Konstrukt Manual

Drum Grid

In · Trig · Clock · Reset · Out: 1× MIDI + EOC

A whole kit in one sequencer: eight rows, each with its own Note (a GM kit by default — kick, snare, closed and open hat, clap, low tom, crash, ride) and Mute, sharing one clock, length and pattern bank. Every row carries the lane layers — per-step velocity, probability, microtiming, ratchets and trigger conditions.

The surface Drum Grid control edits all eight rows at once, records pads into their rows, rotates the pattern and switches banks with the rest of the kit. Prefer it over a stack of Drum Seq lanes unless a drum needs its own Chance or length.

Input ports

Port	Role
In	Primary MIDI path — incoming events pass through unchanged to Out.
Trig	External step clock: each note-on advances the internal pattern one step (overrides Rate).
Clock	Wire from a Clock node — one pulse per step (mutually exclusive with Trig).
Reset	A note-on or clock pulse restarts the pattern at step 1 (on either clock mode) — wire a master lane's EOC or a performance pad here to re-align lanes.

Output ports

Port	Role
Out	Every row's drum notes; input passes through alongside.
EOC	End-of-cycle trigger — one clock pulse each time the pattern wraps to step 1. Wire into another node's Trig or Clock to chain patterns.

Parameters

Parameter	Role
Rate	Clock division `4/1` … `1/64`, each with a dotted (`1/8D`) and triplet (`1/8T`) variant. Follows host transport tempo.
Velocity	Note-on velocity 1–127.
Gate %	Note length as percent of one grid step (1–100).
Steps	Steps per bar, 1–16; a clip runs 1–4 bars of them (its Bars menu).
Pattern	Active pattern bank A–H — eight independent clips per lane, each up to four bars long (steps, probability, tie, condition and microtiming all switch together). A switch lands at the lane's launch boundary; pick banks on the Lane+ A·B·C·D chips or bind/modulate the parameter.
Chain	Off, or cycle banks A·B / A·B·C / A·B·C·D automatically — one bank per pattern loop (overrides Pattern).
Row A–H Note	The drum each row plays (GM kit by default).
Row A–H Mute	Silences the row without losing its pattern.
Row A–H Step 1–16	Per-row hits. Drum Grid control only.
Row A–H Vel / Prob / Micro / Ratchet / Cond 1–16	The lane layers, per row. Drum Grid control only.
Ratchet Decay %	How far the last retrigger's velocity eases below the first (default 25).
Swing	Session (default) follows the patch's Swing, set on the Rack page's transport row; Off plays straight; 1–100 % swings this lane's odd 16ths by its own amount. Adds to Micro; internal clock only.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Drum Seq

In · Trig · Clock · Reset · Out: 1× MIDI + EOC

A tempo-synced drum lane for a single pitch — one node = one drum sound (kick, snare, hat…); a clip is 1–16 steps a bar and up to four bars long. The playhead advances at Rate (or from Trig / Clock); active steps fire note-ons with Velocity and Gate.

Incoming MIDI on In forwards unchanged, so branch several Drum Seq nodes in parallel from MIDI In to build a full kit. Bind a surface Sequencer Lane+ control to edit the pattern along with per-step velocity, probability, tie, and trigger condition — or record it: the lane's ● chip takes hits on the lane's Note from In (or the patch's MIDI input when In is bare) step by step or live against the running pattern.

Input ports

Port	Role
In	Primary MIDI path — incoming events pass through unchanged to Out.
Trig	External step clock: each note-on advances the internal pattern one step (overrides Rate).
Clock	Wire from a Clock node — one pulse per step (mutually exclusive with Trig).
Reset	A note-on or clock pulse restarts the pattern at step 1 (on either clock mode) — wire a master lane's EOC or a performance pad here to re-align lanes.

Output ports

Port	Role
Out	Drum note-ons; input passes through alongside.
EOC	End-of-cycle trigger — one clock pulse each time the pattern wraps to step 1. Wire into another node's Trig or Clock to chain patterns.

