Every module

InPitch/Key CVGateOutAudio

Oscillators A and B each get their own wave choice, tuning, Shape and Phase, and you can change the phase live. P is the pitch input both oscillators share, and the optional P B input gives B a pitch of its own. Edges are corrected against aliasing and processed with 2× oversampling, though very strong sine sync or nonlinear modulation can still leave a little aliasing behind. All three outputs are delayed by the same 20.5 samples, so they stay lined up with one another.

X-Mod

Chooses how A acts on B. The options are AM, ring modulation, Shape modulation, PM (as much as ±2 cycles) and exponential FM (as much as ±4 octaves); a zero amount leaves B untouched.

Hard Sync

Restarts B every time A completes its reference cycle. It works independently of X-Mod, so you can combine it with exponential FM.

Retrig

When on, a Gate restarts both oscillators. Switch it off and they run freely.

Phase

Offsets where each oscillator sits in its cycle. It is an offset, not a lock that holds the phase in place continuously.

Shape

Its job depends on the wave: skew for the triangle, width for the pulse, the split for the split saw (an octave saw in the middle), detune for the double saw (up to ±25 cents), the internal ratio for the sync saw (1–8), the index for the FM wave (0–8 radians at a fixed 2:1 ratio) and the curve for the shark tooth. Sin and Saw don’t respond to it.

Mix

Blends A with the modulated B at the main output. A and B also have outputs of their own.

Library · Generator / Oscillator

InGateAudioPitch/Key CVVelocityOutAudio

Whatever reaches the FM input — which connects automatically — modulates the operator’s frequency or phase linearly. Set Ratio to zero and the operator stops oscillating, so it behaves more like a through-zero oscillator or an elaborate waveshaper for the incoming signal.

FM Amount

How strongly the signal at the FM input modulates this operator.

Ratio

The operator’s base frequency ratio. Zero is allowed and stops the oscillator.

Detune

Nudges the base frequency away from the ratio.

Mod

Chooses between Phase modulation and linear Freq (frequency) modulation.

Feedback

Routes some of the operator’s own output back into its FM input, sweeping the waveform from square through sine to saw.

Attack

How long the built-in amp envelope takes to rise.

Decay

How long the built-in amp envelope takes to fall away.

Retrig

Decides whether the oscillator’s phase restarts with every trigger.

Velocity

How much incoming velocity affects the level of the amp envelope.

End level

The lowest level the amp envelope falls to.

Library · Generator / Oscillator

InPitch/Key CVGateOutAudio

Set the five vowels with the row of selectors on the right of the module, then sweep or modulate Formant to move from one to the next.

Formant

Morphs between the five vowels chosen on the selectors to the right.

Library · Generator / Oscillator

InPitch/Key CVGateModulationOutAudio

A low-pass gate and a decaying envelope are built in, so this one module can be a complete plucky or percussive voice. It works on 16-sample chunks of audio, which means modulation lands a little less precisely than per sample. For the finer points of each engine, the original Plaits documentation is the best reference.

Engine

Chooses from Additive, Bass, Chiptune ARP, Chord, FM, Grain, Hihat, Modal, Noise, Particle, Phase distortion, Snare, Speech, String, String machine, Swarm, VA, VA VCF, Wave terrain, Waveshaping, Wavetable and the three 6 OP FM engines (A, B and C). The Engine input is polyphonic, so feeding it from Poly knobs or Random gives each voice its own engine.

Decay

Depends on the engine, but usually sets how long the low-pass gate stays open. Turned all the way up, the oscillator runs continuously, as if nothing were patched into the Plaits trigger input.

Library · Generator / Oscillator

InPitch/Key CVGateOutAudio

For finer control over tuning, put one of the pitch modules in front of it — see How pitch works for how pitch travels between modules.

Pulse width

Changes the width of the pulse. It only does anything while the Pulse waveform is selected.

Library · Generator / Oscillator

InPitch/Key CVGateOutAudio

It behaves much like Oscillator and adds two shapes of its own, Sine PD and Sine Nine. Later updates also brought an Impulse mode and a “2 detuned saws” mode.

Pulse Width

Sets the pulse width, and in the Sine PD shape it doubles as the amount of phase distortion.

Library · Generator / Oscillator

InPitch/Key CVGateOutAudio

Because the Phase value is applied whenever a gate arrives — a note, or a hard-sync signal from another oscillator — it gives you precise, repeatable sync.

Fine tune

Positive values detune in cents, as usual. Negative values shift the frequency by a set number of Hz instead, so the beating stays at the same speed whatever note you play.

Phase

The point in the cycle the oscillator jumps to when a gate arrives. You can modulate it at audio rate.

Pulse width

Only available while the Pulse waveform is selected.

Library · Generator / Oscillator

InPitch/Key CVGateOutAudio

Version 2.57 added a V2 mode that is a close model of the original JP8K supersaw.

Library · Generator / Oscillator

InMIDIGateOutAudio

It runs in what the reference calls “offline” mode, which means none of its parameters can be modulated.

Library · Generator / Oscillator

InAudioPitch/Key CVGateVelocityOutAudio

It arrived with the DSP extensions 1 purchase, alongside the BBD resonator. Beepstreet recommends it as a partner for its own Radio Unit AUv3.

Library · Generator / Oscillator

InPitch/Key CVGateOutAudio

It reads Serum-style wavetables (frames of 2048 samples) and holds up to 256 waves. Tap the rack icon at the bottom right to open its internal rack, where Wave effect and Wave filter from Processor / Spectral can process the table. It ships with 41 wavetables by Echo Sound Works, and you can import ordinary wave files too, though they won’t sweep as smoothly as purpose-made tables.

Position

Moves through the waves in the table. You can modulate it.

Phase

The oscillator’s phase, which accepts modulation right up to audio rate.

Tune

Sets the tuning, and also accepts audio-rate modulation.

Library · Generator / Oscillator

InGateOutAudio

Color is the one control whose job changes with the mode, and it accepts polyphonic and stereo modulation. The Gate input only tells the module how many voices to run; it never mutes or retriggers the noise. The previous version is still available as Noise (legacy) under Misc / Utility → Legacy.

White (Fast)

Plays back the original white-noise table. You can still turn Color, but it has no effect here and its readout shows a dash.

White / Pink

Mixes the original white and pink tables: Color fully left gives white, fully right gives pink and the middle is an even blend, with each extreme at its original level.

White Filter

Noise calculated on the fly through a one-pole filter: Color left of centre is low-pass (darker and slower, reaching as low as 0.05 Hz, slow enough to use as modulation), right of centre is high-pass, and the middle is unfiltered. The level is compensated to stay roughly even, though slow settings still wander and can peak past ±1.

Chip long

Clocked 15-bit noise in the style of the Game Boy, which suits snares, hi-hats and explosions; its sequence only repeats after 32767 clock ticks. In both Chip modes Color sets the clock on a log scale, with 8192 Hz at the halfway point and a span of 128 Hz–524288 Hz, and the output sits at ±0.5 between ticks.

Chip short

The 7-bit version, whose sequence loops every 127 ticks for a pitched, repeating tone suited to zaps, metallic rattles and buzzy percussion. High clock settings can alias, and that is part of the chip sound.

Velvet

Drops a single one-sample click into every time slot, at a random point and with random polarity. Color sets the density on a log scale from 1 to 20000 impulses per second (roughly 141 at the centre); every click hits full scale, so sparse settings sound quieter overall — try it for small impacts, shakers, snares or for exciting a resonator.

Static

Mostly quiet, with loud random spikes on top. Color moves from sparse crackle to thick, hard-clipped static (50% at the centre); gain is fixed and the output never leaves ±1.

Metal 808

Six free-running pulse oscillators blended into a metallic tone suited to hats, cymbals and other percussion. Color retunes all six at once from 50% to 200% while keeping their ratios, with the reference tuning (about 205–800 Hz) at 100% in the centre; it is a raw source, so shape it with filters and envelopes.

Metal KR55

Inspired by the Korg KR-55: three pairs of square waves, each pair ring-modulated (272/8529, 633/9073 and 1458/13500 Hz), mixed in equal parts. Color retunes all six from 50% to 200% on a smooth curve, with the reference tuning at 100% in the centre.

Color

The mode-dependent control described above; in several modes you can type a value straight in. In the Chip and Velvet modes it is read every 64 samples and glided over the next 64, so fast modulation stays smooth.

Poly

Off by default. Turn it on and the module runs as many voices as the automatically connected Gate input carries, up to 16.

Stereo

Gives every voice separate left and right noise streams.

Library · Generator / Noise

InGateVelocityOutAudio

Library · Generator / Other

InGateVelocityOutAudio

You can set the impulse anywhere from extremely narrow up to 50 ms long. It works well for exciting Modal Resonator, Comb Filter and similar modules, though that isn’t all it can do.

Shape

Sets the form of the impulse.

Noise

Adds noise shaped by the impulse’s own envelope.

Tone

A gentle 6 dB low-pass filter for softening the result.

Library · Generator / Other

InAudioPitch/Key CVGateVelocityOutAudio

When no sample is loaded, the module shows Load and Rec buttons, and you can swipe down to remove a sample. Time-stretching needs two things: Stretching switched on in the menu in the module header, and the loop’s length in beats typed into the Sync field. For a walkthrough, see The Flexi sampler and Find and load samples.

1-Shot

Plays the whole sample through once.

1-Slice

Plays a single slice once; Start slice decides which one.

Loop

Starts at Offset, runs to Loop end, then keeps cycling back from Loop start.

Loop p-pong

Like Loop, but the loop section plays forwards and backwards in turn.

Scratch

Stops the playhead and hands its position to Offset, so modulating Offset with an oscillator or LFO scrubs through the sample.

