the delay time in seconds or BPM-synced values. **Time BPM Sync.** Click the button to the right of **Time** to toggle between BPM-synced values and seconds. **Feedback.** Sets how much of the delayed signal is fed back into the delay line. Higher values increase repeats and can reach near-infinite delays at extreme settings. **Width.** Adjusts the stereo spread of the delayed signal by applying a slight time offset between channels. Higher values create wide, immersive echoes; lower values produce stereo delays with identical time settings. ### 5. Ducking Controls The Delay’s built-in ducking lowers the delayed signal when the input is present, preventing the input from being masked by the effect and reducing clutter within the mix. **Depth.** Adjusts how much ducking is applied to the delayed signal. 0% results in no ducking. **Time.** Sets how quickly ducking engages after the input plays. Short times produce immediate reductions; longer times yield smoother, more gradual transitions. ### 6. Mix Controls **In.** Sets the level of the wet signal path before processing. This can be used as a delay send control. **Out.** Sets the final level after processing and dry/wet mixing. **Mix.** Blends the unprocessed (dry) and processed (wet) signals. # Distortion *** ### Overview The **Distortion** effect is an analog-inspired harmonic processor that can produce everything from warm saturation to broken tube-style distortion. It also includes filtering and tone controls for precise control of the effect’s color and frequency range.
*** ### 1. Effect Dropdown The **Effect Dropdown** lets you remove or swap the effect and load or save sub-presets. See [**Shared Settings**](/evoke-manual/effects-rack/shared-settings) for dropdown options and detailed descriptions. ### 2. Filter Controls These controls affect the variable-width band-pass filter placed before the distortion stage. Use them to focus on specific frequencies, reduce low end, or produce warmer effects. These settings can also be adjusted by switching the **Display Tabs** to reveal the draggable **Filter Display**. **Filter Frequency.** Sets the center frequency of the band-pass filter where the distortion is most pronounced. **Filter Width.** Adjusts the bandwidth around the center. Narrow settings isolate the distortion to a small band; wider settings let more of the original signal through, producing more harmonic content. ### 3. Distortion Display The **Distortion Display** visualizes the distortion’s response in real time as you adjust parameters. Switch the **Display Tabs** to reveal the **Filter Display**, which provides a draggable filter response for adjusting the distortion’s filter settings. ### 4. Distortion Controls **Drive.** Adjusts the amount of gain applied before distortion. Lower values produce more subtle saturation, while higher values produce more intense distortion. **Drive** also interacts with both **Crush** and **Bias** in interesting ways. **Crush.** Introduces additional nonlinear processing that can cause dropouts and additional compression. Higher settings can produce unpredictable effects, especially when combined with higher **Drive** and **Bias**. **Bias.** Applies asymmetry to the distortion curve, adding more even-order harmonics similar to analog tubes. Ideal for warmer saturation at lower **Drive** settings or overdriven-tube behavior at higher **Drive** settings. **Tone.** Tilts the frequency balance toward higher or lower frequencies to adjust the harmonic balance and color of the distortion. ### 5. Mix Controls **In.** Sets the level of the wet signal path before processing. Use it to drive the distortion harder or softer. **Out.** Sets the final level after processing and dry/wet mixing. Use for additional gain compensation if needed. **Mix.** Blends the unprocessed (dry) and processed (wet) signals. Use for parallel distortion effects. # Equalizer *** ### Overview **Equalizer** is an essential parametric EQ with up to four flexible filters to balance and enhance the input signal. Advanced tools like **Solo** and **Adaptive Q** streamline workflow and expand creative possibilities.
*** ### 1. Effect Dropdown The **Effect Dropdown** lets you remove or swap the effect and load or save sub-presets. See [**Shared Settings**](/evoke-manual/effects-rack/shared-settings) for dropdown options and detailed descriptions. ### 2. Equalizer Settings **Solo.** Solos the currently selected filter so you can hear its effect in isolation for precise adjustment. **Adapt Q.** When active, each filter’s internal Q setting is automatically adjusted based on its **Gain** setting: boosts and cuts become narrower at higher levels and wider at lower levels for more musical results. ### 3. Equalizer Display The **Equalizer Display** provides an easy way to select and adjust EQ filters while viewing the EQ’s frequency response and its effect on the input signal. Click and drag a circular indicator to select and adjust an individual filter. The controls to the right of the display always apply to the currently selected filter. ### 4. Equalizer Controls All controls to the right of the **Equalizer Display** affect the currently selected filter. **Filter Bypass.** Enable or disable the currently selected filter. **Filter Type.** Each filter can be set to one of the following types: * **Low Pass.** Cuts high frequencies; allows lows through. * **High Pass.** Cuts low frequencies; allows highs through. * **Band Pass.** Emphasizes a narrow frequency band while attenuating others. * **Notch.** Removes a narrow frequency range; useful for eliminating resonances. * **Peak.** Boosts or cuts around a center frequency; ideal for tone shaping. * **Low Shelf.** Boosts or cuts low frequencies with a gradual slope. * **High Shelf.** Boosts or cuts high frequencies with a gradual slope. **Frequency.** Sets the filter’s center or cutoff frequency. **Gain.** Adjusts the level of the peak or shelf filter to apply boosts or cuts to the selected range. **Q.** Controls the bandwidth and resonance of the filter. Lower values produce narrower, more surgical responses; higher values result in wider responses. ### 5. Mix Controls **In.** Sets the level of the wet signal path before processing. Use it for gain staging the processed path without affecting the dry signal. **Out.** Sets the final level after processing and dry/wet mixing. **Mix.** Blends the unprocessed (dry) and processed (wet) signals. # Filter *** ### Overview **Filter** is a multi-mode morphing filter with multiple slope options and stereo control. It can handle simple filtering, but it really shines when combined with modulation to create dynamic filter movement, making it a powerful tool for sound design, mixing, and performance.
*** ### 1. Effect Dropdown The **Effect Dropdown** lets you remove or swap the effect and load or save sub-presets. See [**Shared Settings**](/evoke-manual/effects-rack/shared-settings) for dropdown options and detailed descriptions. ### 2. Filter Order The **Filter Order** determines how quickly frequencies are attenuated beyond the cutoff point. You can toggle between 12 dB/octave and 24 dB/octave modes: * **12 dB/octave.** Produces a gentler roll-off for a more natural, subtle effect. * **24 dB/octave.** Creates a steeper roll-off for tighter control, more pronounced filtering, and rounder resonance, similar to popular ladder filters. ### 3. Filter Display The **Filter Display** shows the current filter response and its effect on the input signal. Click and drag the circular indicator to adjust **Cutoff** and **Resonance**, or hold **Command** (macOS) or **Ctrl** (Windows) to adjust **Morph** instead of **Resonance**. The current **Cutoff** value appears in the top-right of the display. ### 4. Filter Controls **Cutoff.** Sets the filter’s cutoff frequency, where attenuation begins. **Resonance.** Sets the level of the peak at the cutoff frequency. 0% produces no peak; higher values create an intensely resonant peak. **Morph.** Smoothly interpolates between low-pass, band-pass, high-pass, and notch filter types for expressive movement and fluid tonal shifts. **Spread.** Offsets the cutoff between left and right channels to create super-wide filtering effects. ### 5. Mix Controls **In.** Sets the level of the wet signal path before processing. **Out.** Sets the final level after processing and dry/wet mixing. **Mix.** Blends the unprocessed (dry) and processed (wet) signals. # Reverb *** ### Overview **Reverb** provides reverberation effects ranging from natural rooms to endless ambient spaces, adding depth and dimensionality to your sound. Flexible tonal shaping and dynamic controls help it sit in a mix, and it can also serve as a creative tool for spatial effects.
*** ### 1. Effect Dropdown The **Effect Dropdown** lets you remove or swap the effect and load or save sub-presets. See[ **Shared Settings**](/evoke-manual/effects-rack/shared-settings) for dropdown options and detailed descriptions. ### 2. Filter Controls These controls affect the variable-width band-pass filter applied to the reverb’s input. Use them to focus on specific frequencies, reduce low end, or produce warmer effects. These settings can also be adjusted by switching the **Display Tabs** to reveal the draggable **Filter Display**. **Filter Frequency.** Sets the center frequency of the band-pass filter where the reverb is most pronounced. **Filter Width.** Adjusts the bandwidth around the center. Narrow settings isolate the reverb to a small band; wider settings let more of the original signal through, producing a wider frequency response. ### 3. Reverb Display The **Reverb Display** visualizes reverb size and decay in real time as you adjust parameters. Switch the **Display Tabs** to reveal the **Filter Display**, which provides a draggable filter response for adjusting the reverb’s filter settings. ### 4. Reverb Controls **Size.** Controls the perceived size of the virtual space’s early reflections. Smaller values simulate intimate rooms; larger values simulate large halls and provide material for ambient textures. **Decay.** Determines how long the reverb tail lasts. Short decays are tight and subtle. Long decays create lush, evolving spaces. **Modulation.** Applies subtle movement to the reverb reflections, adding richness and depth. Useful for creating dreamy or slightly detuned effects. ### 5. Ducking Controls The Reverb’s built-in ducking lowers the delayed signal when the input is present, preventing the input from being masked by the effect and reducing clutter within the mix. **Depth.** Adjusts how much ducking is applied to the reverb signal. 0% results in no ducking. **Time.** Sets how quickly ducking engages after the input plays. Short times produce immediate reductions; longer times yield smoother, more gradual transitions. ### 6. Mix Controls **In.** Sets the level of the wet signal path before processing. Use it as a reverb send control. **Out.** Sets the final level after processing and dry/wet mixing. **Mix.** Blends the unprocessed (dry) and processed (wet) signals. # Shifter *** ### Overview **Shifter** provides stereo frequency shifting, ring modulation, and amplitude modulation with feedback and FM. It can create inharmonic, robotic effects, distinctive harmonic distortion, barber-pole phasing, auto-pan, and more.