Parameters

Parameter	Role
Rate	Clock division `4/1` … `1/64`, each with a dotted (`1/8D`) and triplet (`1/8T`) variant. Follows host transport tempo.
Note	MIDI note number 0–127.
Velocity	Note-on velocity 1–127.
Gate %	Note length as percent of one grid step (1–100).
Chance %	Probability 0–100% that an event fires.
Steps	Steps per bar, 1–16; a clip runs 1–4 bars of them (its Bars menu).
Pattern	Active pattern bank A–H — eight independent clips per lane, each up to four bars long (steps, probability, tie, condition and microtiming all switch together). A switch lands at the lane's launch boundary; pick banks on the Lane+ A·B·C·D chips or bind/modulate the parameter.
Chain	Off, or cycle banks A·B / A·B·C / A·B·C·D automatically — one bank per pattern loop (overrides Pattern).
Step 1–16	Per-step on/off (● = active). Edit on the surface step grid.
Vel 1–16	Per-step velocity as a percentage of Velocity (1–100, default 100) — shape accents and ghost notes. Lane+ control only.
Prob 1–16	Per-step probability 0–100% (default 100). Lane+ control only.
Tie 1–16	Per-step tie — suppresses the step's own note and extends the previous note's gate through it instead. Lane+ control only.
Cond 1–16	Per-step trigger condition — fires only on that one pass out of every M loops (Always, `1:2`…`4:4`). Lane+ control only.
Micro 1–16	Per-step timing nudge −50% … +50% of one grid step. Surface grid only.
Ratchet 1–16	Per-step ratchet ×1 (default) … ×4: the step's note retriggers that many times, evenly inside the step, each note-off landing before the next hit. Lane+ control only.
Ratchet Decay %	How far the last retrigger's velocity eases below the first (default 25).
Swing	Session (default) follows the patch's Swing, set on the Rack page's transport row; Off plays straight; 1–100 % swings this lane's odd 16ths by its own amount. Adds to Micro; internal clock only.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Step Seq

In · Trig · Clock · Reset · Out: 1× MIDI + EOC

A monophonic melody sequencer: one pitch per step (0 = rest). The playhead steps at Rate or external clock with configurable Gate and Velocity.

Built-in Root + Scale snap each step's output in-key (Chromatic = off). Draw pitches on the surface Sequencer Lane+ control — the ladder shows the sounding note after quantization, and a layer picker switches to per-step velocity, probability, tie, and trigger condition. Or record the line: the lane's ● chip takes notes from In (or the patch's MIDI input when In is bare) step by step or live, held notes tying the steps they span.

Input ports

Port	Role
In	Primary MIDI path — incoming events pass through unchanged to Out.
Trig	External step clock: each note-on advances the internal pattern one step (overrides Rate).
Clock	Wire from a Clock node — one pulse per step (mutually exclusive with Trig).
Reset	A note-on or clock pulse restarts the pattern at step 1 (on either clock mode) — wire a master lane's EOC or a performance pad here to re-align lanes.

Output ports

Port	Role
Out	Melody note per step; input passes through alongside.
EOC	End-of-cycle trigger — one clock pulse each time the pattern wraps to step 1. Wire into another node's Trig or Clock to chain patterns.