Pitch

Sets the sample’s pitch in semitones.

Speed

Playback speed in either direction: positive values play forwards from Offset, negative values play backwards from Loop end.

Offset

Where playback begins; in Scratch mode it is the playhead position itself.

Sync

How many beats long the loop is. Time-stretching only happens when this is set and Stretching is on in the header menu.

Library · Generator / Sampler

InAudioPitch/Key CVGateVelocityOutAudio

The Grain output sends a gate for every grain launched. If you want Scan as smooth as possible, set Pitch Jitter, Spray and Jitter to zero first; move Position through the sample at the rate normal pitched playback would, and Scan comes close to a regular sampler.

Cloud

An engine that fires independent grains around Position, suited to scattered textures, clouds, rhythmic fragments and per-grain randomness.

Scan

An engine that treats Position as a single playhead and smooths it with overlapping grains — good for scrubbing, freeze effects and fluid scans.

Position

The point in the sample the grains are taken from.

Slices

Snaps Position and sprayed grains to the sample’s slice markers, or to 16 equal parts when there are none.

Rate

How often new grains start. Sync switches it to divisions of the transport.

Size

How long each grain lasts. With Link on, you set it as an amount of overlap between grains instead.

Pitch

Transposes playback, and can change smoothly while grains are still sounding.

Spray

Scatters grain positions around Position.

Jitter

Adds randomness to when grains start.

Pitch Jitter

Gives each grain a slightly different, random pitch.

Shape

Changes the grain window, from punchy through smooth to focused.

Attack / Release

The envelope applied to the instrument’s overall output.

Launch

Decides whether grains play along with Gate, follow the transport, or run Always.

Library · Generator / Sampler

InAudioTimeGateOutAudioModulationGate

Use the selector above the waveform to choose between Module input and an outside audio source; the source you choose is what you hear and what gets recorded. Gate inputs can fire Action, Stop and Undo, and Time takes an external transport signal. On the output side you get the loop’s position from Phase, a pulse from Cycle each time the loop comes round, and the current state from Rec and Play. See Live looping for a hands-on guide.

ACTION

Starts recording on an empty loop, ends a Custom-length take, switches between overdub and playback, and resumes after a stop. During a fixed-length recording it flips that take’s destination between PLAY and OVERDUB rather than ending it early.

STOP

Halts the loop; ACTION picks it up again.

CLEAR

Deletes the recording.

UNDO

Brings back the loop as it was before your last recording, overdub or clear. REDO puts the change back.

Length

How recording ends: Custom waits for you to press ACTION, beat and bar values stop by themselves after that time, and Clip borrows the length of the clip selected for editing on the track when you start (one bar if there is no valid clip).

After Rec

Whether a finished recording carries on in Play or Overdub. This is the standing default: if you flip the destination using ACTION while a fixed-length take is recording, only that take is affected.

Quantize

Holds ACTION changes back until the next beat or bar. While an action is waiting the button reads CANCEL, and pressing it again calls the action off.

Feedback

Sets how much of what’s already in the loop is kept each time you overdub over it. At 100% every layer survives; lower settings let older layers fade away.

Monitor

When you hear the source through the looper: Always, Auto (everywhere except ordinary loop playback), Rec+OD (only while recording or overdubbing) or Off.

Library · Generator / Sampler

InAudioOutAudio

The recording is saved with the project, and tapping the waveform opens a larger view. See Record audio into Drambo and Parameter locks.

Library · Generator / Sampler

InGatePitch/Key CVVelocityAudioOutAudio

To bring in a whole folder of samples, pick Load folder in the module’s menu. Files named Filename_Notenumber_Velocity.wav map themselves: the name part must avoid digits and special characters, the note number (0–127) maps it to that key, which also becomes its root key by default, and the velocity (1–127) sorts the file into one of four bands, which start at 1, 32, 64 and 96. The sorting isn’t one-to-one, so four samples on the same note at velocities 1, 2, 3 and 4 end up spread across the full velocity range.

Library · Generator / Sampler

InGateOutAudio

Library · Generator / Sampler

InMIDIOutAudioMIDI

To map parameters, open the plugin’s editor and press MAP, then either wiggle the controls you want or tap the first parameter slot beneath MAP to choose from a list. See Use Audio Units inside Drambo.

MAP

Starts linking the plugin’s parameters to Drambo knobs, up to 16 of them.

Library · Generator / Device

InAudioMIDIPitch/Key CVGateVelocityTimeOutAudio

Pick the mode from the module’s menu. The module view also includes a preset selector. See Instrument racks.

CV

The instrument plays from Pitch, Gate and Velocity CV signals.

MIDI

The instrument takes a MIDI signal and converts it into those CV signals for you.

Library · Generator / Device

InAudioTimePitch/Key CVMIDIOutAudioMIDI

The Main Track (the Main Pad) acts as a mixer and general performance controller, so that is where MIDI and audio get processed and passed from one track to another. The module menu holds extra settings, among them how MUTE and SOLO behave, the track’s MIDI/AUDIO ins and outs, and MIDI retriggering; MIDI sent into the module transposes the whole track. See Tracks are modules.

Library · Generator / Device

InAudioOutAudio

Five of the models are low-pass only; MM12 OB is the multimode one. Pick a model by ear — each gives the filter a different character, and Tone takes on a different job depending on which you choose. The 2.25 release notes, which introduced the feedback model, call it FDB LP12.

TR6 TR

A transistor-ladder low-pass with the shallowest slope on offer, 6 dB per octave.

LP12 SK1

A low-pass model with a 12 dB-per-octave slope.

LP24 TR

A steep transistor-ladder low-pass, rolling off at 24 dB per octave.

LP24 OTA

Another 24 dB-per-octave low-pass, this one built around an op-amp ladder instead of transistors.

MM12 OB

The multimode model: turn Tone to morph its response from low-pass, through notch, to high-pass.

LP12 FDB

A 12 dB-per-octave low-pass with an extra feedback path, so the filter’s own output pushes its cutoff around. Tone governs that self-modulation.

Tone

Its role depends on the model: in MM12 OB it sweeps between low-pass, notch and high-pass, and in LP12 FDB it sets how the output modulates the cutoff.

Library · Processor / Filter

InAudioOutAudio

Library · Processor / Filter

InAudioOutAudio

Version 2.27 brought in the HP24 and BP24 modes, so steep high-pass and band-pass shapes sit alongside the low-pass ones. For a way to run a whole bank of them with separate modulation, see A moving filter bank from a few modules.

Library · Processor / Filter

InAudioOutAudio

Choose five vowels with the selectors lined up down the right-hand side of the module, then sweep or modulate Formant to move from one vowel to the next.

Formant

Morphs through the five vowels you’ve picked. Put a modulator on it to make the sound “talk”.

Library · Processor / Filter

InAudioOutAudio

Swipe a finger over the bars to set each band anywhere within ±12 dB, or tap the display to work in a bigger editor; the curve is stored with the module. Setting every band to the same value acts as a plain volume change. Moves of the curve, the level and the bypass glide rather than jump, and the EQ adds no buffering delay.

Flat

Returns every band to 0 dB.

Level

Sets the module’s output gain.

Poly

Off by default: incoming voices are mixed together before the EQ to save CPU, with stereo kept intact. Switch it on to equalise each voice separately — see Polyphony, stereo and CPU.

Library · Processor / Filter

InAudioOutAudio

Library · Processor / Filter

InAudioOutAudio

Library · Processor / Filter

InAudioOutAudio

It’s an IFFT design, so it works on blocks of audio and adds latency. That makes it a poor fit for anything that has to line up with live events, such as MIDI-triggered notes, but a great choice for steady material like noise. It arrived in version 2.29.

Window

Sets the analysis size. A bigger window separates frequencies more finely, but holds the sound back for longer.

Library · Processor / Filter

InAudioOutAudio

The extra filters are labelled LPF, BPF and APF. Try modulating the APF or LPF stage at audio rate, and in BPF mode, park the band-pass frequency near the main frequency.

Library · Processor / Filter

InAudioOutAudio

DC-coupled means steady offsets pass through too, so it works on control signals as well as audio. Its level bar shows what’s leaving the module, any DC offset included.

Gain

Sets the level. You can modulate it.Range silence to +12 dB

Library · Processor / Amp

InAudioGateVelocityOutAudio

Each voice reads its times as a stage begins, so moving a slider mid-note changes the next attack or decay rather than the one already running. Every slider takes up to three modulation sources, stacked to its left, and modulation shifts the slider position rather than adding seconds (Modulate a knob). When you type a time, add ms or s; a plain number counts as milliseconds. With nothing in Gate, audio passes straight through.

Attack

How long the sound takes to rise to its peak. The slider follows a cubic curve.Range 0–32 s

Decay

How long it takes to fall away after the peak, again on a cubic curve.Range 0–32 s

Sustain

Off: every trigger plays the whole attack and decay. On: the peak holds while the gate is high, and the decay starts when the gate closes — even if that happens mid-attack.

Velocity

How strongly the Velocity input affects the level.

Amp

The output gain.

Library · Processor / Amp

InAudioGateOutAudio

Unlike Amp env AD, it has no Velocity input — just audio and a gate.

Library · Processor / Amp

InAudioGateVelocityOutAudio

Each voice picks up Attack when its gate opens, Decay and Sustain as the decay begins, and Release when the gate closes, so a change made mid-stage waits until that stage comes round again. You can patch up to three modulation sources into each slider, and modulation moves the slider itself before it becomes a time (Modulate a knob). Type times with ms or s — a bare number is milliseconds — and with nothing in Gate, audio passes through untouched.