*** ### 1. Effect Dropdown The **Effect Dropdown** lets you remove or swap the effect and load or save sub-presets. See [**Shared Settings**](/evoke-manual/effects-rack/shared-settings) for dropdown options and detailed descriptions. ### 2. Shifter Mode **Freq Shift.** Applies linear frequency shifting to the signal. At higher shift amounts, it moves the sound up or down in frequency but also alters harmonic relationships, often producing inharmonic results. At lower amounts, mixing with the dry signal can create barber-pole phasing. **Ring Mod.** Multiplies the input signal by a sine oscillator, generating sidebands above and below the original frequencies. At higher frequencies, this produces complex, often inharmonic tones useful for metallic or bell-like effects. At lower frequencies, it can produce tremolo or auto-panning, though amplitude modulation is often better suited for these tasks. **Amp Mod.** Modulates the signal’s amplitude with an internal oscillator, generating sidebands above and below the original frequencies while preserving more of the original input than ring modulation. At higher frequencies, it produces rich harmonic effects. At lower frequencies, it can create tremolo or auto-panning. ### 3. Shifter Display The **Shifter Display** visualizes stereo frequency shifting, phase, and feedback as you adjust parameters in real time, providing a clear view of changes. ### 4. Shifter Controls **Frequency.** Sets the internal modulation oscillator frequency. Higher values (positive or negative) produce more intense shifting and harmonic effects, while values near zero produce slower phaser, tremolo, and auto-pan effects. **Frequency BPM Sync.** Click the button to the right of **Frequency** to toggle between frequency and BPM-synced values. **Feedback.** Feeds a portion of the output signal back into the input path. It increases resonance, intensifies harmonic distortion, and can lead to chaotic, noisy textures at high settings. **FM.** Sets how much the input signal frequency-modulates the internal oscillator, introducing additional harmonic complexity. Lower values produce saturation-like sounds, while higher values can result in full-on harmonic destruction. **Phase.** Offsets the stereo phase of the internal oscillator. While it can always be used to widen the stereo image, the effect is most pronounced at lower **Frequency** settings, where it can create stereo phasing and auto-pan effects. ### 5. Mix Controls **In.** Sets the level of the wet signal path before processing. Use it to drive the effect harder when using FM. **Out.** Sets the final level after processing and dry/wet mixing. **Mix.** Blends the unprocessed (dry) and processed (wet) signals. In **Freq Shift** mode, set this to 50% to produce a barber-pole phasing effect at low **Frequencies**. # Modulation *** ### Overview Evoke’s powerful modulation system can be used to add movement and depth to presets. It includes macros, LFOs, curve sequencers, and envelope followers, which you can assign to any parameter to create rhythmic motion, sequences, and more. Assign modulation via drag and drop, or edit it in detail in the **Mod Matrix**. Swap modulator types for fast, creative experimentation. A color-coded highlight system keeps the selected modulator and its connections in focus.
*** ### 1. Modulation Matrix The **Matrix** button opens the [**Mod Matrix**](/evoke-manual/modulation/mod-matrix) pop-up. Here you can edit all modulation assignments at once or focus on the connections for a single control or modulator. You can also open the **Mod Matrix** pop-up for any control or modulator. **Command-click** (macOS) or **Ctrl-click** (Windows) a control or modulator, or use the right-click menu. ### 2. Macro Knobs Two macro knobs can be used to control multiple parameters at once. All factory presets have these knobs preassigned for immediate, high-impact control, making them a great place to start when you load a new preset. ### 3. Modulation Control Bar The [**Modulation Control Bar**](/evoke-manual/modulation/modulation-control-bar) is the central hub for modulation. Use it to preview each modulator’s activity, assign modulation sources, open modulator panels for editing, and swap modulator types. ### 4. Modulator Panel Each modulator has a dedicated panel for in-depth editing. Open a panel by clicking the modulator in the **Modulation Control Bar**. # Modulation Control Bar *** ### Overview The **Modulation Control Bar** provides an overview of Evoke’s six freely assignable modulators. It also lets you assign modulation, swap or copy modulator types, and open each modulator’s panel for editing.
*** ### 1. Modulator Preview Each modulator shows a preview of its output once it’s assigned to one or more controls. Hover over this area to highlight all related modulation connections in yellow. Click to open the modulator’s panel for further editing. You can also assign modulation by clicking and dragging from the preview area onto a control. Right-click the preview to open a menu with the following options: * **View in Mod Matrix.** Open the **Mod Matrix** pop-up for this modulator to view and edit all of its connections at once. * **Bypass Destination.** Enable or disable any of the related modulation connections. * **Remove Destination.** Remove any of the related modulation connections. * **Reset Modulator.** Reset the modulator to its default settings while preserving all connections. {% hint style="info" %} Hold **Option** (macOS) or **Alt** (Windows) and drag the modulator’s preview area to copy it to another modulator slot. **Command-click** (macOS) or **Ctrl-click** (Windows) a modulator’s preview area to open the **Mod Matrix** pop-up for that modulator, where you can view and edit all its connections at once. {% endhint %} ### 2. Modulator Assignment Icon Each modulator includes a circular icon dedicated to assigning modulation via drag and drop. Click and drag the icon, then drop it on the desired control. When you add a modulation assignment, the relevant modulator panel opens automatically when possible. ### 3. Modulator Type Dropdown Click a modulator’s name to change its type ([LFO](/evoke-manual/modulation/morphing-lfo), [Curve](/evoke-manual/modulation/curve-sequencer), [Follower](/evoke-manual/modulation/envelope-follower)). All modulation assignments remain intact, making it easy to experiment with different movement throughout the preset. # Modulation Assignments *** ### Overview Evoke supports multiple ways of assigning modulation. Once a modulator is connected to a control, most settings can be adjusted directly on the control (knob or slider). Additional options can be edited in the [**Mod Matrix**](/evoke-manual/modulation/mod-matrix) or by right-clicking the control. ### Assigning Modulation There are multiple ways to assign modulation: * Drag a **Modulator Assignment Icon** from the [**Modulation Control Bar**](/evoke-manual/modulation/modulation-control-bar) onto a control. * Open the [**Mod Matrix**](/evoke-manual/modulation/mod-matrix) and select the modulation source and destination. * Right-click a control and select **Add Modulator**. ### Modulation Amount Once you assign modulation, a circular **Modulation Slider** appears next to the control. Drag it to adjust the amount of modulation applied to that parameter. If multiple modulators are assigned to a control, the currently highlighted modulator’s slider appears in yellow. You can also drag another modulator onto the **Modulation Slider** to modulate the first modulator’s depth. More on this below.
*** {% hint style="info" %} **Option-Shift-click** (macOS) or **Alt-Shift-click** (Windows) the modulation slider to toggle bipolar modulation. You can also hold these keys during drag-and-drop assignment to apply bipolar modulation automatically. {% endhint %} ### Multiple Modulation Assignments When multiple modulators are assigned to a parameter, a **Modulation Assignment Dropdown** icon appears next to the control. Click it to choose which **Modulation Slider** to display and edit. Selecting a modulator highlights its connections throughout the plugin and opens its panel when possible. ![](/files/STXxpX8OKjQL7r1JrFtQ) *** You can also choose **View in Mod Matrix** to edit all connections for that control at once. ### Depth Modulation ![](/files/XBMJ9ZuJ0zOeiUvG8MfE) *** **Depth Modulation** refers to using a second modulator to automate the amount of modulation being applied by the initially assigned modulator (the depth of another modulation connection). A common application is using a macro knob to apply **Depth Modulation** to an existing LFO assignment, so the macro controls how much LFO modulation is applied. You can create a depth modulation connection by dragging and dropping any modulator onto an existing **Modulation Slider**, using the **Mod Matrix**, or right-clicking a **Modulation Slider** and selecting **Add Depth Mod**. Once assigned, an inner ring appears within the **Modulation Slider** to represent the **Depth Modulation** amount. Drag the **Modulation Slider** to set the depth modulation amount. To adjust the original modulation as if no **Depth Modulation** were assigned, hold **Shift** and drag the slider. {% hint style="info" %} While it’s possible to edit **Depth Modulation** from the **Modulation Slider**, it’s often easier to control and understand in the [**Mod Matrix**](/evoke-manual/modulation/mod-matrix). {% endhint %} ### Modulator Slider Options Right-click a **Modulation Slider** to open a menu with the following options: * **Set Bipolar/Unipolar.** Toggle bipolar or unipolar behavior. Bipolar modulation moves above and below the current setting; unipolar moves only in one direction, depending on how the assignment is set. * **Set Bypassed/Active.** Enable or disable the modulation assignment. Useful for checking the effect of the modulator without removing it. * **View in Mod Matrix.** Open the **Mod Matrix** for the connected control to view all its connections at once. * **Remove Modulator.** Remove the modulation assignment. * **Add/Remove Depth Mod.** Add or remove a **Depth Modulation** assignment. * **Show Modulator Panel.** Open the connected modulator’s panel. {% hint style="warning" %} Text sliders do not support all of this behavior, so we recommend editing their modulation in the [Mod Matrix](/evoke-manual/modulation/mod-matrix). Improved text slider modulation will be added in a future update. {% endhint %} # Mod Matrix *** ### Overview Evoke’s **Mod Matrix** provides a dedicated space for detailed modulation editing. It can be opened from multiple contexts to fit a variety of workflows. It supports two modes: 1. **Global.** View and edit all modulation assignments in the preset at once, with optional filtering. This is a clear way to see how modulation is set up across the preset. 2. **Focused.** Inspect and edit the connections for a single parameter or modulator. This lets you adjust a single source or destination in detail without interrupting your workflow. *** ### Global Mod Matrix This view provides a classic modulation-matrix layout where all connections can be viewed and edited in one place. It’s useful for understanding modulation throughout a preset and quickly locating specific connections.
*** ### 1. Opening the Global Mod Matrix Click the **Matrix** button to the left of the **Modulation Control Bar** to open the global **Mod Matrix** and view all modulation connections at once. This opens a full pop-up over the main window. Once the **Mod Matrix** is open, click any modulator in the **Modulation Control Bar** to view its connections. ### 2. Connection Filtering Use the filters in the top-left of the **Global Mod Matrix** to choose which modulators (sources) and destinations (parameters) are shown. This can be used to locate specific connections in complex presets. A **Bypass** button lets you toggle filtering on or off quickly. *** ### Focused Mod Matrix Use the **Focused Mod Matrix** when you want to work only on the connections for a specific parameter or modulator. This pop-up shows just the relevant sources and destinations, making it easy to view, create, and edit connections without scanning the entire matrix. Open it by **Command-clicking** (macOS) or **Ctrl-clicking** (Windows) a control or modulator, or by opening the right-click menu and selecting **View in Mod Matrix**.
*** ### 1. Opening the Focused Mod Matrix To open the pop-up for an individual control or modulator, **Command-click** (macOS) or **Ctrl-click** (Windows) a control or modulator in the **Modulation Control Bar**. Alternatively, right-click and select **View in Mod Matrix**. Note that there are a few exceptions for what can be modulated, with mode dropdowns being the most common example. ### 2. Parameter or Modulator Name Additional filtering is not available in the **Focused Mod Matrix**. The top-left displays the selected parameter or modulator name, along with an icon indicating its type. *** ### Mod Matrix Rows Regardless of which type of Mod Matrix you’re using, it will consist of one of more rows which represent a modulation connection and it can be edited in detail.