Parameters

Parameter	Role
Rate	Clock division `4/1` … `1/64`, each with a dotted (`1/8D`) and triplet (`1/8T`) variant. Follows host transport tempo.
Velocity	Note-on velocity 1–127.
Gate %	Note length as percent of one grid step (1–100).
Steps	Steps per bar, 1–16; a clip runs 1–4 bars of them (its Bars menu).
Root	Scale root (C, C#, D…). Used with Scale to snap output notes in-key.
Scale	Scale name (Major, Minor, Pentatonic…, or one of the patch's custom scales). Chromatic (default) passes every note unchanged — effectively off.
Pattern	Active pattern bank A–H — eight independent clips per lane, each up to four bars long (steps, probability, tie, condition and microtiming all switch together). A switch lands at the lane's launch boundary; pick banks on the Lane+ A·B·C·D chips or bind/modulate the parameter.
Chain	Off, or cycle banks A·B / A·B·C / A·B·C·D automatically — one bank per pattern loop (overrides Pattern).
Step 1–16	MIDI note per step (0 = rest). Edit on the surface step grid.
Vel 1–16	Per-step velocity as a percentage of Velocity (1–100, default 100) — shape accents and ghost notes. Lane+ control only.
Prob 1–16	Per-step probability 0–100% (default 100). Lane+ control only.
Tie 1–16	Per-step tie — suppresses the step's own note and extends the previous note's gate through it instead. Lane+ control only.
Cond 1–16	Per-step trigger condition — fires only on that one pass out of every M loops (Always, `1:2`…`4:4`). Lane+ control only.
Micro 1–16	Per-step timing nudge −50% … +50% of one grid step. Surface grid only.
Ratchet 1–16	Per-step ratchet ×1 (default) … ×4: the step's note retriggers that many times, evenly inside the step, each note-off landing before the next hit. Lane+ control only.
Ratchet Decay %	How far the last retrigger's velocity eases below the first (default 25).
Swing	Session (default) follows the patch's Swing, set on the Rack page's transport row; Off plays straight; 1–100 % swings this lane's odd 16ths by its own amount. Adds to Micro; internal clock only.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Chord Seq

In · Trig · Clock · Reset · Out: 1× MIDI + EOC

A chord progression sequencer: each step plays a diatonic chord on a scale degree (0 = rest, 1–7 = I…VII), voiced by stacking thirds in Root + Scale at Octave — as triads or, with Chord set to 7th, four-voice sevenths. Degrees 1·6·4·5 in C Major play the classic C–Am–F–G.

Same step machinery as the other lanes: the surface Sequencer Lane+ control shows each step as a named chord pad ("C", "Am", "G7" with its roman numeral) that follows the Root / Scale / Chord knobs live, with per-step velocity and probability layers. Under each pad a Tie button holds the previous chord through the step.

The lane's Rhythm layer is a second grid with its own Rhythm Rate and Rhythm Steps: while any of its hits is set, the chord steps only choose the chord and the rhythm grid plays it — one chord per bar on the progression, stabs on 2 and 4 (or every offbeat eighth) on the rhythm. Each hit's height is its accent; Gate % applies to the rhythm step. An empty rhythm leaves every chord step sounding on its own.

The voicing button under each pad sets the step's inversion — Root, 1st, 2nd or 3rd, each lifting the lowest note an octave (a layer of its own on a lane too narrow for the buttons) — so a progression can be voice-led instead of jumping between root positions; the Chords player writes it for you.

Strum rolls a step's chord instead of landing it as a block: the voices start one after another over the step's Strum, a share of the step (so the roll scales with Rate), Up from the lowest sounding note, Down from the highest, Alternate per strum or Random, spaced Even, Tight (a flick) or Loose; the notes lift together right after the roll, so the instrument's release rings them out (a tie holds a strum on). Rhythm hits roll over their own step and every ratchet rolls again. The lane's Strum layer sets every step's roll, with the direction and curve on chips beside it, so one hard strum on the one can sit among tight pads. The Chords player strums every chord to suit its feel.

Input ports

Port	Role
In	Primary MIDI path — incoming events pass through unchanged to Out.
Trig	External step clock: each note-on advances the internal pattern one step (overrides Rate).
Clock	Wire from a Clock node — one pulse per step (mutually exclusive with Trig).
Reset	A note-on or clock pulse restarts the pattern at step 1 (on either clock mode) — wire a master lane's EOC or a performance pad here to re-align lanes.

Output ports

Port	Role
Out	Chord tones per step; input passes through alongside.
EOC	End-of-cycle trigger — one clock pulse each time the pattern wraps to step 1. Wire into another node's Trig or Clock to chain patterns.

