Split where the music splits.
Drag the three handles on the live spectrum. Linkwitz-Riley crossovers, phase-compensated — the sum stays flat to 0.02 dB.

Four bands, eight ways to break them. Dirt exactly where the track needs it — and the level stays put.
Hear 11 presets· dry vs. SCREE
01ClickTap the numbers 01–04 in the picture to see what each part does
Headphones on · sound up
Drag the three handles on the live spectrum. Linkwitz-Riley crossovers, phase-compensated — the sum stays flat to 0.02 dB.

One knob runs a pair of opposites — triode to starved, germanium to silicon, iron to steel. Put a second unit behind the first.

The joystick runs wet across and inject up: the broken sum goes back into the input, limited and filtered. Small amounts thicken, large ones grow.

Each one stereo, mid, side, left or right. Right-click a node for shape and track.

Three LFOs and an envelope follower, eight slots, and any of 144 controls as a target. Synced, the LFOs sit on the song position: a quarter-note LFO hits the same spot in the bar every time. A thin violet ring on each modulated knob shows how far it can travel and where it is right now.
LOW · DRIVEMEDIUM · BIASMASTER · SATURATIONEvery control and the modulation matrix are in the manual. Manual (PDF)

Ten families, and most presets already use the modulation, so they move with the track. Each tile draws the four bands with their drive and a violet mark where something moves.






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The SINE unit follows the principle of Airwindows' Density (MIT, Chris Johnson). Everything else is ours.