*** ### 1. Connection Bypass Toggle the modulation connection on or off. Useful for auditioning the connection without removing it. ### 2. Source Dropdown Choose the modulator (source) that affects the destination. ### 3. Bipolar Button Switch between bipolar and unipolar modulation. Bipolar modulation moves above and below the current setting; unipolar moves in one direction only. ### 4. Modulation Curve Apply a shaping curve to the modulator signal. Drag to bias it toward lower or higher values in unipolar mode, or toward inner or outer ranges in bipolar mode. Double-click to reset to no shaping. ### 5. Destination Dropdown Select the parameter (destination) to be modulated by the chosen source. ### 6. Modulation Amount Set how much the modulation source affects the selected parameter. This is independent of any **Depth Modulation**. Text entry is supported for precise value input. ### 7. Depth Mod Dropdown Choose the modulator (depth-mod source) that controls the primary **Modulation Amount**. ### 8. Depth Modulation Amount Set how much the depth-mod source affects the **Modulation Amount**. Text entry is supported for precise value input. # Morphing LFO *** ### Overview The **LFO** is a flexible, multi-purpose modulation source that can change shape in multiple ways and inject random movement into your presets. Morph between four classic waveforms. Each shape can be randomized to create smooth random motion, sample-and-hold steps, and more. MIDI trigger modes and fade controls let it function as a one-shot attack-decay envelope or as a freely looping random source. ![](/files/ImrltxXaNiiM1dZdaGGq) *** ### 1. Main Controls **Rate.** Adjust the LFO rate in Hz or in BPM-synced values. **Rate Mode.** Choose whether **Rate** is set as a raw frequency or as BPM-synced divisions. **Randomize.** Set the amount of LFO randomization. Each waveform randomizes in a unique way. **Level.** Attenuates and/or inverts the LFO’s output. This affects every assignment that uses the LFO. **LFO Shape.** Choose sine, triangle, downward ramp, or square. With **Snap** off, shapes can be morphed continuously. **Shape Snap.** Enable snapping between LFO shapes. When off, the LFO shape morphs smoothly. ### 2. Trigger Modes Choose how the LFO responds to incoming MIDI notes: * **Free.** Always synced to the DAW’s timeline position and does not respond to MIDI. * **Trigger.** Resets on incoming MIDI, then loops continuously. * **One-Shot.** Resets on incoming MIDI and plays through once per note. ### 3. LFO Display Shows the real-time LFO position and shape based on the current settings. ### 4. Display Control **Phase.** Adjusts the LFO’s phase offset. In **Free** mode, it offsets the phase relative to the DAW’s timeline position. In **Trigger** or **One-Shot** mode, it sets the starting point when the LFO is triggered. **Fade.** Sets how quickly the LFO fades in or out when triggered by MIDI notes. This is available only in **Trigger** or **One-Shot** modes. A value of 0 disables fading. # Curve Sequencer *** ### Overview The **Curve** modulator lets you create custom modulation shapes using a variety of draw tools and precise editing features. It’s versatile enough for both sequencing and LFO-style tasks. Use the shape tools to build rhythmic patterns, generate random shapes, and save sub-presets.
*** ### 1. Curve Presets The **Curve** modulator supports sub-presets you can save and load from the top-left bar of the panel. Plenty of presets are included, and you can easily save and reuse your favorite modulation shapes. Click **Shuffle** on the left side of the preset bar to load a random preset. ### 2. Trigger Modes Choose how the LFO responds to incoming MIDI notes: * **Timeline.** Locks the Curve to your DAW's timeline, keeping playback synchronized with the project position and tempo. * **Trigger.** Resets on incoming MIDI, then loops continuously. * **One-Shot.** Resets on incoming MIDI and plays through once per note. * **Scrub.** disables playback rate and lets you scan through the held Curve using the **Phase** control. This is useful for driving the Curve with another modulator or for remapping modulation behavior. ### 3. Curve Controls **Rate.** Adjust the Curve modulator’s rate in Hz or BPM-synced values. **Sync.** Enable or disable BPM synchronization for **Rate**. **Phase.** Sets the phase offset of the LFO, determining where the modulation cycle begins. In **Timeline** mode, it offsets the phase relative to the DAW's timeline position. **Snap.** Synchronizes note values to a predefined grid, ensuring notes align precisely with your timeline. This makes it easy to create sequences that remain rhythmically accurate and consistently in time. **Level.** Attenuate or invert the modulator’s output. This affects every assignment that uses the Curve. ### 4. Curve Editor Settings **Undo.** Undo the last change made in the **Curve** editor. **Redo.** Redo the last undone change. **Horizontal Grid Division.** Choose how the editor is rhythmically divided: * **Standard.** Divisions by two. * **Triplet.** Triplet-based divisions. * **Odd.** Non-standard divisions that are neither standard nor triplet. **Vertical Grid Division.** Set how the editor’s modulation level is divided. Useful for snapping the **Curve** to precise values. **Clear Curve.** Click the **Eraser** icon to reset the current **Curve** shape. **Snap to Grid.** Click the **Magnet** icon to enable or disable snapping to the grid when dragging. **Randomize Curve.** Generate modulation shapes that fit into the current **Grid Division** settings. {% hint style="info" %} Right-click **Randomize** to select a specific type. Try changing grid sizes to influence the results. * **Random Shape.** Picks from any of the types below. * **Smooth.** Sine-like curves. * **Linear.** Triangle-like ramps. * **Chaos.** Complex, less grid-bound shapes. * **Steps.** Step-sequencer patterns. * **Segments.** Mixed steps and linear ramps. * **Gates.** On/off sequences. * **Ramp Down.** Downward stabs and sweeps. * **Ramp Up.** Upward pumps and sweeps. {% endhint %} ### 5. Curve Editor Use the **Curve Editor** to create custom modulation shapes. With the **Mouse** tool selected, you can select one or more points and use these commands: * **Move Off Grid.** Hold **Shift** while dragging a point. * **Straighten Curve.** **Shift-click** a line or selection. * **Move Segment.** **Command-drag** (macOS) or **Ctrl-drag** (Windows) on a line. * **Delete Point.** **Double-click** a point. ### 6. Draw Tools On the right side of the editor are the draw-tool buttons. The **Mouse** tool allows manual drawing and editing; other tools create shapes based on the current grid settings. **Slope.** Adjust the curvature of the selected draw tool. **Invert.** Invert the tool’s shape for additional variations. # Envelope Follower *** ### Overview The **Follower** modulator is an envelope follower that converts the plugin’s input signal into a smoothable modulation source, letting you apply dynamic movement anywhere in your preset. Use it to make parameters react to your input level for organic results.
*** ### 1. Follower Controls **Attack Time.** Sets how long it takes the envelope follower to rise to the input’s level. **Release Time.** Sets how long it takes the envelope follower to fall when the input gets quieter. **Sync.** Enables BPM sync for the follower’s attack and release. **Level.** Attenuates the follower’s output. This affects any parameter it modulates. **Invert.** Inverts the follower for easier ducking effects. ### 2. Follower Display Shows the current modulation signal in real time based on the control settings. # Presets *** ### Overview Evoke includes over 300 presets organized into 8 themed **Packs**, each exploring a different style or use case. Browse and filter with descriptive **Tags** to find exactly what you need, and mark **Favorites** so your go-to sounds are always within reach.
*** ### 1. Preset Browser Click the preset name in the center of the plugin’s **Top Bar** to open the [**Preset Browser**](/evoke-manual/presets/preset-browser). This view provides access to the included preset library, user presets, and future expansion packs. Two ways to browse are available: the **Packs** tab displays themed **Packs** for different use cases, while the **Tags** tab filters all presets at once based on descriptive tags. ### 2. Preset Save View Click the save icon on the right side of the plugin’s **Top Bar** to open the [**Preset Save View**](/evoke-manual/presets/preset-save-view). This view provides essential preset-saving functionality, including the ability to add tags to your presets, making it easy to manage and organize your sounds. # Preset Browser *** ### Overview Evoke’s **Preset Browser** lets you quickly locate and recall presets in two views: 1. **Packs.** Presets are organized into themed packs, each exploring a different style or use case. 2. **Tags.** Filter the entire library with descriptive tags to drill into specific combinations of character and use case, or explore presets you might have missed in the **Packs** view. *** ### Pack Browser The **Pack Browser** are the default view for viewing presets. Access it by clicking the **Packs** tab at the top of the **Preset Browser**. When open, you’ll see a list of all available packs on the left, and the contents of the selected pack on the right.
*** ### 1. Browser Tab Use the browser tabs at the top of the popup to switch between the **Packs** and **Tags** views. ### 2. Favorites Any favorited presets appear in the **Favorites** pack. This is a convenient way to save presets you want to reuse or access quickly. No presets are favorited by default. ### 3. User All presets you save are placed in the **User** pack. The **Default** preset is also included here. Any additional user packs will appear next to this one. {% hint style="info" %} To create a new user pack, organize your presets, or delete user presets, right-click the **User** pack and select **Reveal Pack**. Create a new folder next to the **User** pack folder to make a new pack. {% endhint %} ### 4. Minimal Picks This pack provides a playlist of some of our favorites presets across all of the included factory packs. This is a great place to get familiar the many things Evoke is capable of. ### 5. Factory Packs All preset packs included with Evoke are listed here. Each pack name indicates the use case or aesthetic of the presets it contains. ### 6. Presets The contents of the selected pack appear on the right side of the browser. Click a preset to load it. You can also favorite presets using the heart icon next to each name. *** ### Tag Browser The **Tag Browser** provides an alternate way to locate presets by filtering the entire preset library at once. Access it by clicking the **Tags** tab at the top of the **Preset Browser**. When open, you’ll see a list of all available tags on the left and the presets that match the selected tags on the right.
*** ### 1. Browser Tab Use the browser tabs at the top of the popup to switch between the **Packs** and **Tags** views. ### 2. Selected Tags All currently selected tags are visible here. Clicking a tag will deselect it, and the **Clear All** button can be used to clear the entire selection at once. ### 3. Unselected Tags All unselected tags are visible here. Clicking a tag will select it, further filtering the presets. Note that these tags are sorted by the number of results if selected, which is shown on the right of each tag’s name. ### 4. Presets All presets that match the selected tags appear on the right side of the browser. Click a preset to load it. You can also favorite presets using the heart icon next to each name. # Preset Save View *** ### Overview The **Preset Save View** lets you save the current plugin settings for later recall. Use existing or custom tags to organize your library by sonic character, use case, instrument, and more, making it easy to find your sounds.