Attack

Rise time to the peak, on a cubic slider.Range 0–32 s

Decay

Time taken to fall from the peak to the sustain level.Range 0–32 s

Sustain

The level the sound holds at for as long as the gate stays open.

Release

Fade-out time once the gate closes.Range 0–32 s

Velocity

How much the Velocity input affects the level.

Amp

The output gain.

Library · Processor / Amp

InAudioGateVelocityOutAudio

Library · Processor / Amp

InAudioGateVelocityOutAudio

Draw the bars to set how long each band rings (on a logarithmic scale); a band’s decay is the time it takes to drop by 60 dB. Every rising gate restarts the envelopes from wherever they are, and holding the gate longer doesn’t stretch the sound. The band split adds no latency, though it does change phase and the shape of transients. With nothing in Gate, audio passes straight through.

Time

What a full-height bar means, 10 s unless you change it: turning it rescales the whole curve in proportion, and the shortest bar is a thousandth of this value. It’s read, modulation included, only when a gate rises, per voice — the labels show the knob without modulation.Range 2–20 s

Attack

How quickly each band ramps up to its new peak, softer retriggers included, so hits never jump in abruptly.

Velocity

How far the self-connecting Velocity input sets each hit’s peak: at zero velocity is ignored, at full the peak follows it. Unconnected, you get a full peak; presets from older versions load with this at zero.

Tilt

A tone control you can’t modulate — positive values brighten, negative values warm, zero is neutral. A +6 dB setting cuts the bottom band by 6 dB and lifts the top band by 6 dB (negative does the opposite), changing smoothly without affecting decay times.

Reset

Puts the curve back to flat — equal to 500 ms with Time at 10 s — without touching the knobs.

Poly

On by default, so every voice has its own envelopes. Off, voices are mixed to one (stereo kept) and any incoming gate retriggers it, using voice one’s Time modulation and the loudest of the newly arriving notes’ velocities.

Library · Processor / Amp

InAudioOutAudio

Bits

The bit depth to reduce to. The number of levels left is 2 raised to this value, so 4 bits gives 16.

Library · Processor / Shaper / distortion

InAudioOutAudio

Library · Processor / Shaper / distortion

InAudioOutAudio

Library · Processor / Shaper / distortion

InAudioOutAudio

Put it straight after an oscillator playing a saw wave with Anti-aliasing off, and the curve you draw becomes the waveform you hear. It’s also the module to add after Convolver when you want character that changes with level.

Library · Processor / Shaper / distortion

InAudioOutAudio

The reference also gives the exact formula behind every mode if you want the maths. Sat 2, both fold modes and Clip apply anti-aliasing, so what you hear isn’t quite the bare curve.

Sat 1

The gentlest curve: peaks are eased over more and more as you push it.

Sat 2

Soft clipping — the tops flatten out, but the bend into the flat part is rounded.

Sat 3

Pushes the quieter parts of the wave up towards full level, heading for a square wave as Amount rises.

Fold soft

Wavefolding with rounded turns: the wave bends back on itself in a sine-like way, growing richer in harmonics as Amount goes up.

Fold hard

Folds with hard, angular turns, giving a brighter and more aggressive tone.

Clip

Hard clipping: anything past a fixed level is simply sliced off.

Amount

How hard the signal is driven into the chosen curve.Range 0–0.95 without modulation

Bias

Offsets the input before shaping for asymmetric results. Any value above zero also switches on a DC blocker.

Library · Processor / Shaper / distortion

InAudioOutAudio

To swap in another wavetable, tap its display. The module arrived in version 2.55.

Position

Chooses the wavetable frame, blending smoothly between neighbouring frames. You can modulate it at audio rate.

Center

Shifts where in the table the lookup is centred. At the default of 0.5, a silent input lands in the middle; audio-rate modulation works here too.

Scale

Gain on the input before the lookup — the higher it goes, the more times the signal travels through the table. It accepts audio-rate modulation.

Quality

Standard tames aliasing with an antiderivative method; High also oversamples by 2× for the cleanest output; Raw skips anti-aliasing and reads the table directly.

DC Block

Removes any DC offset at the output. It’s on by default.

Library · Processor / Shaper / distortion

InAudioGatePitch/Key CVOutAudio

As well as audio, it has Gate and Pitch/Key CV inputs (How pitch works). It came with the first DSP extensions pack in version 2.25, alongside Wave scanner.

Library · Processor / Effect

InAudioGateOutAudio

It arrived in version 2.57. According to the release notes you can change how fast and from where the buffer plays, snap its moves to the beat, route feedback, and use Freeze and Record controls, with crossfades keeping the joins free of clicks.

Library · Processor / Effect

InAudioGateOutAudio

Pitch

Sets the loop length, and with it the pitch of the repeating snippet.

Library · Processor / Effect

InAudioTimeGateOutAudio

Library · Processor / Effect

InAudioTimeOutAudio

Each new buffer crossfades into the last, so the switch between cycles doesn’t click.

Size

The length of each synced cycle that gets captured and replayed.

Speed

How fast the captured cycle plays back, in either direction.

Library · Processor / Effect

InAudioTimeGateOutAudio

The spin-up is faded in against the dry signal rather than being a true restart, because a real tape start on live audio would need lookahead or extra latency.

Library · Processor / Effect

InAudioOutAudio

Low

A shelving band for the bass end, fixed at 100 Hz.

Mid

A peak band centred on 1.5 kHz.

High

A shelving band for the top end, fixed at 10 kHz.

Library · Processor / Effect

InAudioOutAudio

You can’t get the effect on its own: the chorused sound always comes blended with the dry input.

Library · Processor / Effect

InAudioOutAudioModulation

Alongside the audio it has a Modulation output, which you can patch into other modules.

Library · Processor / Effect

InAudioOutAudio

Under the hood it multiplies the spectrum of your audio by the spectrum of the impulse response. That means it can’t reproduce anything that depends on how loud the input is; for that, add Graphic shaper.

Library · Processor / Effect

InMIDIOutMIDI

The reference’s Mono to poly entry suggests one use: route a gate via Mono to poly into Delay with a modulator such as Random on its time, and a single trigger sets off a spread of sounds.

Library · Processor / Effect

InAudioMIDIOutAudio

Dry/Wet

Balances the original against the echoes. Turned fully right, you hear only the delayed signal.

Library · Processor / Effect

InAudioMIDIOutAudio

Drambo doesn’t allow instant feedback connections, so this is the module to reach for when you want a patch to feed back on itself with a delay in the loop — see Feedback loops.

Library · Processor / Effect

InAudioOutAudio

Library · Processor / Effect

InAudioOutAudio

Library · Processor / Effect

InAudioOutAudio

The shift you get is Amount multiplied by an exponential of Range. To make the shift follow the keyboard, modulate Range with the pitch signal (Key tracking).

Amount

A linear shift that runs between minus and plus the Range value, with zero meaning no shift. Modulate it for linear sweeps.

Range

Sets, on an exponential scale in Hz, the span Amount works across. Modulate it for exponential sweeps.

Library · Processor / Effect

InAudioOutAudio

It was added in version 2.40.

Library · Processor / Effect

InAudioOutAudio

Every grain it fires also sends a gate from its Grain output, so other modules can follow the texture’s rhythm. For thick clouds, keep Size short and raise Rate; for smeared echoes and stretched-out sounds, lengthen Size and Delay. It shares the Granular extension with Granular sampler.

Delay

Picks the point in the captured audio, counting back from now, that grains are taken from. Its Sync switch sets it in transport divisions instead.

Rate

How often new grains start. It has its own Sync switch for transport divisions.

Size

The length of each grain. Link turns it into an amount of overlap instead.

Spray

Scatters where grains are taken from around the Delay point.

Jitter

Randomises when grains start.

Pitch

Transposes the grains.

Pitch Jitter

Gives each grain a slightly different, random pitch.

Shape

Sets the character of the grain window: punchy, smooth or focused.

Mix

The balance between your dry input and the granular sound.

Library · Processor / Effect

InAudioOutAudio

It was added in version 2.40.

Library · Processor / Effect

InAudioOutAudioModulation

The envelope it follows comes out of the SG env output, ready to steer something else — a filter’s cutoff, say. Feed a different signal into its side-chain input to have that signal open and close the gate.

Library · Processor / Effect

InAudioOutAudio

Library · Processor / Effect

InAudioOutAudio

Library · Processor / Effect

InAudioMIDIOutAudio

It’s meant for a send track such as Master: play a key and that key’s effect layer kicks in.

Library · Processor / Effect

InAudioMIDIOutAudio

Like Punch-in FX, it’s designed to sit on a send track such as Master.

Library · Processor / Effect

InAudioOutAudio

Library · Processor / Effect

InAudioOutAudio

Library · Processor / Effect

InAudioGateOutAudio

Start with a little Spread and Feedback, then bring in more Diffuse; Hold behaves most predictably once a clear repeating phrase has built up. At 80 Hz and below, band timing and stereo offsets are held together, then gradually let go up to 240 Hz, which keeps the low end coherent. The wet path adds a fixed latency of 1024 samples, or 2048 when running above 64 kHz. It arrived in version 2.56.

Time

The centre point that the band delays spread out from. Unsynced, it moves on a logarithmic scale.Range 30 ms–4 s

Sync

Locks Time to tempo divisions, with triplet and dotted values too. Only the centre is synced — Spread, Shape and Quantize still lay out the times around it, and divisions too long for the delay are clamped.Range 1/64–1/2

Quantize

Off keeps timing fully continuous; otherwise band times snap to exact ratios of Time — Straight uses powers of two from 1/4 up to 4, Triplet spans 1/3 to 3, Dotted spans 3/8 to 8/3, and All combines the three. Spread decides how much of the chosen set gets used.