Parameters

Parameter	Role
Rate	Clock division `4/1` … `1/64`, each with a dotted (`1/8D`) and triplet (`1/8T`) variant. Follows host transport tempo.
Velocity	Note-on velocity 1–127.
Gate %	Note length as percent of one grid step (1–100).
Steps	Steps per bar, 1–16; a clip runs 1–4 bars of them (its Bars menu).
Root	Key root (C, C#, D…) the degrees are built in.
Scale	Scale the chords are stacked from (Major, Minor, modes…, or a custom scale).
Octave	Register of the degree-1 chord root (1–7).
Chord	Triad or 7th — three or four stacked scale thirds.
Pattern	Active pattern bank A–H — eight independent clips per lane, each up to four bars long (steps, probability, tie, condition and microtiming all switch together). A switch lands at the lane's launch boundary; pick banks on the Lane+ A·B·C·D chips or bind/modulate the parameter.
Chain	Off, or cycle banks A·B / A·B·C / A·B·C·D automatically — one bank per pattern loop (overrides Pattern).
Step 1–16	Scale degree per step (0 = rest, 1–7 = I…VII). Edit on the surface step grid.
Vel 1–16	Per-step velocity as a percentage of Velocity (1–100, default 100) — shape accents and ghost notes. Lane+ control only.
Prob 1–16	Per-step probability 0–100% (default 100). Lane+ control only.
Tie 1–16	Per-step tie — suppresses the step's own note and extends the previous note's gate through it instead. Lane+ control only.
Cond 1–16	Per-step trigger condition — fires only on that one pass out of every M loops (Always, `1:2`…`4:4`). Lane+ control only.
Micro 1–16	Per-step timing nudge −50% … +50% of one grid step. Surface grid only.
Ratchet 1–16	Per-step ratchet ×1 (default) … ×4: the step's note retriggers that many times, evenly inside the step, each note-off landing before the next hit. Lane+ control only.
Ratchet Decay %	How far the last retrigger's velocity eases below the first (default 25).
Rhythm Rate	Grid of the rhythm layer (default 1/16).
Rhythm Steps	Length of the rhythm grid, 1–16 (default 16).
Rhythm 1–16	Rhythm hits, accent 0–100 % (0 = no hit). Any hit set hands the triggering to this grid. Banked with the chord steps, so each clip has its own rhythm. Lane+ control only.
Strum Direction	Up (low to high), Down, Alternate per strum, or Random.
Strum Curve	Even gaps, Tight (closing toward the top, a flick) or Loose (opening).
Strum 1–16	The step's roll, 0–100 % of the step (0 = the block chord). Banked with the chord steps. Lane+ control only.
Swing	Session (default) follows the patch's Swing, set on the Rack page's transport row; Off plays straight; 1–100 % swings this lane's odd 16ths by its own amount. Adds to Micro; internal clock only.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Analog Seq

In · Trig · Clock · Reset · Out: 1× MIDI + EOC

The knob-per-step analog machine: eight pitches set as semitone offsets above Root (0 = off, +0 up to the row's Range of 1, 2 or 3 octaves), walked Forward, Backward, Pendulum or Random. No banks, no piano roll — one row you dial in and perform.

Play a key and the whole row re-roots to it live (last-note latch, SH-101 style); the played note itself is consumed. A Slide step holds its note through the next step's onset — put Mono + Glide downstream and slides become true 303-style portamento. The velocity layer is the accent row: drag steps up to punch them.

Input ports

Port	Role
In	Primary MIDI path — incoming events pass through unchanged to Out.
Trig	External step clock: each note-on advances the internal pattern one step (overrides Rate).
Clock	Wire from a Clock node — one pulse per step (mutually exclusive with Trig).
Reset	A note-on or clock pulse restarts the pattern at step 1 (on either clock mode) — wire a master lane's EOC or a performance pad here to re-align lanes.

Output ports

Port	Role
Out	The stepped row; non-note input passes through alongside.
EOC	End-of-cycle trigger — one clock pulse each time the pattern wraps to step 1. Wire into another node's Trig or Clock to chain patterns.