*** ### 1. Preset Name Enter your preset’s name here. If you’re resaving a preset, its name will be filled in automatically. ### 2. Save Preset Click the **Save** button when you’re ready to save your preset. If saving would overwrite an existing preset, a warning will appear. You can overwrite the preset or rename it and try again. {% hint style="info" %} All presets are saved to the **User** pack, which can be viewed by opening the **Preset Browser** and ensuring that the **Packs** tab is selected. To organize your presets further, open the [**Global Settings**](/evoke-manual/additional-settings/global-settings) menu and select **Show User Presets**, then create folders and move presets as needed. {% endhint %} ### 3. Create New Tag Use this text entry field to create a new tag to be saved with your preset. Press the **Return** key to add it. Note that once a tag has been saved to a preset, there is no way to remove it other than resaving the preset. ### 4. Selected Tags All currently selected tags that will be applied to the preset are visible here. Clicking a tag will deselect it, and the **Clear All** button can be used to clear the entire selection at once. {% hint style="info" %} Apply tags to organize your sounds by instrument role (lead, harmony), character (ethereal, deep, sequenced), and more. {% endhint %} ### 5. Unselected Tags All unselected tags are visible here. Click a tag to select it for saving with the preset. # Global Modes *** ### Overview Evoke’s **Global Mode** setting configures how the resynthesis engine operates and how it responds to additional inputs such as MIDI and sidechain audio routed into the plugin. While not required for standard use, these modes offer additional ways to integrate Evoke into your project, unlocking greater musical flexibility and creative sound-design possibilities. {% hint style="info" %} If you’d like to preserve the currently selected **Global Mode** when changing presets, right-click the dropdown and select **Lock**. {% endhint %}
*** ### Global Mode Clicking on the **Global Mode** dropdown will reveal the following options: * **Pitch Track.** Detects the input’s pitch, then applies retuning and harmonization based on the scale set on the **Keyboard Panel**. Ideal for auto-tuning workflows because it only requires an audio input and no additional routing. This is the default mode. * **MIDI Track.** Functions identically to **Pitch Track**, but the scale is defined by external MIDI notes routed into the plugin. This lets you merge Evoke’s pitch detection with external chord progressions, mapping the original melody onto chords or other sequences. Results can be striking. Try this mode to reharmonize a repeating vocal so it follows a longer progression, or to drive harmonies from a MIDI clip or keyboard. * **MIDI Instrument.** Bypasses internal pitch tracking and harmonization, using incoming MIDI notes to set the resynthesis pitch. Use it to specify exact notes from a MIDI clip or keyboard or to play Evoke like a standard synthesizer or vocoder. In this mode, all scale settings are ignored. This mode supports up to eight voices of polyphony. * **External.** Bypasses all internal pitch tracking and sound generation and uses the external sidechain input instead. Evoke applies its vocal modeling to that signal, enabling vocoder-like processing and a wide range of sound design applications. In this mode, scale settings and MIDI have no effect. {% hint style="warning" %} Note that sending MIDI into Evoke (or any MIDI effect plugin) varies between DAWs, and very few send MIDI to effects automatically, so explicit routing is usually required. Please refer to your DAW’s manual for setup instructions. {% endhint %} # Additional Settings *** ### Overview This section covers additional settings that customize how the plugin behaves and integrates with your production environment, including graphics settings, key commands, MIDI support, and more. ### Global Settings The [**Global Settings**](/evoke-manual/additional-settings/global-settings) dropdown in Evoke’s **Top Bar** includes useful options for initializing the preset, setting the plugin window size, adjusting how Evoke responds to your DAW, and more. ### Key Commands Learn about additional [**Key Commands**](/evoke-manual/additional-settings/key-commands) that can be used to access additional functionality or speed up your workflow. ### Midi Mapping Learn how to apply [**MIDI Mapping**](/evoke-manual/additional-settings/midi-learn) to Evoke’s controls using your DAW’s native MIDI assignment tools. ### Parameter Locking Use [**Parameter Locking**](/evoke-manual/additional-settings/parameter-locking) to preserve any parameter’s setting when switching presets. A common use is locking the dry/wet mix so it stays the same while auditioning presets. # Global Settings *** ### **Overview** The **Global Settings** popup lets you customize your setup and perform common actions, including adjusting the plugin window size, managing presets, learning about the plugin, and more. To open it, click the gear icon on the right side of Evoke’s **Top Bar**.
*** ### Presets **Initialize Preset.** Reset the current settings by loading the **Default** preset. **Show User Presets.** Open the folder containing Evoke’s user presets. From here you can organize and customize your packs. Be sure to rescan preset folders after making any changes. **Rescan Preset Folders.** Refreshes the preset browser so it shows up-to-date packs, descriptions, and tags. This is useful when you're creating packs or reorganizing your presets. It runs automatically each time you load the plugin, so you rarely need it for everyday use. ### **Documentation** **View Manual.** Open Evoke’s online manual in your default browser. **Walkthrough.** Launch Evoke’s onboarding walkthrough, which is presented after activating the plugin for the first time. ### **Support** **Get Help.** Open our online [**Support Page**](https://support.minimal.audio/) in your default browser. **Collect Support Info.** Use this option to collect all relevant information that might be helpful for our support team when tracking down possible bugs. The .zip file it creates contains the plugin’s logs, current preset, license file, and global settings file. **View Logs.** Reveal the log files stored on disk. Our support team may request these when diagnosing an issue. **Log Crash Reports.** When enabled, OS crash reports are added to the logs. Turn this on only when troubleshooting a crash with our support team. **Log Level.** Set the level of detail in Evoke’s logging. Normally there’s no need to change this unless requested by support. ### **Audio Engine and Playback** **Internal BPM.** Scales the internal tempo to 1/4x, 1/2x, 2x, or 4x of the DAW’s tempo. Applies to all BPM-synced values (e.g., LFO rate). This is an instance-specific setting and does not change when loading presets. **MIDI Pitch Bend Range.** Sets the pitch bend range (in semitones) used in [**MIDI Instrument Global Mode**](/evoke-manual/global-modes). This setting is saved with presets. **Playback Behavior.** Reset on start and Reset on stop clears any effect tails whenever the transport starts and/or stops, so playback always starts completely clean. ### **Graphics Settings** **Window Size.** Set the default plugin window size. This setting is shared across all plugin instances. **Frame Rate.** Adjust how often Evoke’s animations update. A higher frame rate improves visuals but may consume more resources. This setting is shared across all plugin instances. **Enable OpenGL.** When enabled, graphics are rendered using OpenGL. This can reduce graphical issues on some systems, particularly on Windows. This setting is shared across all plugin instances. # Key Commands *** ### Overview The following key commands are available in Evoke and across our other software products, unless otherwise noted. Use these commands to speed up your workflow or access hidden actions. ### Evoke Resynth Response * **Double-click** a band to reset it to 0 dB. * **Command-click** (macOS) or **Ctrl-click** (Windows) and drag to edit only odd bands. * **Command-Option-click** (macOS) or **Ctrl-Alt-click** (Windows) and drag to edit only even bands. ### Knobs, Sliders, and Text Sliders * **Double-click** a knob or slider to reset it to its default value. * **Shift-click** and drag a knob or slider to fine-tune the parameter’s value. * **Command-click** (macOS) or **Ctrl-click** (Windows) to open the modulation matrix for the selected parameter (when supported). * **Right-click** to open a context menu with options to open the modulation matrix, modify modulation connections, reset the parameter, or lock it so it maintains its value between presets. ### Modulation Control Bar * **Right-click** a modulator to open a context menu with options to access the modulation matrix, modify modulation connections, and reset the modulator to its default state. * **Command-click** (macOS) or **Ctrl-click** (Windows) a modulator to open the relevant modulation matrix. * **Option-drag** (macOS) or **Alt-drag** (Windows) a modulator to copy it to another modulator slot. ### Effect Rack Slots * **Option-drag** (macOS) or **Alt-drag** (Windows) an effect’s drag handle to copy it to another slot. ### Curve Modulator * **Shift-click** and drag a point to move it off-grid. * **Shift-click** a line or selection to straighten the selected curves. * **Command-click** (macOS) or **Ctrl-click** (Windows) and drag a line to move it. * **Double-click** a point to delete it. * **Right-click** the random shape button (dice icon) to reveal randomization options. This setting is unique to each Curve instance. # MIDI Learn ### Overview This plugin supports native **MIDI Learn**, letting you map the knobs and sliders on your MIDI controller directly to plugin parameters with no DAW configuration required. Mappings are saved with the plugin instance, so they recall with your project and persist across preset changes. You can also save them to a file for reuse, and set a default map that loads automatically with every new instance. ### Learning a Control 1. Right-click the knob or slider you want to control and select **Learn MIDI**. 2. Move a control on your MIDI controller. The parameter is now mapped and follows your hardware. 3. Repeat for any other parameters you want to map. Closing the plugin window cancels a pending **Learn MIDI**. ### Editing a Mapping Right-click a mapped control to change or clear its mapping: * **Unlearn MIDI CC.** Removes the mapping. The menu shows which CC is assigned, for example **Unlearn MIDI CC 74**. * **Relearn MIDI.** Reassigns the control to the next knob or fader you move. ### How Mappings Behave * MIDI CCs respond on all channels (omni). * Each parameter responds to a single CC. Learning a new CC on a parameter replaces its previous assignment. * A single CC can drive several parameters at once. Learning the same CC on another parameter keeps both mappings. ### Saving and Loading MIDI Maps Open the **Global Settings** menu and select **MIDI Map**: * **Save MIDI Map.** Saves all current mappings to a `.ma_midimap` file. * **Load MIDI Map.** Restores mappings from a previously saved file. * **Clear MIDI Map.** Removes all mappings, showing a confirmation of how many will be removed. MIDI maps are specific to each plugin, so a map saved with one Minimal Audio product can't be loaded into another. ### Using a Default MIDI Map Open the **Global Settings** menu and select **MIDI Map → Set Default Map**. This makes the currently loaded map the default for every new plugin instance, so your controller always maps to Lucid the same way. To remove the default, select **Clear MIDI Map**, then **Set Default Map** again to save an empty map as the default. # MIDI Effect Routing ### Overview Evoke uses MIDI to control the current scale or notes via [**Global Modes**](/evoke-manual/global-modes), and to trigger modulators so they respond to note-on messages—enabling deeper, performance-driven interactions within the plugin. Routing MIDI to an effect varies by DAW. Steps for common DAWs are outlined below. For detailed instructions, consult your DAW’s manual. ### Ableton Live 1. Insert Evoke on the audio source track (the vocal/melody).
2. Create a MIDI track and program or play notes (clip or keyboard).
3. In the MIDI track’s **MIDI To** section, select the audio track that hosts Evoke.
4. Set Evoke to **MIDI Track / MIDI Instrument** in the Global Mode. Enable **Monitor: In** on the MIDI track if playing live.
5. Play the source melody to hear it react to the incoming MIDI.
For more information on MIDI routing in Ableton, visit [Ableton Routings I/O - Ableton Live Manual.](https://www.ableton.com/en/manual/routing-and-i-o/) ### FL Studio 1. Route Evoke to the audio source track (e.g., the vocal or melody).
2. Set Evoke to **MIDI Track / MIDI Instrument** in the Global Mode.
3. Create a MIDI track and program or play notes (using a clip or keyboard).
4. Set the MIDI track’s output to the audio source track.
5. Play or sequence MIDI to control Evoke.
For more information on MIDI routing in FL Studio, see [MIDI Routing in the Image Line FL Studio Manual.](https://www.image-line.com/fl-studio-learning/fl-studio-online-manual/html/plugins/MIDI%20Out.htm) ### Logic Pro X 1. Create a Software Instrument track and load **Evoke** in the Instrument slot.
2. Create an Audio track and place or record the audio signal (vocal/melody) there.
3. In the Evoke window, set the **Side Chain** (top-right) to the audio source track.
4. In Evoke, select **MIDI Track / MIDI Instrument** in the Global Mode.
5. Play, or program MIDI notes on the Evoke track to hear the audio react.
For more information on MIDI routing in Logic Pro, visit the [Logic Pro X User Guide.](https://support.apple.com/en-in/guide/logicpro/welcome/mac) ### Pro Tools 1. Add your audio source track in Pro Tools and insert **Evoke** on it as an insert effect.