Spread

How far band delays stray from Time, shown as a signed percentage and extra fine around 0%. Negative values flip the selected Shape.

Shape

How delay maps across frequency: Slope moves gradually from one extreme to the other, Peak makes the Focus frequency wait longest and both ends of the spectrum repeat soonest (a valley with negative Spread), and Random uses a smooth irregular curve that stays the same when you save and reload.

Focus

With Slope or Random, centred uses the whole spectrum, turning left concentrates the effect below a cutoff that falls from 18 kHz to 80 Hz, and turning right works above one that rises from 80 Hz to 18 kHz. With Peak, it picks the peak frequency.

Feedback

How long the repeats keep going. Decay is compensated per band, so long-delay bands don’t ring on longer just because they come round less often.

Hold

Closes the input and locks the current delay map so the existing loop carries on; Feedback and Color stop acting on it, while Low Cut and Diffuse stay on. A gate into the Hold input does the same.

Diffuse

Smears energy and phase between neighbouring frequency bins for softer, cloud-like trails. It acts before the wet signal is fed back, so it builds up with every repeat and keeps working in Hold.

Low Cut

A non-resonant 12 dB-per-octave high-pass placed in the feedback path that thins out later repeats, leaving the input and first echo untouched.Range 20 Hz–1 kHz

Color

Tilts how fast repeats fade across the spectrum: towards Dark the highs die away sooner, towards Light the lows do. It leaves the input and first repeat alone and is bypassed in Hold.

Stereo

Adds a gentle left–right difference in band timing, plus some feedback crossfeed, on top of the shared timing. Small settings stay close to mono.

Mix

The balance between dry and wet signal.

Library · Processor / Effect

InAudioGateOutAudio

The 2.40 release notes, where it first appears, call it Spectral Freeze.

Library · Processor / Effect

InAudioOutAudio

Patch the sound you want to hear — usually a synth note or chord — into the main signal input as the carrier, and the sound that does the shaping, such as speech or a drum loop, into Modulator. It was added in version 2.27.

Frame

Sets the FFT size for the analysis. There’s no right answer, so go with whichever sounds best to you.

Library · Processor / Effect

InWaveOutWave

It works on Wave signals (Signal types), not audio. The reference names fourteen of the effects — Bit redux, Clip, Expand, Flip, Fold, Hard sync, Normalize, PWM, Ring mod, Saturate, Warp 1–Warp 3 and Wrap, listed here alphabetically — and version 2.25 added Bitmask phase.

Library · Processor / Wavetable

InWaveOutWave

Use it inside a Wavetable oscillator rack. The tilt reaches minus infinity dB per octave, which lets you chop overtones off completely.

Library · Processor / Wavetable

InWaveOutWave

It’s especially handy when the wavetable position is already busy doing another job. Use it on spectral Wave signals such as those in Wavetable oscillator; version 2.25 gave it an extra kind of wavetable modulation.

Library · Processor / Wavetable

InWaveOutWave

Reshape the incoming wave using either a Wave or a Phase shape, or switch to Generate to build a waveform of your own. It works on spectral Wave signals such as those in Wavetable oscillator, and arrived in version 2.25.

Library · Processor / Wavetable

InWaveAudioOutWave

It takes an Audio input alongside the Wave signal. Use it with spectral signals such as those in Wavetable oscillator.

Library · Processor / Wavetable

InAudioMIDIOutAudioMIDI

System AUv3s are hidden from the plugin list by default; you can enable them in settings. More on plugins in Use Audio Units inside Drambo.

MAP

In the plugin’s editor, press it and then wiggle the controls you want, or tap the first parameter slot below it to pick from a list.

Library · Processor / Device

InAudioMIDITimeOutAudio

It’s the natural place to start when you want to build an effect. Since version 2.48 it has a preset picker on the module itself, and more factory presets came with that update. More in Processor racks.

Library · Processor / Device

InGateVelocityOutModulation

Modulating a time follows the slider’s curve, and the value is read as each stage begins. Older projects keep using the previous version of the envelope.

Attack

How long the envelope takes to reach its peak.Range 0–32 s

Decay

How long it takes to fall away from the peak.Range 0–32 s

Sustain

When on, the envelope stays at its peak for as long as Gate is high.

Velocity

Lets incoming velocity affect the envelope.

Amount

Scales the output in real time, with 1 at the centre of its travel, and accepts modulation.Range 0–2

Library · Modulator / Envelopes

InGateVelocityOutModulation

Modulating a time follows the slider’s curve and is read as each stage begins. Older projects keep using the previous version of the envelope.

Attack

How long the envelope takes to rise.Range 0–32 s

Decay

How long it takes to fall to the sustain level.Range 0–32 s

Sustain

The level the envelope holds after the decay; it is read at the moment the decay stage starts.

Release

How long it takes to fade out after the gate closes.Range 0–32 s

Amount

Scales the output in real time, with 1 at the centre of its travel, and accepts modulation.Range 0–2

Library · Modulator / Envelopes

InGateVelocityOutModulation

Shape

Morphs the curve: pulse-like at one extreme, the familiar exponential decay at zero, and vactrol-like at the other.

Cumulate

When on, each new trigger builds on the envelope’s current value.

Library · Modulator / Envelopes

InGateOutModulation

Tap the graph to open the large editor, then tap on the line wherever you want a new point, and tap a point again to delete it. It only outputs modulation, so to use it as a volume envelope, add an Amplifier and send this module’s output to the amp’s gain. A bar sync option was added in version 2.25.

Length

The overall duration of the shape, from its left edge to its right.

Library · Modulator / Envelopes

InGateOutModulation

Connect Gate to fire it and route Value to whatever you want to modulate. EOC sends a single-sample pulse once the whole envelope has finished — never when a loop wraps — and only does that work while it is connected. Marker edits apply from the next trigger, and Level and Curve modulation is read per voice as each segment begins.

+ / −

Appends a segment to the end, or takes the last one away. Each segment travels to its Level over its Time: two equal levels make a timed hold, and a time of zero makes an instant step.

Curve

Bends a segment from linear through exponential or logarithmic shapes to stepped ones at either end of the range.

Time

Picks the time unit: Seconds Long (0–64 s), Seconds (0–8 s) or one of the synced units, where each Time knob covers 0–16 of Beat, 1/3 Beat, 1/4 Beat and 1/16 Beat. Modulation moves the knob position before conversion, the tempo is read when the envelope triggers, and time changes apply every audio block during playback without losing progress.

Level

Picks the level scale: Normalized, Quantized 16 (shown as 0–16, with targets snapped to sixteenths while ramps stay smooth), Bipolar, or semitones at ±12, ±24 or ±48. In a semitone scale, targets land on whole semitones, and you can send Value to a pitch knob or straight into a pitch CV input.

Hold

Makes the envelope wait at a segment endpoint; turn it on and drag the H marker in the graph to choose where.

Loop

Repeats a range of segments while Gate is high (drag S/E to set it), restarting each pass from the value it captured at first, so unequal start and end levels give a jump. Press ∞ (it sits in the loop bracket) and looping carries on even after the gate closes, ignoring the release.

Release

When on, closing the gate jumps straight to the segment marked R, which you drag to place. With it off, the envelope first exits any hold or completes the loop pass it is on, and only then plays through to the end.

Start Level

The bottom 10% of the knob (Current) starts from wherever the output already is; the rest of the travel picks a fixed starting level in the chosen Level units, zero included.

Library · Modulator / Envelopes

InGateTimeOutModulation

Patch the GATE input to start it whenever you like. A polyphonic gate signal makes the modulation polyphonic too — see Polyphony, stereo and CPU.

Library · Modulator / LFO

InGateOutModulation

Connecting Gate, making the LFO polyphonic and retriggering it are three separate choices: a gate on its own only sets how many voices run, up to 16. For several voices, use a polyphonic gate and set Poly Spread to something other than Mono. Rate, Shape and Amount take per-voice modulation, while Poly Spread is global and follows voice 1; the controls update at control rate, while timing from gate edges stays sample-accurate.

Wave

Chooses the waveform. In selector order: Sine, Triangle, Saw up and Saw down, Pulse, Trapezoid, Skew tri, S&H, Staircase, S&H ramp, Random sine, Random triangle, Random walk, Bump, Bounce and Organic.

Rate

Speed in Hz, or a musical division while Sync is on.

Shape

Adjusts the current wave, and its readout names what it is doing (Phase, Width, Steps and the like). As Phase it spans −180° to +180° with 0° in the middle, shifting the wave without resetting its clock.

Poly Spread

At the centre (Mono) all voices share one LFO. Positive values spread the voices’ phases (at +100%, regular waves are evenly spaced round the cycle); negative values add drift, so voices run at different rates around voice 1’s nominal speed and move away from strict tempo sync.

Amount

How deep the output is.

Sync

Sets Rate against the project tempo and restarts the phase when the transport starts. With Sync off, starting the transport leaves the LFO running as it was.

Retrig

Starts out disabled. Enable it and each voice starts over on a rising Gate, while in Mono a gate from any voice resets the one shared LFO; turning it on while a note is held doesn’t restart anything.

Bipolar

On, the output swings from −1 to 1; off, it runs from 0 to 1. Amount is applied afterwards.

Sine / Phase

Smooth, rounded back-and-forth motion.

Triangle / Phase

Rises and falls at the same speed. Here Shape moves the phase rather than the symmetry.

Saw up / Phase

Ramps up, then snaps back down.

Saw down / Phase

Ramps down, then snaps back up.

Pulse / Width

Jumps between high and low; Shape sets how much of the cycle is high, and 50% gives a square.

Trapezoid / Plateau

Flattens the top and bottom by the same amount, from a plain triangle at 0% to almost a square at 100%.