2. Create a **MIDI track** with the notes you want to use.
3. In Evoke, switch to **MIDI Track / MIDI Instrument** in the Global Mode. 4. On the MIDI track’s **Output selector**, choose the audio source track where Evoke is inserted.
5. Play or sequence MIDI to control Evoke.
For more information on MIDI routing in Pro Tools, check the [Pro Tools Reference Guide (2024.6).](https://resources.avid.com/SupportFiles/PT/Pro_Tools_Reference_Guide_2024.6.pdf) ### Bitwig Studio 1. On your **audio source track**, insert **Evoke** as an audio effect.
2. Create a new **Instrument track**. In its **OUT** routing option, set the destination to your audio source track (the one with Evoke on it).
3. Inside **Evoke**, set the **Global Mode** to **MIDI Track / MIDI Instrument**.
4. Play a MIDI clip or perform on your MIDI keyboard. The MIDI will now be routed through Evoke and processed by your audio source.
For more information on MIDI routing in Bitwig Studio, visit the [Bitwig Studio User Guide](https://www.bitwig.com/userguide/latest/routing/). ### Cubase 1. **Insert Evoke** on the audio track that contains your source sound.
2. **Switch Evoke to MIDI Track / MIDI Instrument** mode in the Global Mode so that it can react to incoming MIDI.
3. **Create a new MIDI track**, record or play the notes you want to send to Evoke.
4. **Route the MIDI track’s output** to the audio track hosting Evoke (set the output of the MIDI track so it targets the audio track).
5. **Play back the audio source** Evoke will process it and respond to the incoming MIDI notes in real time.
For more information on Midi routing in Cubase, visit the [Steinberg Manual.](https://www.steinberg.help/r/cubase-pro/14.0/en/cubase_nuendo/topics/vst_system_link/vst_system_link_midi_tracks_to_vstis_on_other_computers_routing_t.htmlSteinberg) # Parameter Locking *** ### Overview All parameters in Minimal Audio plugins can be locked between presets. When a parameter is locked, its value remains unchanged as you load different presets. To enable parameter locking, right-click a knob or slider and select **Lock**.
*** Common uses include locking an effect’s dry/wet mix, as well as macros or gain controls. # Core Effects Manual Minimal Audio's core effect plugins offer powerful, creative sound processing with clean, easy-to-use interfaces designed for modern music production.
## Welcome to the Core Effects Manual! Thank you for purchasing a core effect plugin by **Minimal Audio**! Each effect in this manual includes: * A detailed **overview** of what exactly the effect does * A **parameter-by-parameter explanation** so you can understand how to use each control creatively #### PDF Export You can always export the latest version of this manual by clicking **“Export as PDF”** in the upper-right corner of this page. To download the **full manual**, make sure to choose **“Select all pages”** in the export options. \*Please note that exporting is only available on desktop and is not supported on mobile devices. # Which are the Minimal Audio Effects Each plugin is designed with an intuitive interface and powerful sound-shaping capabilities. Whether you're after subtle polish or wild transformation, this page gives you a quick overview of every Minimal Audio effect and links you to deeper documentation. *** ### Minimal Audio Effects Lineup **Cluster Delay** A multitap delay designed for rhythmic complexity and spatial depth.\ Perfect for: evolving textures, syncopated echoes, creative atmospheres.\ Read the Cluster Delay Manual *** **Fuse Compressor** A dynamics processor that blends modern precision with analog warmth.\ Perfect for: drums, vocals, mixbus glue, and punchy dynamics.\ Read the Fuse Compressor Manual *** **Flex Chorus** A wide-range chorus with flexible modulation options.\ Perfect for: lush widening, shimmering movement, subtle detune.\ Read the Flex Chorus Manual *** **Hybrid Filter** A filter plugin combining digital precision with analog-style character.\ Perfect for: tone shaping, movement, and spectral manipulation.\ Read the Hybrid Filter Manual *** **Morph EQ** A dynamic EQ that morphs between shapes over time.\ Perfect for: sweeps, glitch effects, and fluid tone shifts.\ Read the Morph EQ Manual *** **Polar Distortion** A distortion unit with mid-side and frequency-split control.\ Perfect for: aggressive saturation, stereo manipulation, textured grit.\ Read the Polar Distortion Manual *** **Ripple Phaser** A lush phaser with evolving modulation and stereo control.\ Perfect for: psychedelic textures, subtle movement, rhythmic sweeps.\ Read the Ripple Phaser Manual *** **Swarm Reverb** A reverb that blends organic diffusion with swarm-like modulation.\ Perfect for: ambient tails, warped reflections, sound design washes.\ Read the Swarm Reverb Manual *** **Wave Shifter** A pitch and time-based FX tool for bending, shifting, and stretching audio.\ Perfect for: creative pitch warping, sound mangling, and spectral tricks.\ Read the Wave Shifter Manual {% content-ref url="/pages/W0u3N0dm3lqrnCtfy5lJ" %} [Cluster Delay](/core-effects-manual/effects/cluster-delay) {% endcontent-ref %} {% content-ref url="/pages/TMHWzZnG6Zdg7muL9dBB" %} [Fuse Compressor](/core-effects-manual/effects/fuse-compressor) {% endcontent-ref %} {% content-ref url="/pages/rsfWnf8ouzJ2IQe28RAA" %} [Flex Chorus](/core-effects-manual/effects/flex-chorus) {% endcontent-ref %} {% content-ref url="/pages/3xomTgtDAsZSRqKrGF8P" %} [Hybrid Filter](/core-effects-manual/effects/hybrid-filter) {% endcontent-ref %} {% content-ref url="/pages/wJLzr4VJ7t2JVRPx4BnV" %} [Morph EQ](/core-effects-manual/effects/morph-eq) {% endcontent-ref %} {% content-ref url="/pages/o4eYCckFyEY0q1rvesIP" %} [Polar Distortion](/core-effects-manual/effects/polar-distortion) {% endcontent-ref %} {% content-ref url="/pages/H9t0GHW1u6HT6l1CRlIU" %} [Ripple Phaser](/core-effects-manual/effects/ripple-phaser) {% endcontent-ref %} {% content-ref url="/pages/RZBqfOdsl21BhY4tkIAJ" %} [Swarm Reverb](/core-effects-manual/effects/swarm-reverb) {% endcontent-ref %} {% content-ref url="/pages/1MM688KUPCmD7PnVFaxR" %} [Wave Shifter](/core-effects-manual/effects/wave-shifter) {% endcontent-ref %} # How to install the Effects ### Download the installer To access the most up-to-date installers, please log in to your user account and open the [My products](https://www.minimal.audio/account/products/software) page. From there, locate the effects and download the relevant installer for your operating system. Note that when connected to the internet, each effect will notify you if a new update is available and you can choose to download it directly from the plug-in. *** ### Quit your DAW Before installing, make sure to save and quit any projects that are currently open. This is required for the update to work properly. *** ### Installing the Effects Open the installer, which will be named either effect.pkg (macOS) or effect.exe (Windows). The installer will guide you through the necessary steps for installation. You can choose to install VST2, VST3, AU (macOS), and AAX (Pro Tools) plug-in formats. *** ### Open your DAW Once the installation is complete, open your DAW and locate the effects in your audio plug-ins folder. Note that sometimes restarting your computer is required before the plug-in will show up. If the issue persists, look into options for rescanning plug-ins in your DAW, or contact our support team for further assistance. Each DAW is different. For more information on loading plug-ins, reference your DAW’s manual. # System Requirements ### Operating Systems Our plug-ins fully support: * macOS 10.11 and higher (including native Apple silicon) * Windows 10 and higher *** ### Plug-in Formats The effects plug-ins supports the following formats: * VST2 * VST3 * AU (macOS) * AAX (Pro Tools) To use the effects you must have a 64-bit digital audio workstation (DAW) that supports third-party plug-ins in at least one of these formats. *** # Effects ## Overview Minimal Audio offers nine unique effects that enhance creativity and add depth to your productions. Each effect is designed with a distinct sonic character and intuitive controls, allowing you to shape your sound effortlessly. *** ## Choose an effect {% columns %} {% column %}

Cluster Delay

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Flex Chorus

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Fuse Compressor

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Hybrid Filter

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Morph EQ

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Polar Distortion

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Ripple Phaser

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Swarm Reverb

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Wave Shifter

{% endcolumn %} {% column %} {% endcolumn %} {% endcolumns %} # Cluster Delay *** ### Overview Cluster Delay is a multi-tap delay with controls designed for quickly creating complex rhythms and spatial effects. It features an effect slot with six routable effects and integrated ducking to maintain clarity in your mix. Both the standalone plugin and effect rack version include presets ranging from retro tape delays to modern soundscapes.
*** ### 1. Time & Feedback Controls **Time Range.** Choose how you would like to set the delay time. **Free** mode is in seconds, while the other options sync the delay time to the current BPM. **Time.** Set the delay time in seconds or as a BPM-synced value. **Spread.** Offset the **Time** for the two delay channels to create interesting stereo effects. This can be used to create subtle stereo-width or wide alternating patterns. **Spread Sync Button.** When active, **Spread** will be synced to divisions of the current delay **Time**. **Feedback Amount.** Adjust how much of the delay line is fed back into itself. More feedback will result in longer delays, and at 100%, the delay will sustain nearly indefinitely. **Analog Mode.** When active, the delay line will use analog-modeled processing inspired by vintage delays. Try using this with high feedback and lowpass filtering to get a rich tape-like delay. **Crossfeed Amount.** Adjust how much of the left channel's feedback is sent into the right channel's delay line and vice versa. This can be used to create ping-pong delay effects when combined with **Spread**. *** ### 2. Display Controls **Tap Count.** Set the current number of delay taps. **Tap Count** can be thought of as the number of beats in a rhythmic sequence where each beat's length is the current Time setting. This means that more taps will result in a longer delay effect. For example, if the delay time is set to 1/4 note and you have four taps, then the sequence length will be four quarter notes (one bar) long. **Stereo Mode.** Choose between stereo and mid-side modes. Mid-side mode can be useful for creating complex spaces that preserve the stereo image. *** ### 3. Tap Controls **Tap Spacing.** Create rhythmic delay patterns by shifting the tap times forward or backward in time. The overall sequence length is determined by **Time** and **Tap Count** and will always be preserved. **Spacing Snap.** When active, each tap time will snap to the nearest division of the delay **Time**. This way you can create perfectly synced rhythmic delay sequences. **Tap Ramp.** Create sweeping gain changes in the tap sequence. Positive **Ramp** settings will make each tap quieter than the last, while negative settings will start quiet and become louder. **Tap Scatter.** Pan each tap to create stereo movement within the delay sequence. **Highpass Cutoff.** Adjust the frequency of the highpass filter in the delay line. This can be useful for removing low-end buildup, or more creative effects. **Lowpass Cutoff.** Adjust the frequency of the lowpass filter in the delay line. This can be useful for creating warm, naturally-decaying effects. **Clear Delay.** Clear the current delay line and feedback. This can be used to stop out-of-control delay lines but it's also useful when adjusting a very long tap pattern. *** ### 4. Delay Effects **Effect Type.** Choose from a variety of delay effects to add character and tone to the delay. * **Wobbble.** Add time modulation similar to tape wow and flutter to the delay line. This is great for vintage-style delays. * **Diffusion.** Add reverb-like diffusion that blurs the delay line in time. Try using this for ambient delay effects. * **Chorus.** Add rich detuning to the delay line for lush, unison-like effects. * **Phaser.** Add sweeping phasing effects to the delay line. * **Flanger.** Add subtle to extreme flanging to the delay line. * **Frequency Shift.** Shift the delay line up or down using inharmonic frequency shifting. This is great for sound effects and swirling barber-pole effects. **Effect Routing.** Choose where in the delay line the effect is placed. * **Input.** The effect will be applied to the input signal. This results in a layered effect that matches how the delay layers your input material. * **Feedback.** The effect will be applied within the delay's feedback loop. This option makes the delay effect more intense each time the tap sequence repeats, but it can also cause the delay to get out of control. * **Output.** The effect will be applied to the delay's output. This results in the cleanest effect and will not interact with the other delay settings like the other routing options. **Effect Depth.** Set the depth of the currently selected delay effect. **Effect Rate.** Set the rate of the currently selected delay effect. **Diffusion Size.** Adjust how large of a space the **Diffusion** effect creates. **Diffusion Modulation.** Adjust how much modulation is applied to the diffusion. This can create chorus-like detuning effects. **Frequency Shift.** Adjust how much the delay is frequency shifted up or down. Try combining this with **Feedback** routing to get cascading pitch effects. **Effect Mix.** Adjust the balance between the dry delay signal and the effect's output. **Rate Sync.** Enable BPM sync for the effect's Rate. **Effect Width.** Adjust the stereo width for the currently selected effect. *** ### 5. Ducker **Depth.** Adjust how much the dry input signal will duck the wet delay signal. This can be very useful for preventing long delays from mixing with the dry signal. **Time.** Adjust the release time of the auto-ducker. Less time will result in abrupt gain changes while higher values will create intense pumping effects. *** ### 6. Utility Controls **Input Gain.** Adjusts the gain sent into the effect. **Input Send Button.** When active, the input gain will only affect the signal being sent to the effect, leaving the dry signal unaffected. Try combining this with automation or modulation to send only specific parts of your input through the effect. Try combining this with automation or modulation to send only certain parts of your input through the effect. **Dry Wet.** Adjusts the balance between the processed (wet) signal and the unprocessed (dry) signal. **Output Gain.** Adjusts the gain at the end of the effect's processing chain, useful for compensating gain changes or adding creative effects. **Output Soft Clip.** Enables a soft-clipping "glue" limiter that prevents output levels from exceeding 0 dB, with the following modes: * **Off.** Limiter is disabled. * **Purple.** Gentle limiting and saturation, useful for preventing overs while keeping a smoother sound. * **Orange.** Punchy soft clipping, ideal for more aggressive sounds. # Flex Chorus *** ### Overview Flex chorus delivers lush stereo widening and an ensemble-like character through two distinct chorus algorithms. With up to 24 voices, integrated multi-band processing, and independent controls for delay time and modulation depth, you can shape everything from expansive unison effects to detailed stereo enhancement. Both the standalone plugin and effect rack versions come with presets ranging from essential stereo enhancement to dense, detuned spaces, and more.
*** ### 1. Modes **Voices**. Select the number of voices for the chorus effect. In general, fewer voices will sound more defined but also more obviously detuned, while more voices create a denser, more diffused effect. Note that using additional voices will require more CPU. **Chorus Mode.** * **Smooth.** This mode is inspired by classic chorus effects, with a focus on creating a smooth and evenly detuned sound. * **Glass.** This mode utilizes a clever multi-tap approach to produce a clean and modern chorus effect, with resonator-like feedback. *** ### 2. Chorus Controls **Time.** Set the base delay time for the chorus. Higher values will result in larger, more diffused effects, while smaller values can produce a sound that is smaller and more metallic. **Width.** Adjust the stereo width of the chorus effect. **Feedback.** Adjust the amount of feedback applied to the chorus. This can be used to create reverb-like tails and metallic resonator effects. Note that the **Smooth** and **Glass** modes have noticeably different feedback implementations. *** ### 3. Filter & Multi-Band When active, filters are applied to the signal so that the chorus effect is only applied to a specific part of the frequency spectrum. **Filter Mode.** * **Filter.** This mode applies a simple highpass and lowpass filter to the chorus. * **Multi-Band.** This mode utilizes two crossover filters to preserve the low and high end of the original sound. **Highpass.** Set the frequency of the highpass filter or low crossover, depending on the current filter mode. **Lowpass.** Set the frequency of the lowpass filter or high crossover, depending on the current filter mode. *** ### 4. Modulation **Modulation Depth.** Adjust the depth of the internal modulation applied to the phaser. Setting this to 0% will enable manual control over the modulated parameters. **Rate.** Adjust the LFO rate. **Sync.** Enable BPM synchronization for the LFO rate. **Randomize.** Adjust the amount of LFO randomization. Note that each waveform randomizes in a unique way. *** ### 5. Utility Controls **Input Gain.** Adjusts the gain sent into the effect. **Input Send Button.** When active, the input gain will only affect the signal being sent to the effect, leaving the dry signal unaffected. Try combining this with automation or modulation to send only specific parts of your input through the effect. Try combining this with automation or modulation to send only certain parts of your input through the effect. **Dry Wet.** Adjusts the balance between the processed (wet) signal and the unprocessed (dry) signal. **Output Gain.** Adjusts the gain at the end of the effect's processing chain, useful for compensating gain changes or adding creative effects. # Fuse Compressor *** ### Overview Fuse Compressor offers up to six bands of upward and downward compression, delivering everything from spectrum balancing to OTT-style effects. Control multiple bands simultaneously using the macro control knobs, or dive into detailed editing for each band. Both the standalone plugin and effect rack versions come with presets ranging from classic glue compression to new, over-the-top configurations, and more.
*** ### 1. Modes **Compressor Bands.** Select the number of bands that will be compressed separately. One band can be used for standard wide-band compression, while six bands can be used for hyper-detailed dynamics control. **Stereo Mode.**Choose between **Stereo** and **Mid-Side** compression modes: * **Stereo** mode is great for standard compression effects, as well as controlling the balance between the left and right channels when combined with low **Channel Link** amounts. * **Mid-Side** mode is useful for controlling and adding stereo width, but extreme settings may result in an unnatural sound. **Channel Link:** This allows you to control the level of separation between the two compressor channels. In **Stereo** mode, it can balance the left and right channels. In **Mid-Side** mode, it can control the stereo image or add extra width. *** ### 2. Macro Controls **Attack Time.** Adjust the speed at which the compressor reaches its maximum gain reduction (downwards) or boost (upwards) once the input signal exceeds the threshold. Fast attack times can control sudden peaks, but they can also cause audible distortion, especially on low-frequency material. Slow attack times generally sound more natural because they let micro-dynamics through. Often, a medium attack time, tuned by ear, will result in the most organic and punchy results. Note that this setting is program-dependent, especially when **Adaptive-Time** is active. **Release Time.** Adjust the speed at which the compressor will return to no longer altering the signal’s gain after the input level drops below the threshold. Slower release times are generally more suitable for less dynamic input material, while faster release times will recover from gain changes more quickly. However, faster release times can also create more pumping effects and eventually lead to distortion. Note that the release time is program-dependent, especially when **Adaptive-Time** is active. **Adaptive Time.** Automatically adjust the **Attack** and **Release** times for each frequency band to easily create different compression characters. Positive settings will make higher frequency bands respond faster and lower frequency bands slower. This will generally result in more transparent compression, with fewer distortion artifacts. Negative settings will do the inverse and can be useful for creating exaggerated character compression. **Downward Threshold.** Offset the downward compression thresholds for all bands. Any frequency band that exceeds this threshold level will be boosted based on the corresponding **Downward Ratio** settings. **Downward Ratio.** Scale the ratio of downward compression across all bands. Higher ratios will result in a more drastic gain reduction. For example, a ratio of 1:1 results in no gain changes, while a ratio of INF:1 will result in limiting behavior. **Upward Threshold.** Offset the upward compression thresholds for all bands. Any frequency band that falls below this threshold level will be boosted based on the corresponding **Upward Ratio** settings. **Upward Ratio.** Scale the ratio of upward compression across all bands. Higher ratios will result in a more drastic gain boost. For example, a ratio of 1:1 results in no gain changes, while a ratio of INF:1 will boost any signal below the **Upward Ratio** so that it reaches that threshold level. **Tilt.** Adjust the effect of all bands simultaneously by tilting the intensity of compression towards lower or higher frequencies. This enables you to achieve your desired spectral balance without needing to adjust multiple bands individually. **Makeup Gain.** Offset the makeup gain across all bands. This only affects the wet signal, so it is useful for compensating for any perceived changes in volume resulting from the compression. **Soft Knee.** Adjust how smooth the transition to compression is as the input level approaches the threshold. Lower settings create a sharp transition at the threshold, which is often desirable for catching transients. On the other hand, higher knee values result in a more gradual compression, which can sound more transparent, but also widen the range in which compression will occur. The compression will become extremely smooth at very high settings and can be used somewhat like saturation. # Hybrid Filter *** ### Overview Hybrid Filter offers over 50 different filter types, including morphing, formant, comb, and phaser modes. The built-in envelope follower adds dynamic movement, while a low-frequency crossover ensures your low end remains intact. Both the standalone plugin and effect rack versions come with presets that range from smooth auto-filtering to morphing vowel filters, and more.