Skew tri / Skew

A triangle whose falling and rising slopes can differ in length; 50% is symmetrical.

S&H / Phase

Jumps to a random value and stays there until the next cycle.

Staircase / Steps

Moves through 2–16 even levels per cycle: left of centre steps down (↓), right steps up (↑), with more steps further out and two rising steps at the centre. You can type a value such as ↓ 8 or ↑ 8.

S&H ramp / Phase

Glides in straight lines from one random value to the next.

Random sine / Phase

A sine whose half-cycles vary randomly in length.

Random triangle / Phase

The same idea applied to a triangle.

Random walk / Response

Drifts smoothly towards random targets. Shape sets how quickly it responds, 1× to 16×, while target timing stays the same, so higher settings arrive sooner and then hover almost flat; Retrig chooses a fresh target without resetting where the output currently is.

Bump / Width

A smooth hump followed by a flat low section. Shape sets how much of the cycle the bump takes up, from none at 0% to all of it at 100%.

Bounce / Rebound

A speeding-up drop, then as many as six smaller bounces and a pause. Shape makes the rebounds stronger without moving them in time, and Rate sets how long the whole gesture takes.

Organic / Surge

Flowing random movement with the occasional burst of faster activity; at 0% it is gentle, and higher values strengthen the bursts without changing their timing or slowing the calm parts. Rate scales the overall behaviour rather than a repeating cycle, and Retrig starts a fresh episode from its calm phase.

Library · Modulator / LFO

InTimeGateOutModulation

Freq

Sets the speed. With Time connected, it chooses a tempo-related rate instead.

Amount

How much modulation comes out.

Bipolar

On, the output runs from −1 to 1; off, it runs from 0 to 1.

Waveform

Pick Square, Sine, Triangle, Saw up or Saw down.

Library · Modulator / LFO

InTimeGateOutModulation

Like the mono version, it switches to tempo-synced operation as soon as you connect the Time input.

Freq

Sets the speed. With Time connected, it chooses a tempo-related rate instead.

Phase

How far apart the left and right channels are in their cycles.

Amount

How much modulation comes out.

Bipolar

On, the output runs from −1 to 1; off, it runs from 0 to 1.

Waveform

Pick Saw up, Saw down, Sine, Triangle, Square, Sample'n'Hold or SH ramp.

Sym

When active, the phase offset is shared out symmetrically between the left and right channels.

Library · Modulator / LFO

InTimeGateOutModulation

Version 2.55 added a One Shot mode.

Library · Modulator / LFO

InGateOut—

You assign parameters to it much as you would with Morph, and it moves them all together. It has three modes — Drift, Gate random and Gate boolean — and Drift gives you instant polyphonic random movement spread over many parameters. See Meta randomizer.

Smooth

Softens the changes from one random value to the next.

Library · Modulator / Meta

In—OutModulation

Any number of parameters on the track that holds the module can be assigned, and you can modulate the morph amount itself from an envelope, an LFO or any other source. There is also a Clear assigns action. See The Morph module and Morphs.

ASSIGN

While it is on, turn each target knob by however far you want the morph to push it.

Library · Modulator / Meta

InPitch/Key CVGateAudioOut—

Only parameters with a modulation input (the small arrow beside the control) morph polyphonically and sample-accurately; others share one value, and the Assign badge shows NON-POLYPHONIC PARAMETER when you assign one, or a ▶ for a polyphonic morph. Those shared values track whichever held note is highest in the note modes, and the highest active index in the Index modes. Each state’s menu lists its parameters (swipe one left to remove it) and lets you copy, paste or delete the state, though one Index state always remains. See Morph Switch.

Mode

Picks the workflow: Note, Note Punch, Index X-Fade or Index, which is where it starts. The two Index modes share numbered states and the two Note modes share note assignments, and the Pitch, Gate and Index inputs stay in place so your cables survive a change of mode.

Index

Tap + to add numbered states, then select one, tap Assign and move the parameters it should store; the selector can be parameter-locked. An Index signal from 0 to 1 is divided equally between the states, a polyphonic one lets each voice choose its own, and with no cable the selected state plays.

Index X-Fade

Shares the numbered states with Index, but blends smoothly between neighbours, spread evenly from 0 to 1. A parameter stored in only one of two neighbours fades between that state and its normal value.

Note

Tap Assign and play a key: that note becomes the edit target and stays selected after you let go, so you don’t have to hold it while you tweak (with several keys, only the first counts). In playback, each voice picks its note state as its gate rises and keeps it after release.

Note Punch

Shares Note mode’s assignments, but a state only applies for as long as that voice’s gate stays high. On release it fades back to the underlying value over the Smooth time, or instantly when Smooth is at zero.

Amount

Overall depth for every stored state. As on Morph, you can modulate it polyphonically and sample-accurately.

Smooth

Eases the jumps between quantised states and the release in Note Punch. It has no effect in Index X-Fade, where the index position itself drives the blend.

Assign

Turns editing on. In the Index modes, while Assign is active, the state you have selected takes priority over the Index input, so you hear what you are editing.

Copy Last

When on, a new numbered state — or a note you play for the first time during Assign — starts as a copy of the previously selected state. It never writes over a state that already exists.

Library · Modulator / Meta

InGateOutModulation

You can smooth the jumps between steps, and it makes a handy home-made time signal.

Library · Modulator / Other

In—OutModulation

Library · Modulator / Other

InMIDIGateOutModulation

Library · Modulator / Other

InPitch/Key CVOutPitch/Key CV

Its semitone and fine-tune parameters are bipolar. See How pitch works for how pitch CV travels between modules.

Library · Modulator / Other

InGateOutModulation

For a vintage-synth sense of mismatch, dial the knobs to scattered values and use the output to modulate an oscillator’s Tune. It also suits the polyphonic Engine input on Macro oscillator [MI], giving every voice a different engine.

Library · Modulator / Other

In—OutModulation

Locking the direction lets your sequence decide which way the ramp runs — see Parameter locks.

Library · Modulator / Other

InGateOutModulation

Type the largest value you want into its number field.

Bipolar

When set, values fall anywhere between the negative and positive of that maximum.

Steps

Quantises the output; 0 or 1 turns quantising off. Above 2 it guarantees sequences without repeats, which helps when you modulate Index-type parameters.

Library · Modulator / Other

InAudioOutAudio

There are no knobs here: you pick which modules’ outputs feed it, and that’s the whole job. To drop a source again, double-tap its signal icon and it’s unplugged and taken out of the list.

Library · Mixer / Structure

In—OutAudio

You can add, remove and rename the layers as you go. Because only one rack is on screen at once, it’s a tidy way to keep a long patch short and readable — see Layers.

Library · Mixer / Structure

In—OutAudio

The reference describes it in nearly the same terms as Layers: you can add, remove and rename layers, and you see just one rack at once, which keeps a busy patch easy to read. See Layers.

Library · Mixer / Structure

InAudioOutAudio

The band-splitting filters come in two slopes, 12dB/oct and 24dB/oct. To keep CPU use down the module folds a polyphonic input into a single mono voice unless told otherwise; switch on the poly option when every voice needs its own processing. See Layers and Polyphony, stereo and CPU.

Freq

There are two of these knobs; together they set where the input is divided into low, middle and high bands.

Library · Mixer / Structure

In—OutAudio

Add, remove and rename layers as the patch grows; whatever each rack puts out is summed at the module’s output. Drambo’s own tips suggest Layers and Layers mixer for keeping a rack short and well organised — see Layers.

Library · Mixer / Structure

InMIDIAudioOutAudioMIDI

Tap a layer’s button to make it the live one, or drive the choice from a signal on the index input. It arrived in version 2.27 and handles audio, CV and MIDI alike. See Layers.

IndexInput

Selects the layer from a signal, stretched across all the layer buttons: 0.0 picks the first one and 1.0 the last.Range 0.0–1.0

CPU save

When on, every layer except the selected one stops processing. Turn it off to keep all layers running — useful for delays and reverbs, which need audio flowing through them beforehand to sound right the moment you switch to them.

Library · Mixer / Structure

In—OutAudio

Tap +, then tap the signal output icon on whichever module you’d like to bring in. Plan the order first, because channel knobs can’t be rearranged once they’re added. Each knob takes its name from its source module, so rename that module if you want a different label.

Library · Mixer / Structure

InAudioOutAudio

Library · Mixer / Structure

InAudioOutAudioModulation

Patch another module into Index to steer the switch automatically. Three switch modes decide how the change-over sounds.

IndexInput

Chooses the active output from an external signal, given as a normalised value.Range 0–1

InstantMode

Switches to the new output immediately.

X-FadeMode

When the index sits between two outputs, the signal is crossfaded across them.

SmoothMode

Eases each change of output rather than cutting over abruptly.

Library · Mixer / Structure

InAudioOutAudio

Drive Index from another module to make the choice automatic. It shares its three switch modes with Switch 1-N.

IndexInput

Chooses which input reaches the output from an external signal, given as a normalised value.Range 0–1

InstantMode

Changes input immediately.

X-FadeMode

With a fractional index, the two neighbouring inputs are blended together.

SmoothMode

Softens each transition from one input to the next.

Library · Mixer / Structure

InAudioOutAudio

A/B

Moves the balance between the two signals; at the centre you hear an even 50/50 blend.

Library · Mixer / Structure

InAudioOutAudio

It’s the counterpart of Stereo to L/R, so you can split a stereo signal, treat each side differently and put it back together. See Polyphony, stereo and CPU.

Library · Mixer / Signal

InAudioOutAudio

It’s the way to give each voice its own value. For vintage-style poly detune, add a Knobs module with a few knobs, wire each knob into its own Many to poly input, and use the result to modulate an Oscillator’s pitch. Put an LFO on just one of those knobs and only that voice wobbles — the reference even hints at a polyphonic sequencer. See Polyphony, stereo and CPU.

Library · Mixer / Signal

InAudioGateOutAudio

One trick is firing a cluster of sounds from a single trigger: pass a gate into Mono to poly, and from there into a Delay module modulated by, say, a Random modulator. See Polyphony, stereo and CPU.

Library · Mixer / Signal

InAudioOutAudio

Library · Mixer / Signal

InAudioOutAudio

It’s one of the key tools for saving CPU, since everything after it only has one voice to process. See Polyphony, stereo and CPU.

Library · Mixer / Signal

InAudioOutAudio

Use it when you want to treat each channel on its own, then join them again with L/R to stereo.

Library · Mixer / Signal

InAudioOutAudio

Library · Mixer / Signal

InAudioOutAudio

Watch out for one edge case: if one channel is an exact phase-inverted copy of the other, taking Width to zero cancels the signal and you hear nothing at all.

Width

Sets how much of the stereo spread survives; lower values bring the left and right channels closer together.

Library · Mixer / Signal

InMIDIOutModulation

Because the knob follows the CC, you can also use the module to capture CC moves from a controller as automation. See Modulate with incoming MIDI CC.

Library · MIDI / I/O

InMIDIOutModulation

The same module also sits in the Modulator group. You can add smoothing to the resulting signal as well. See Modulate with incoming MIDI CC.

Learn

Press it, then move a knob or fader on your MIDI controller, and the module takes on that CC number by itself.

Reset

With it active, the signal is refreshed immediately on every note-on.

Library · MIDI / I/O

In—OutMIDI

Use it when a rack needs a MIDI source of its own. It arrived in version 2.27.

Channel

Sets which MIDI channel the module listens to. Choose Omni to take in every channel from 1 to 16.

Library · MIDI / I/O

InMIDIOut—

It works whether Drambo runs standalone, as an AUv3 instrument or in MFx mode. Set the MIDI port and channel to match the synth you’re driving. For a head start, choose New in the main menu and pick the MIDI Sequencer factory template. See Sequence other synths and apps.

Library · MIDI / I/O

InMIDIOutPitch/Key CVGateVelocity

MIDI effects such as Arp go in front of it. Version 2.57 added outputs for the mod wheel position and the voice number. An Instrument rack in MIDI mode does this conversion for you — see Instrument racks.

Mod wheelOutput

Carries CC1 as a lightly smoothed mono signal. It’s only processed while something is connected, and when you first connect it, it sits at zero until a fresh CC1 message comes in.Range 0–1

Library · MIDI / I/O

InMIDIOut—

To keep the readout legible it leaves some messages out, so don’t treat it as a complete log. For a quick look without adding a module, hold an input socket to open the signal monitor — see Inspect any signal.

Library · MIDI / I/O

InModulationGateOutMIDI

Patch it into a MIDI output module to reach the device you want to control. See Modulate other synths with CC.

CC number

Picks, from a drop-down menu, which controller number the messages go out on.

bipolarInput type

Treats the incoming signal as running from −1 to 1 and maps it onto CC values 0–127.Range −1–1

unipolarInput type

Treats the incoming signal as running from 0 to 1 and maps it onto CC values 0–127.Range 0–1

Library · MIDI / Generator

InMIDIOutMIDI

Every knob takes modulation like any other Drambo knob — see Modulate a knob. Double-tap a knob to choose which CC number it sends. See Modulate other synths with CC.

Library · MIDI / Generator

InMIDITimeGateOutMIDI

It follows Drambo’s transport through its Time input by default, and any MIDI you feed in is passed through and merged with the generated notes. In the scale editor you tap note circles to allow or block pitch classes, pick registers from −2 to +2 with the five octave circles, nudge the root a semitone with the arrows and tap the scale name for presets — Pentatonic is the default. Tap the sequence display, which shows triggers in its T row and pitch height in its N row, to reach the New, Shift left / Shift right and To Clip commands. The module arrived in version 2.56.

Events/beat

How many base events fit in each beat. With Advance connected, each rising edge moves on by one base event instead.Range 1–16

RandomTrig Mode

Density sets the odds of a trigger landing on any given event.

DivideTrig Mode

Density chooses from divisions of the base event rate and ratcheted multiples of it.

ClustersTrig Mode

Density governs both how likely a trigger is and how many tightly packed repeats it can spawn.

PatternTrig Mode

Density chooses among stock rhythms eight events long, arranged from sparse to busy.

Density

Drives whichever Trig Mode is selected, as described for each mode.

Gate

Sets note length as a proportion of the current event interval; ratcheted notes go by the repeat interval instead.

Dynamics

With the knob at Max, every note plays at velocity 127; turning it mixes in progressively softer notes, while 127 stays the loudest.

Length

How many events the trigger and pitch memories hold.Range 1–16

Trig Loop

Repeats the rhythm you’ve already heard. While it’s off, the trigger lane keeps writing new choices as the transport moves.

Pitch Loop

Does the same for pitches and chords. The two loops are independent, so you can hold a rhythm while the melody keeps changing, or the other way round.

Variation

The middle ±10% is Locked; left of it, events may be overwritten with fresh material, and right of it, playback may hop to a different stored event while the memory stays intact — the percentage shown is the likelihood.

Spread

How far notes range around Pitch Bias. At 0% everything lands on the enabled note closest to the bias; raising it brings in enabled notes further away.

Pitch Bias

Shifts the centre of the pitch range down or up.

Poly

Caps how many notes a single event can play. Chords are built from scale-degree voicings that tend to move smoothly on from the last chord, and no note is ever doubled within a chord.Range 1–4

Legato

The chance that a note or chord carries over into the next event. Shared chord tones are held where possible, and ratcheted hits still play as separate notes.

NewMenu

Begins a fresh random memory without moving the transport. Looped lanes get a whole new pattern at once; unlocked lanes fill up again as playback moves on.

Shift left / Shift rightMenu

Rotates the trigger and pitch memories a single step in either direction, without disturbing playback.

To ClipMenu

Writes what you see into the current clip, replacing only its MIDI notes and leaving parameter locks and other step components alone. If the clip is shorter it gets cut off; if longer, the extra steps stay empty.

AdvanceInput

An optional gate input. Once connected it takes over from Time, stepping one base event per rising edge, and the lengths of gates and ratchets follow the spacing between edges.

ResetInput

A rising edge sends both memory cursors back to the beginning.

Library · MIDI / Generator

InGateVelocityPitch/Key CVOutMIDI

Patch its output into a MIDI output module to reach the instrument. See Sequence other synths and apps.

Channel

Sets the MIDI channel the generated notes are sent on. It was added in version 2.27.

Library · MIDI / Generator

InMIDIModulationOutMIDI

Library · MIDI / Generator

InGateOutMIDI

Depending on the mode you pick, the message goes out when a gate arrives or when the project loads.

Library · MIDI / Generator

InMIDIGateOutMIDI

It works on MIDI, so place it before MIDI to CV, or before an Instrument rack set to MIDI mode — see Instrument racks. Connect the optional gate input and the arpeggio only moves when that gate fires.

Rate

Sets how fast the arpeggio plays. It can be modulated.

Sync

Chooses how the rate locks to tempo, and can be modulated too.

Gate

Sets how long each arpeggiated note lasts, and accepts modulation.

Host sync

When on, the notes it generates line up with the host tempo. When off, the pattern starts the moment you play the first key.

Range

How many octaves the pattern spans.

Mode

Sets the direction: up, down, up and down, random, or as played to keep the order you pressed the keys in.

Library · MIDI / Processor

InMIDIOutMIDI

Version 2.40 added chord-aware modes — the release notes list them as Chord and One / One of Chord — which you can use to turn chords into random melodies.

Chord

Gives every note within a chord that comes in its own chance of playing.

Library · MIDI / Processor

InMIDIOutMIDI

Pair two of them to split or route MIDI by channel. Version 2.40 fixed a bug that let channel pressure messages slip past the filter.

Filter

Passes only note and CC messages on the channel you set and drops the rest.

Set

Rewrites every incoming MIDI message onto one fixed channel.

Library · MIDI / Processor

InMIDIOutMIDI

Each knob sets the semitone offset for one extra voice, and chords can have up to six voices. A knob left at its default of 0 doesn’t add a voice.

Library · MIDI / Processor

InTimeMIDIOutMIDI

What it generates is merged into any MIDI coming in, so you can chain several to play different notes on one track. For shuffle, put a swing module in front of it — the library calls it Swing time.

Library · MIDI / Processor

InMIDIOutMIDI

Library · MIDI / Processor

InMIDIOutMIDI

Library · MIDI / Processor

InMIDIOutMIDI

Latch

Turns latching on or off; while it’s on, notes keep sounding after you release them.

replaceMode

Each new note clears the held notes and takes their place.

toggleMode

New notes join the ones already being held.

Library · MIDI / Processor

InMIDIOutMIDI

Library · MIDI / Processor

InMIDIOutMIDI

Library · MIDI / Processor

InMIDIOutMIDI

Library · MIDI / Processor

InAudioOutAudio

Because it works in real time, a Note On that turns up late lands on the next available grid position. It arrived in version 2.24.

Library · MIDI / Processor

InMIDIAudioOutMIDI

Because it understands MIDI, it sends Note Off messages to an output you switch away from while notes are still sounding there, so nothing hangs. It arrived in version 2.22 alongside MIDI switch N-1.

Library · MIDI / Processor

InAudioMIDIOutMIDI

When you switch away from an input that still has notes held, it sends the Note Off messages needed to end them. It arrived in version 2.22 alongside MIDI switch 1-N.