*** ### 1. Filter Controls **Filter Type.** Choose from a variety of filter types, including morphing, comb, formant, and more. **Cutoff.** Adjust the filter's frequency in Hz or as a semitone offset in key track mode. **Cutoff Tune.** When active, the filter cutoff will be set using exact note values. **Resonance.** Adjust the resonance of the filter. Higher values will result in sharper peaks in the frequency spectrum. **Filter Spread.** Adjust the relative cutoff of the left and right channels to create wide stereo filtering effects. Positive values gradually increase the right filter and lower the left filter. Negative values have the opposite effect. **Morph.** Manipulate the internal filter configurations to create more nuanced and complex effects. The filter will be changed in different ways depending on the selected filter type. **Amp Mod.** Add audio rate amplitude modulation that follows the filter's cutoff frequency. This is useful for creating additional harmonics and tonal filter effects, especially when combined with the cutoff **Tune** mode. *** ### 2. Low Crossover Activate a multi-band crossover that can be used to preserve the lower frequencies. This is especially useful for bass patches, but you can achieve interesting results with other sounds too. **Crossover Frequency.** Adjust the crossover frequency. This setting can preserve the lower harmonics of your sound, but it can also be modulated to create unique filter movements. **Mono Lows.** When activated, the low-frequency band will be summed to mono, eliminating any out-of-phase differences between the stereo channels. *** ### 3. Envelope Follower **Morph Follow.** Adjust the depth of modulation applied by the internal envelope follower to **Morph**. **Cutoff Follow.** Adjust the depth of modulation applied by the internal envelope follower to the **Cutoff**. **Attack Time.** Set the amount of time it takes for the envelope follower to reach the maximum level of the input signal. **Release Time.** Set the amount of time it takes for the envelope follower to return to a lower value when the input signal becomes quieter. *** ### 4. Utility Controls **Input Gain.** Adjusts the gain sent into the effect. **Input Send Button.** When active, the input gain will only affect the signal being sent to the effect, leaving the dry signal unaffected. Try combining this with automation or modulation to send only specific parts of your input through the effect. Try combining this with automation or modulation to send only certain parts of your input through the effect. **Dry Wet.** Adjusts the balance between the processed (wet) signal and the unprocessed (dry) signal. **Output Gain.** Adjusts the gain at the end of the effect's processing chain, useful for compensating gain changes or adding creative effects. **Output Soft Clip.** Enables a soft-clipping "glue" limiter that prevents output levels from exceeding 0 dB, with the following modes: * **Off.** Limiter is disabled. * **Purple.** Gentle limiting and saturation, useful for preventing overs while keeping a smoother sound. * **Orange.** Punchy soft clipping, ideal for more aggressive sounds. # Morph EQ *** ### Overview Morph EQ is a graphic equalizer that lets you draw endless custom filter paths, which can be navigated using the Morph knob. Additional controls enable further shifting and spreading of the filter response. With mid-side EQ, soloing, and other features, Morph EQ is ideal for both mixing and creative filtering applications. Both the standalone plugin and effect rack versions come with presets that range from complex morphing filter effects to essential mixing applications.
*** ### 1. Filter & Morph Points **Filter Point.** This point represents an individual EQ filter. Modifying it will affect its entire morph path. * Click and drag on the Filter Point's outer ring to start a Morph Path. * **Command-click (macOS)** or **control-click (Windows)** anywhere on the EQ graphic when a filter is selected to add additional Morph Points. * Right-click to show options for deleting and resetting the selected filter. **Morph Point.** Morph points are used to build segments within a morph path. The morph path can be navigated using the Morph knob. * Click and drag on the last Morph Point's outer ring to add another Morph Point. * **Command-click (macOS)** or **control-click (Windows)** anywhere on the EQ graphic when a filter is selected to add additional Morph Points. * Right-click to show options for deleting and resetting the selected filter. *** ### 2. Macro Controls & EQ Options **Morph.** Adjust the position of each filter along its respective Morph Path. Morphing provides an excellent way to build complex filter movements that would not be possible with standard EQs or filters. Note: To start a Morph Path, select a filter point, then click and drag on its outer ring. **Shift.** Adjust the frequency of the entire EQ at once. This can be used like a filter's cutoff control to create huge filter sweeps. **Pinch:** Positive Pinch settings will shift all filter frequencies toward the center of their range, while negative settings will shift all filters toward their lower and higher limits. This is great for interesting vowel and formant sounds. **Spread.** Adjust the relative Frequency of the left and right channels to create wide stereo effects. Positive values gradually make the right filter higher and the left filter lower. The inverse is true for negative values. Note that filters with routing other than Stereo will not be affected. **Scale.** Adjust the overall gain of the filters. Negative values will invert the response. This is useful for both creative effects and subtle EQ adjustments. **Routing Mode.** Choose between Series and Parallel routing. * **Series.** This mode is the more standard EQ behavior and is generally best when working with Peak and Shelf filters. * **Parallel.** This mode is excellent for creative effects involving Low Pass, Band Pass, and High Pass filters. **Gain Scale.** Change the range of the EQ display. * 6 dB can be great for more precise adjustments. * 18 dB is an all-around good choice for creative effects. * 36 dB is useful for extreme effects. Don't forget to activate the limiter! **Adaptive Q.** When Adaptive Q is enabled, each Peak or Shelf filter's Q will automatically adjust according to its current Gain. Note: This is useful for maintaining a more consistent output level and mimics the behavior of many analog EQs. **Filter Solo.** When Filter Solo is enabled, clicking and holding on a filter point will allow you to hear the effect of that filter by itself. *** ### 3. EQ Control Bar **Filter Selector.** Choose which filter is currently editable in the control bar. **Filter Type.** Choose the currently selected filter's type. **Filter Frequency.** Change the filter's frequency in Hz. **Filter Q.** Adjust the filter's Q. A higher Q results in a sharper peak. **Filter Gain.** Set the Peak or Shelf filter's gain in decibels. **Filter Routing.** Change the stereo routing of the currently selected filter. **EQ Undo.** Undo the most recent edit to the EQ graphic and morph points. This does not include the knobs or other global settings. **EQ Redo.** Redo the most recent undo to the EQ graphic and morph points. This does not include the knobs or other global settings. **Delete Filter.** Delete the currently selected filter or morph point. *** ### 4. Utility Controls **Input Gain.** Adjusts the gain sent into the effect. **Input Send Button.** When active, the input gain will only affect the signal being sent to the effect, leaving the dry signal unaffected. Try combining this with automation or modulation to send only specific parts of your input through the effect. Try combining this with automation or modulation to send only certain parts of your input through the effect. **Dry Wet.** Adjusts the balance between the processed (wet) signal and the unprocessed (dry) signal. **Output Gain.** Adjusts the gain at the end of the effect's processing chain, useful for compensating gain changes or adding creative effects. **Output Soft Clip.** Enables a soft-clipping "glue" limiter that prevents output levels from exceeding 0 dB, with the following modes: * **Off.** Limiter is disabled. * **Purple.** Gentle limiting and saturation, useful for preventing overs while keeping a smoother sound. * **Orange.** Punchy soft clipping, ideal for more aggressive sounds. # Polar Distortion *** ### Overview Polar distortion is a multi-mode distortion effect featuring acclaimed algorithms from our Rift plugin. Choose from 30 wave-shaping, wave-folding, noise, bit depth, and sample reduction effects, and blend them using the multi-polar engine for unique harmonic effects. Further refine your sound with the tone channel strip and multi-band controls. Both the standalone plugin and effect rack versions come with presets that range from unique filters to animated effects, and more.
*** ### 1. Drive & Multi-Polar Controls **Input Drive.** Adjust the gain of the input signal to drive the distortion. Increasing the level creates a more intense distortion effect. **Auto Gain.** When active, gain compensation will be applied to the signal after it passes through the distortion stages. This allows the distortion to be driven with a less noticeable change in volume. **Squash.** Adjust the level of upward compression that is applied before the distortion. This can be used to intensify distortion in a different way than using **Drive.** **Blend.** Control the point in the waveform where one distortion type ends and the other begins. Turning **Blend** to the left will mix in more of the **Positive** distortion type while turning it to the right will mix in more of the **Negative** type. This is represented by a horizontal line on the oscilloscope. **Blend Mode.** Choose between two methods for combining the positive and negative distortions: * **Hard.** Sum the positive and negative signals together, with an immediate cut between the two waveforms. This usually results in a brighter sound with more definition between the two distortion types. * **Smooth.** Smoothly interpolate between the positive and negative waveforms. This typically results in a warmer sound with less definition between the two distortion types. **Two-Stage.** When activated, the distortion effect will be applied twice, to create a more heavily distorted signal. *** ### 2. Waveshape Controls **Negative/Positive Type.** Select the effect to be applied to the bottom part of the waveform: * **Waveshape.** Soft clipping and similar distortions that create a saturated or over-driven sound. * **Wavefold.** Wave folding distortions that result in a harmonically complex signal. * **Noise.** Distortions that dynamically generate noise and saturate the signal. * **Bit Depth.** Effects that reduce the signal's dynamic resolution, resulting in bright harmonics and amplitude effects. * **Sample Rate.** Distortions that reduce a signal's frequency resolution, leading to aliasing and inharmonic effects. **Negative/Positive Shape.** Adjust the depth and style of distortion for the positive algorithm. For more intense distortion, use the **Drive** control. **Shape Link.** Link **Positive** and **Negative Shape** controls so that they can be easily manipulated together. Note that this does not include modulation. *** ### 3. Tone Channel Strip **Tone.** Activate the tone channel strip to further sculpt the distortion. Note that these effects are applied before the multi-band crossovers. Therefore, regardless of the multi-band settings, they will always affect the entire signal. **Bass Boost.** Adjust the amount of low-end gain applied to the signal before distortion. This utilizes a custom low-shelf filter that maintains a natural low-end, even with extreme settings. **Resonance.** Adjust the gain of a specialized peaking filter that emulates filter resonance and drives the distortion. Negative settings can be used to create notch-like effects. **Resonance Frequency.** Adjust the frequency of the resonant peaking filter to further distort specific frequencies in the input signal. **Resonance Tune.** When active, the resonant peaking filter's frequency is set using precise note values. **Damping Filter.** Adjust the depth of a smooth low-pass filter that is applied after the distortion. This is generally used to warm up your sound after heavy processing. *** ### 4. Multi-Band Controls **Multi-Band Active.** Turn the multi-band processing on or off. **Solo Band.** When activated, the distorted band will be soloed. This is useful for isolating the part of the signal that is being affected. **Refilter Mode.** When activated, the distorted band will be filtered to produce a warmer sound. *** ### 5. Utility Controls **Input Gain.** Adjusts the gain sent into the effect. **Input Send Button.** When active, the input gain will only affect the signal being sent to the effect, leaving the dry signal unaffected. Try combining this with automation or modulation to send only specific parts of your input through the effect. Try combining this with automation or modulation to send only certain parts of your input through the effect. **Dry Wet.** Adjusts the balance between the processed (wet) signal and the unprocessed (dry) signal. **Output Gain.** Adjusts the gain at the end of the effect's processing chain, useful for compensating gain changes or adding creative effects. **Output Soft Clip.** Enables a soft-clipping "glue" limiter that prevents output levels from exceeding 0 dB, with the following modes: * **Off.** Limiter is disabled. * **Purple.** Gentle limiting and saturation, useful for preventing overs while keeping a smoother sound. * **Orange.** Punchy soft clipping, ideal for more aggressive sounds. # Poly Flanger *** ### Overview Poly Flanger is a musically-intelligent flanger designed to build movement that is in key with your track instead of only producing generic sweeps. Traditional flangers produce sounds that often feel disconnected from a track's tonal progression. Poly Flanger solves this by snapping its resonances to musical pitches, so the effect builds on your harmony rather than working against it. At its core, Poly Flanger is a polyphonic comb filter with up to 8 modulatable voices. Each voice can be snapped to a specific pitch in a scale, creating harmonic resonances that range from subtle enhancement to full chord-like textures. Scale mode steps through notes in time with your track, and flexible LFO modulation can be quantized to rhythm and scale—so even randomized movement stays musically in tune.