Library · MIDI / Processor

InMIDIOutMIDI

Library · MIDI / Processor

InMIDIOutMIDI

From

The lowest note that gets through, picked from a drop-down menu.

To

The highest note that gets through, picked from a drop-down menu.

Library · MIDI / Processor

InMIDIOutMIDI

Library · MIDI / Processor

InMIDIOutMIDI

You control the rate, the beat division and the velocity of the repeats.

Library · MIDI / Processor

InMIDIOutMIDI

For it to work, all the chord’s notes must start at the same moment; ending together is optional.

Library · MIDI / Processor

InMIDIOutMIDI

Shift

Each Shift knob set to anything other than 0 adds an extra note to the sequence.

Library · MIDI / Processor

InMIDIOutMIDI

It’s a quick way to move whole phrases around when you turn patterns into a song — a sort of guide track for MIDI. To transpose a whole track from the main track instead, see Transpose a track from another.

Amount

How many intervals to shift by; it’s multiplied by Interval to give the transposition.

Interval

The size of each step, in semitones.

Library · MIDI / Processor

InMIDIOutAudioMIDI

To map controls, open the plugin’s editor, press MAP and wiggle the parameters you want, or tap the first parameter slot under MAP to choose from a list. See Use Audio Units inside Drambo.

MAP

Starts mapping, so the plugin parameters you move are assigned to Drambo knobs — up to 16 of them.

Library · MIDI / Device

InMIDITimeOutMIDI

Since version 2.48 it has a preset selector in its module view, like the instrument and processor racks. See MIDI racks.

Library · MIDI / Device

InMIDITimeGateOutMIDI

Tap the clip to open it in Drambo’s usual editors, the step sequencer or the piano roll — see The extended step editors and The piano roll. The MIDI in and Mode settings decide what incoming notes do and what runs the playhead.

Offset

Shifts the playhead position within the clip; the full range spans the whole clip.Range 0–1

Speed

Sets the clip’s playback speed.

Rate

Changes the clip’s playback rate while leaving note lengths alone.

OffMIDI in

Ignores note events arriving at the input.

MixMIDI in

Merges incoming notes into the module’s MIDI output.

TransposeMIDI in

Incoming notes transpose the sequence as it plays.

HostMode

Drambo’s transport runs the sequencer.

Time inputMode

The signal on the Time input drives playback.

GateMode

The Gate input drives playback.

NotesMode

Any incoming note starts and stops the sequencer.

Note selectedMode

Only the note you pick starts and stops it.

Note offsetMode

Any incoming note starts and stops it, and which note it is sets where playback begins, counting up from C2.

Library · MIDI / Device

InAudioOutModulation

Whichever mode you pick, you get the overall level plus the three bands. Each reading is normalised against what the module has heard recently, and Adapt decides how far back that memory reaches. The reference suggests it for driving Drambo Visual modules, but any modulation target will take it.

Energy

Measures how much energy each band holds overall.

Flux

Follows how much each band is moving and changing, rather than its overall level.

Rhythm

Picks out the biggest swings in energy inside the analysis window.

Adapt

Sets how much recent history the analyser uses when it normalises its readings.

Library · Misc / Utility / Utils

In—OutAudio

See Process outside audio for getting sound into Drambo.

Library · Misc / Utility / Utils

InAudioOut—

Use it to split a signal off to a separate output on your audio interface, or to hand it to a later track for more processing.

Library · Misc / Utility / Utils

InGateOutGate

Think of it as a random switch for triggers: each gate leaves by exactly one output, so a single rhythm splits into two that fit together.

Rnd

The randomness setting named in the 2.40 release notes. At zero, no gates should come out of output B — 2.40 fixed a bug that occasionally let one through.

Library · Misc / Utility / Utils

InPitch/Key CVGateVelocityOutPitch/Key CVGateVelocity

Legato here means the next note starts before the last one is released. For the slide to work, turn off Retrigger under MIDI in the track’s header menu, otherwise overlapping notes fire a fresh gate. The docs suggest placing CV Glide right at the start of the track — more in Glide and portamento.

Library · Misc / Utility / Utils

InPitch/Key CVGateMIDIOutPitch/Key CV

Since version 2.27 it also has a MIDI mode, in which incoming MIDI notes decide which notes are allowed instead of a fixed selection.

Library · Misc / Utility / Utils

InAudioOutModulation

Patch its output into any parameter you want to move with the dynamics of the input.

Attack

How quickly the follower reacts when the level rises. Keep it low if you need it to catch short transients.

Decay

How quickly the reading falls back. Turn it up to smooth over sudden jumps.

Amount

The output gain, which can be positive or negative. With the knob at its centre the output is zero.

Library · Misc / Utility / Utils

InModulationGateOutModulation

Both In and Out are modulation sockets that cope with audio-rate signals too, and every polyphonic voice and stereo channel gets a detector of its own. Changing Mode rearms detection, while changing Output or HQ clears the history. When the module is disabled, In passes straight through.

Mode

What counts as an event: the signal crossing a threshold on the way up or down, a turning point (a local peak or dip), or a crossing of a level grid.

Output

Impulse sends a short pulse for every event; Toggle instead switches the output back and forth between 0 and 1.

Value

A normalised knob whose meaning follows Mode: it reads as Threshold, Reversal or Divisions. Switching Mode leaves it where it was, along with its modulation and automation.

Threshold

The level that crossings are measured against.Range −1 to +1

Reversal

How far the signal has to swing back from a peak or dip before an event fires. At 0, every confirmed change of direction counts, and a flat top or bottom fires once the turn is confirmed.Range 0 to 2

Divisions

How many equal intervals the grid is split into — N divisions give N+1 lines, counting both ends. Brushing a line and backing off on the side you came from doesn’t count.Range 1 to 64

Tolerance

The second normalised knob. It reads as Hysteresis for crossings and as a Unipolar (0 to 1) or Bipolar (−1 to +1) choice for the grid; turning points ignore it.

Hysteresis

The total gap separating the upper and lower switch points of a crossing.Range 0 to 2

Reset

Wipes what the detector and output remember, without firing an impulse.

HQ

Times each event between samples and uses band-limited edges and impulses, at the cost of 18 samples of delay. Its output can ring past 0–1, so it’s meant for audio-rate sound-making, not for routing clean triggers.

Library · Misc / Utility / Utils

InGatePitch/Key CVTimeOut—

To drive outboard gear over MIDI instead, see Sequence other synths and apps.

Library · Misc / Utility / Utils

In—OutAudio

It has to sit to the left of — earlier in the rack than — its Feedback send. The Tutorials/Feedback modules project shows the pair at work; see also Feedback loops.

Library · Misc / Utility / Utils

InAudioOut—

Use its Fdb receive port to connect it to the Feedback receive that sits earlier in the rack. The signal travels right to left with a short delay, which makes the pair great for self-modulation and feedback patches where that small lag is no problem. Try the Tutorials/Feedback modules project, and see Feedback loops.

Library · Misc / Utility / Utils

InGateAudioOutGate

Put it in front of an amp envelope such as Amp env ADSR: even with the attack at zero, the envelope then only starts as the waveform passes through zero.

Library · Misc / Utility / Utils

InGateOutGate

Because the inverted gate rises when the original falls, you can use it to fire triggers on note releases. It reacts to the zero crossings of the input’s AC part, so feeding it any signal at all gives you an inverted pulse wave.

Library · Misc / Utility / Utils

InPitch/Key CVModulationOutPitch/Key CV

Drambo’s pitch CV is scaled in octaves (How pitch works); this module applies its modulation linearly instead.

Library · Misc / Utility / Utils

InPitch/Key CVOutPitch/Key CV

Library · Misc / Utility / Utils

InPitch/Key CVOutPitch/Key CV

Library · Misc / Utility / Utils

InPitch/Key CVOutPitch/Key CV

Library · Misc / Utility / Utils

InAudioOutPitch/Key CV

It does best with one clearly pitched line at a time — a sung melody or a bass part — rather than chords or noisy material. See How pitch works for how pitch values work.

Library · Misc / Utility / Utils

InAudioOutAudio

Library · Misc / Utility / Utils

InAudioGateOutAudio

Library · Misc / Utility / Utils

InAudioGateOutAudio

On each rising edge at Clock, whatever is at Data lands on output 1, while the values on outputs 1–7 move along to 2–8. For a longer chain, patch output 8 into the next register’s input and drive both Clock inputs from one source. Since version 2.40 its state is saved.

Library · Misc / Utility / Utils

InAudioOutAudio

Library · Misc / Utility / Utils

InAudioOutGateVelocity

Use the gate and velocity to trigger and shape other sounds from the hits in a recording. Version 2.40 added an advanced mode for difficult material, such as a stream coming in from the RadioUnit AUv3.

Library · Misc / Utility / Utils

InAudioPitch/Key CVGateVelocityOutAudioPitch/Key CVGateVelocityModulation

Voice counts multiply, and a track has 16 voices in all: if the total would go over that, input voices are dropped. The reference’s own example pairs a voices setting of 4 with 2 input voices and suggests setting MIDI to CV to 2 voices to match. Because every copy is a separate voice, you can also modulate each one differently — A moving filter bank from a few modules builds a filter bank this way.

Library · Misc / Utility / Utils

InGateOutModulation

Use it to give each voice of a patch a different value — a different LFO rate per voice, for instance, as in A moving filter bank from a few modules. See Polyphony, stereo and CPU for how polyphony works.

Library · Misc / Utility / Utils

InAudioOutAudio

Library · Misc / Utility / Utils

InPitch/Key CVGateVelocityOutPitch/Key CVGateVelocity

It does the same job as Voice selector, but for the pitch, gate and velocity trio rather than audio.

Library · Misc / Utility / Utils

InTimeOutGate

Run several side by side at different rates to build polyrhythms or other meters from a single time signal.

Library · Misc / Utility / Sequencer

InTimeGateOutModulation

Out of the box it follows a time signal. Connect a gate and it moves on by one step at each rising edge instead; in that gate mode the Reset input jumps back to the start. You can also use it as a lookup table.

Library · Misc / Utility / Sequencer

InTimeGateOutGateVelocity

Like CV sequencer, it runs from a time signal until you connect a gate, and then steps forward on each rising edge, with Reset (gate mode only) sending it back to the beginning. It doubles as a lookup table.

Library · Misc / Utility / Sequencer

InGateVelocityOutGateVelocity

It’s the modular partner to the retrigger step component in the sequencer.

Duration

Together with Density, sets how many beats the burst covers.

Density

Works with Duration to set the length of the burst in beats.

Steps/beat

Sets the length of each single pulse.

Bend duration

With Bend amount, optionally makes the pulses come faster or slower as the burst goes on.

Bend amount

How strongly the pulse rate bends; works together with Bend duration.

Bend velo

Shapes the velocity across the burst: turn it left for an attack-style rise, or right for a decay-style fall.

Library · Misc / Utility / Sequencer

In—OutGate

In other words, a random impulse generator. Its settings take modulation — version 2.40 fixed a bug that stopped that working.

Library · Misc / Utility / Sequencer

InGateOutTime

Patch it into modules that read a time signal, such as the sequencer modules, to drive them from gates rather than from the transport.

Library · Misc / Utility / Time

InTimeGateOutTime

With no reset coming in, it simply passes on the pattern’s own time signal. How high it climbs depends on the pattern length, not on the tempo.

Library · Misc / Utility / Time

InTimeOutTime

Library · Misc / Utility / Time

InTimeOutTime

The speeds are relative to the main sequencer’s tempo, or the host’s.

Numerator

Multiplies the speed: at 2, sequencer modules run twice as fast.

Denominator

Divides the speed: at 2, they run at half the speed.

Library · Misc / Utility / Time

InTimeOutTime

For a fun experiment, enter a melody in a CV sequencer, then feed random values into the modulation input of Shift steps: the notes come out in a scrambled order.

Steps/beat

Set this to match the steps you’re working in, so that Shift steps moves the time signal by the amount you expect.

Shift steps

How many steps to move the time signal, forwards or backwards. It has its own modulation input.

Library · Misc / Utility / Time

InTimeOutTime

Any module that reads a time signal can follow it. It works at audio rate, so you can even push audio through it if you fancy an experiment.

Library · Misc / Utility / Time

In—OutTime

Library · Misc / Utility / Time

In—OutTime

Library · Misc / Utility / Time

InAudioOutAudio

Pair it with Freq to CV to go back the other way. See How pitch works for how pitch values are scaled.

Library · Misc / Utility / Conversion

InAudioOutAudio

The reverse of CV to freq.

Library · Misc / Utility / Conversion

In—OutModulation

Handy for building your own hands-on controls — see Build your own controls.

Library · Misc / Utility / UI

In—OutModulation

The knobs sit in two columns, and any that aren’t connected are dimmed. Double-tap any knob to rename it or change its range. In compact view the header disappears and the panel stretches to its full height; group the modules it controls with Section (foldable) modules — see Compact view.

Replace with

Swaps the knob with another slot. Its name, range, value and outbound connections travel with it, while automation, MIDI mappings and incoming modulation stay put.

Library · Misc / Utility / UI

In—OutModulation

Library · Misc / Utility / UI

In—OutModulation

Double-tap a knob to set it up. Drag up or down for big moves, or left and right for fine ones. The knobs accept modulation too, which makes them handy for adjustable maths and for setting modulation values directly.

Library · Misc / Utility / UI

InAudioOut—

If you can’t see anything, adjust the X and Y scale knobs until the waveform fits. The display also shows the highest and lowest values, lightly averaged so they’re easier to read. For a quick look without adding a module, hold an input socket to open the Inspect any signal.

Threshold

Turn it right down while you’re hunting for a signal, so the scope doesn’t miss what’s there.

Library · Misc / Utility / UI

In—Out—

Drop one in wherever you want a labelled break. It’s also the tidier choice when a Text box gets too big. Its three settings decide how it shows up in Compact view.

Visible

The section marker shows in compact view as normal.

Hidden

Hides only the marker in compact view.

Hidden + contents

Hides the marker and every module down to the next section in compact view. In the editing view the section opens up automatically, and the fold state you saved by hand is kept for the other options.

Library · Misc / Utility / UI

In—OutModulation

Library · Misc / Utility / UI

In—OutGate

To configure it, touch the button and drag upwards.

Library · Misc / Utility / UI

In—Out—

If the box grows too large, a Section (foldable) module may label things more neatly.

Library · Misc / Utility / UI

In—OutGate

Library · Misc / Utility / UI

In—OutModulation

A popover mode arrived in version 2.25. For more ways to play a patch by hand, see Build your own controls.

Library · Misc / Utility / UI

InVariableOutVariable

Scripts run either on whole buffers or sample by sample, you can change them while they play, and a built-in library covers filters, envelopes and other everyday DSP building blocks. The guide gives it a whole chapter, starting at The Code module.

Library · Misc / Utility / Device

InVariableOutVariable

Tap + to add a socket, and double-tap a socket to change its signal type. For racks built around instruments or effects, see Instrument racks and Processor racks.

Library · Misc / Utility / Device

InGateOutModulation

It lives in the Legacy category; the current envelope modules are in the Modulator group.

Library · Misc / Utility / Legacy

InAudioGateOutAudio

For the current version, use Integrator in the Math group.

Library · Misc / Utility / Legacy

InGateOutModulation

Use the Gate input with Phase to force the wave to start at a set point. To restart it at the top of every pattern cycle, connect the track’s Time signal to the Gate input. The current LFO lives in the Modulator group.

Freq

The rate when the LFO runs freely. You can modulate it.

Sync

The time base. Anything other than Freq locks the LFO to the current tempo.

Amount

How much modulation comes out.

Bipolar

Sets the output range: −1 to 1 when bipolar, 0 to 1 when not.

Phase

Modulates the phase continuously — patch in a second LFO for phase-modulated shapes. To choose a start phase instead, feed it a value held on a gate, for example from Random, or from S&H with a gate and another LFO.

Waveform

Choose from Sine, Triangle, Saw up, Saw down, Square, Sample'n'Hold, Random sine, Random triangle and SH ramp.

Library · Misc / Utility / Legacy

InGateOutAudio

For an independent noise source per voice, patch a polyphonic gate into its Gate input. The current Noise module, with nine modes, sits in the Generator group.

White

The brighter of the two noise colours.

Pink

Noise with less high-frequency content than white.

Library · Misc / Utility / Legacy

InAudioOutAudio

Library · Math / 2 ops

InAudioOutAudio

Negative numbers work fine. Dividing by zero doesn’t break anything — you get a very large value instead.

Library · Math / 2 ops

InAudioOutAudio

A+B

Adds A and B.

A-B

Takes B away from A.

A*B

Multiplies A by B.

Maximum

Passes on whichever input is higher.

Minimum

Passes on whichever input is lower.

A>B

Outputs 1 when A is greater than B, and 0 otherwise.

B>A

Outputs 1 when B is greater than A, and 0 otherwise.

Library · Math / 2 ops

InAudioOutAudio

Library · Math / 2 ops

InAudioOutAudio

Library · Math / 2 ops

InAudioOutAudio

Multiplying two signals is all ring modulation is, so this is the module the docs reach for when you want that sound.

Library · Math / 2 ops

InAudioOutAudio

Library · Math / 2 ops

InAudioOutAudio

Library · Math / 1 op

InAudioOutAudio

Low

The floor: anything beneath it is held at this value.

High

The ceiling: anything above it is held at this value.

Library · Math / 1 op

InAudioOutAudio

Library · Math / 1 op

InAudioOutAudio

Library · Math / 1 op

InAudioOutAudio

Library · Math / 1 op

InAudioOutAudio

It’s modelled on a four-diode bridge rectifier and adds even more overtones than Half rectify.

Library · Math / 1 op

InAudioOutAudio

Modelled on a basic single-diode rectifier, it brings extra overtones into the sound.

Library · Math / 1 op

InAudioGateOutAudio

The older version, Integrator (legacy), is in the Legacy category.

Library · Math / 1 op

InAudioOutAudio

Library · Math / 1 op

InAudioOutAudio

It needs a positive input: zero or anything below it gives an output of zero. To use the whole of a bipolar signal, add an offset first — with Offset or Scale + offset — so it stays above zero.

Library · Math / 1 op

In—OutAudio

Library · Math / 1 op

InAudioOutAudio

Library · Math / 1 op

InAudioOutAudio

Put Scale or Scale + offset around it to match the steps to the level of your signal.

Library · Math / 1 op

InAudioOutAudio

Range

The gain applied to the input. It can be negative too, such as −0.34.

Library · Math / 1 op

InAudioOutAudio

The output is the input times Scale, plus Offset.

Scale

The factor the input is multiplied by.

Offset

The amount added after scaling.

Library · Math / 1 op

InAudioOutAudio

Library · Math / 1 op

InAudioOutAudio

Zero or negative inputs always give zero. To use the full swing of a bipolar signal, add a positive offset before it.

Library · Math / 1 op

InAudioOutAudio

Library · Math / Logic

InAudioOutAudio

Library · Math / Logic

InAudioOutAudio

Library · Math / Logic

InAudioOutAudio

Library · Math / Logic