*** ### 1. Main Controls **Frequency Tune.** Toggle between Hz and MIDI note modes for the Frequency control. **Pitch.** Shift the pitch of the flanger up or down based on the currently selected scale. With Chromatic scale selected, this is in semitones; otherwise, it will step through scale degrees in the current scale. **Span.** Spread each voice's pitch across musical intervals to create more complex resonances and chords. At 0%, all voices share the same pitch. Increasing the value gradually stacks voices into fourths, fifths, and octaves. Negative values invert the interval order. **Stereo.** Control the stereo width of the flanger voices. At 0%, voices are centered. Increasing the value pans voices across the stereo field and adds subtle detuning between left and right for a wider image. Positive and negative values swap the left and right placement. **Damping.** Roll off high frequencies in the flanger's resonance. Higher values filter out harmonics for a warmer, darker tone. The filter partially tracks each voice's pitch, keeping the tonal character more consistent across the frequency range. **Feedback.** Control how strongly the flanger resonates, creating harmonic peaks in the sound. Higher values create more pronounced, ringing tones that emphasize the harmonic character of the current style and can be pushed into resonator territory at extreme settings. *** ### 2. Display Controls **Voices.** Set the number of flanger voices. More voices add harmonic density and enable richer chord stacking. **Style.** Choose the character of the flanger effect.\ • **Classic:** Traditional flanger with both even and odd harmonics.\ • **Hollow:** Inverted flanger with odd harmonics and saturation.\ • **Vapor:** A unique diffused flanger with smeared resonances. *** ### 3. Scale Controls **Scale Mode.** Quantize the flanger's pitch to notes in the current scale. Voices lock to musical pitches, creating arpeggiated harmonic movement and chord-like effects. **Root Note.** Set the scale's root note. **Scale Type.** Choose the musical scale used for pitch quantization. All quantized pitches and voicing\ intervals are derived from the selected scale.\ **Voicing.** Limit which notes the flanger voices can play.\ • **Off:** All notes in the current scale are available.\ • **Intervals:** Single notes or two-note intervals.\ • **Triads:** Three-note chords.\ • **Extended:** Four-note chords (7ths, 6ths, add9).\ • **Penta:** Pentatonic scale notes only. **Note Rate.** Set the speed at which voices will change pitch in Scale mode, synced to your project's tempo. Faster rates create rapid arpeggios, while slower rates produce evolving harmonic progressions. At zero, voices snap instantly to new pitches. At other rates, voices crossfade smoothly between notes. **Scale Lock.** Lock the scale settings between presets. When enabled, the root note and scale type will persist when loading new presets. *** ### 4. Modulation **Modulation Depth.** Adjust the depth of the internal modulation applied to Frequency and Pitch\ controls. Setting this to 0% will enable manual control with no modulation. **Rate.** Adjust the LFO rate. **Rate Sync.** Enable BPM sync for the LFO rate. **Shape Snap.** Enable snapping between LFO shapes. When disabled, the LFO shapes are continuously morphed. **LFO Shape.** Choose from sine, triangle, downward ramp, or square LFO shapes. With Snap off, these shapes can be continuously morphed. **LFO Randomize.** Adjust the amount of LFO randomization. Note that each waveform randomizes in a unique way. **Stereo Randomize.** When active, separate randomization will be applied to each of the LFO's stereo channels, resulting in a wider effect. # Ripple Phaser *** ### Overview Ripple phaser can be used for much more than a conventional phaser. Its seven modes include hybrid phaser-filter configurations and an all-pass dispersion mode. The built-in modulation can create classic sweeping effects, rhythmic movement, and even random modulation. Both the standalone plugin and effect rack versions come with presets that range from unique filters to animated effects, and more.
*** ### 1. Modes **Notches.** Set the number of notches that the phaser will create in the frequency spectrum. **Phaser Mode.** Choose from a variety of different modes for the phaser effect. Some of these modes are classic phaser configurations, while others apply filtering along with the phaser to create unique hybrid effects. *** ### 2. Frequency Controls **Bend.** Shift the phaser's notches closer together on either the low or high end of the spectrum. This control really shines when using the phaser's filter modes. **Center Frequency.** Set the center frequency of the phaser's notches and filters. **Center Spread.** Adjust the spacing between the phaser's notches in the frequency spectrum. Higher values will increase the distance between the notches, while lower values will decrease it. **Mod Balance.** Adjust the amount of internal modulation sent to **Bend**, **Center**, and **Spread**. *** ### 3. Feedback Controls **Feedback.** Adjust the amount of feedback (resonance) that will be applied to the phaser. **Cross-Feedback.** When activated, the feedback will use a stereo cross configuration, where the left channel feeds into the right channel and vice versa. Try combining this with **Stereo** and **Offset** to create some wild feedback sounds. **Stereo.** Set the amount of frequency offset between the two phaser channels. *** ### 4. Modulation **Modulation Depth.** Adjust the depth of the internal modulation applied to the phaser. Setting this to 0% will enable manual control over the modulated parameters. **Rate.** Adjust the LFO rate. **Sync.** Enable BPM synchronization for the LFO rate. **LFO Shape.** Choose from sine, triangle, downward ramp, or square LFO shapes. When **Snap** is disabled, these shapes can be continuously morphed. **Shape Snap.** Enable snapping between LFO shapes. When disabled, the LFO shapes are continuously morphed. **Randomize.** Adjust the amount of LFO randomization. Note that each waveform randomizes in a unique way. **Stereo Randomize.** When active, separate randomization will be applied to each of the LFO's stereo channels, resulting in a wider effect. **Stereo Offset.** Set the phase offset between the stereo outputs of the LFO. A phase shift of 0° will result in a mono signal, while a phase shift of +/- 180° will produce perfectly out-of-phase waveforms. A 90° offset is often desired in phasers and similar effects, resulting in a "quadrature" phase. *** ### 5. Utility Controls **Input Gain.** Adjusts the gain sent into the effect. **Input Send Button.** When active, the input gain will only affect the signal being sent to the effect, leaving the dry signal unaffected. Try combining this with automation or modulation to send only specific parts of your input through the effect. Try combining this with automation or modulation to send only certain parts of your input through the effect. **Dry Wet.** Adjusts the balance between the processed (wet) signal and the unprocessed (dry) signal. **Output Gain.** Adjusts the gain at the end of the effect's processing chain, useful for compensating gain changes or adding creative effects. **Output Soft Clip.** Enables a soft-clipping "glue" limiter that prevents output levels from exceeding 0 dB, with the following modes: * **Off.** Limiter is disabled. * **Purple.** Gentle limiting and saturation, useful for preventing overs while keeping a smoother sound. * **Orange.** Punchy soft clipping, ideal for more aggressive sounds. # Swarm Reverb *** ### Overview Swarm Reverb offers a flexible and creative approach to reverb with distinct early and late reflection stages. The early reflections (diffusion) can be adjusted from vast to very tight spaces, while the late reflections (decay) creates a smooth tail reminiscent of vintage digital reverbs. Internal modulation, filtering, and ducking further enhance the sculpting of the space. Both the standalone plugin and effect rack versions include presets that range from lush ambiance to spatial sound effects.
*** ### 1. Reflection Controls **Attack.** Adjust the onset of the early reflections, both in time and amplitude. Moderate settings can be used to produce natural spatial characters. Extreme settings can produce very tight or reverse-like effects, which can be useful for creating unique creative spaces. **Size.** Adjust the size of the virtual space created by the early reflections. This utilizes a complex diffusion network to simulate the initial echoes in a reverb. The size of this space can be adjusted to anything from very small to massive. When combined with **Attack**, a wide range of reverberant spaces are possible. **Decay.** Adjust the tail length of the late reflections. Higher values will create very long reverb effects, to the point where they sustain almost indefinitely. **Damping.** Set the amount of low pass filtering in the late reflections. Increasing the value will result in a darker reverberant space. **Balance.** Adjust the balance between early reflections and late reflections.The early reflections use diffusion to create a virtual space consisting of relatively short echoes, while the late reflections produce a longer, evenly decaying tail. Blending these two signals can result in significantly different spatial effects. **Width.** Adjust the stereo width of both the early and late reflections. 0% will result in a mono signal, while 100% will create a wide stereo image. This setting can help blend the reverb with the original sound, placing it in a well-balanced space. **Diffusion Send.** Set the level of early reflection diffusion that is fed into the late reflection tail. This can significantly alter the character of the late reflections. Higher values typically result in a smoother, more spacious sound. *** ### 2. Diffusion Filter **High Shelf Gain.** Adjust the gain of the high shelf filter that is applied to the early reflection diffusion network. **High Shelf Frequency.** Set the frequency of the high shelf filter that is applied to the early reflection diffusion network. *** ### 3. Input Filters & Pre-delay **Input Highpass.** Adjust the frequency of the input high-pass filter. This is useful for preventing low-end build-up in bass-heavy sounds. **Input Lowpass.** Adjust the frequency of the input low-pass filter. **Pre-Delay Time.** Adjust the delay before the onset of the early reflections. For realistic delays, the pre-delay time should generally be set between 1 and 25 ms. Larger delay times can be used for more creative effects. **Predelay Sync.** When active, the pre-delay time will be synced to the current BPM. This can be used to create rhythmic spaces and echo effects. **Pre-Delay Feedback.** Adjust the amount of the pre-delay signal that will be fed back into itself. This can be used to create echoing and evolving reverb effects, especially when combined with longer pre-delay times. *** ### 4. Modulation **Modulation Depth.** Adjust the amount of internal modulation that is applied to the reverb. Lower settings will produce a cleaner reverb sound, while mid-range settings will create a smooth chorus-like effect, and higher settings can result in a detuned swarm-like space. **Modulation Rate.** Set the rate of the internal modulation that is applied to the reverb. Lower settings can be used to add natural, evolving movement, while higher values can create ensemble effects and detuned swarm-like spaces. *** ### 5. Ducker **Depth.** Adjust how much the dry input signal will duck the wet delay signal. This can be very useful for preventing long delays from mixing with the dry signal. **Time.** Adjust the release time of the auto-ducker. Less time will result in abrupt gain changes while higher values will create intense pumping effects. *** ### 6. Utility Controls **Input Gain.** Adjusts the gain sent into the effect. **Input Send Button.** When active, the input gain will only affect the signal being sent to the effect, leaving the dry signal unaffected. Try combining this with automation or modulation to send only specific parts of your input through the effect. Try combining this with automation or modulation to send only certain parts of your input through the effect. **Dry Wet.** Adjusts the balance between the processed (wet) signal and the unprocessed (dry) signal. **Output Gain.** Adjusts the gain at the end of the effect's processing chain, useful for compensating gain changes or adding creative effects. **Output Soft Clip.** Enables a soft-clipping "glue" limiter that prevents output levels from exceeding 0 dB, with the following modes: * **Off.** Limiter is disabled. * **Purple.** Gentle limiting and saturation, useful for preventing overs while keeping a smoother sound. * **Orange.** Punchy soft clipping, ideal for more aggressive sounds. --- [Next Page](/llms-full.txt/1)