Parameters

Parameter	Role
Rate	Clock division `4/1` … `1/64`, each with a dotted (`1/8D`) and triplet (`1/8T`) variant. Follows host transport tempo.
Velocity	Note-on velocity 1–127.
Gate %	Note length as percent of one grid step (1–100).
Steps	Row length, 1–8.
Direction	Forward · Backward · Pendulum · Random walk of the row.
Root	The row's octave when no key is held — the root itself is the Key's tonic in that octave, so a row in A starts on an A. Playing a note re-roots the row.
Key	The row's tonic and quantizer root; sounding pitches snap to Key + Scale.
Scale	Quantizer scale, built-in or custom (Chromatic = off — offsets pass unchanged).
Step 1–8	Semitone offset per step (0 = off, 1–37 = +0…+36 st, capped by Range). Edit on the surface step grid.
Vel 1–8	Accent row — per-step % of Velocity.
Slide 1–8	Hold this step through the next onset (legato tie).
Cond 1–8	Per-step trigger condition — fires only on that one pass out of every M walk cycles (Always, `1:2`…`4:4`). Lane+ control only.
Ratchet 1–8	Per-step ratchet ×1 (default) … ×4: the knob's note retriggers that many times inside the step; on a slide step the last retrigger holds through. Lane+ control only.
Range	Octave span of the pitch knobs — 1, 2 (default) or 3 octaves; offsets above it are capped.
Ratchet Decay %	How far the last retrigger's velocity eases below the first (default 25).
Swing	Session (default) follows the patch's Swing, set on the Rack page's transport row; Off plays straight; 1–100 % swings this lane's odd 16ths by its own amount. Adds to Micro; internal clock only.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Stage Seq

In · Trig · Clock · Reset · Out: 1× MIDI + EOC

A stage-and-pulse sequencer in the Intellijel Metropolis mould. Eight stages, each a pitch that lasts 1–8 clock pulses — the rhythm comes from the pulse counts, and the loop is their sum (3·1·2·2 is an eight-pulse riff with that feel). Each stage has a gate mode for its pulses: Rest (silent), Single (one gate on the first pulse), Repeat (a gate every Step/Div pulses) or Hold (one note for the whole stage).

Slide makes a stage arrive legato — the note before holds through its onset; put Mono + Glide downstream for real portamento. Skip removes a stage without touching its settings; a Ratchet splits each of its gates into 2–4. Walk Forward, Reverse, Ping-Pong, Brownian (a drunk walk that trends forward) or Random; Length → Fixed restarts the cycle every Fixed Pulses whatever the stages add up to, so it locks to another lane. Play a key and the row re-roots to it live, like the Analog Seq. Eight pattern banks, launched from Scene Pads like every lane.

Input ports

Port	Role
In	Primary MIDI path — incoming events pass through unchanged to Out.
Trig	External step clock: each note-on advances the internal pattern one step (overrides Rate).
Clock	Wire from a Clock node — one pulse per step (mutually exclusive with Trig).
Reset	A note-on or clock pulse restarts the pattern at step 1 (on either clock mode) — wire a master lane's EOC or a performance pad here to re-align lanes.

Output ports

Port	Role
Out	The stage row; non-note input passes through alongside.
EOC	End-of-cycle trigger — one clock pulse each time the pattern wraps to step 1. Wire into another node's Trig or Clock to chain patterns.

Parameters

Parameter	Role
Pulse	The clock pulse — a stage lasts 1–8 of them.
Velocity	Note-on velocity 1–127.
Gate %	Gate length as a % of a pulse (Single, Repeat).
Stages	How many stages are in play, 1–8 (tap a stage number on the panel).
Direction	Forward · Reverse · Ping-Pong · Brownian · Random.
Root	The row's octave when no key is held (the Key's tonic in that octave). Playing a note re-roots the row.
Key	The row's tonic and quantizer root.
Scale	Quantizer scale (Chromatic = off).
Step/Div	Repeat stages fire a gate every 1–4 pulses.
Range	Span of the pitch sliders — 1, 2 (default) or 3 octaves.
Swing	Off (50, straight) … 75 %: every second pulse lands later. Session, below Off, follows the patch's Swing on the odd 16ths instead — where a new lane starts.
Length	Stages (the cycle is the stages' pulses) or Fixed (it restarts every Fixed Pulses).
Fixed Pulses	Cycle length in Fixed mode, 1–64 pulses.
Pitch 1–8	Semitones above the root, 0–36 (capped by Range).
Pulses 1–8	How many pulses the stage lasts, 1–8.
Gate 1–8	Rest (default) · Single · Repeat · Hold.
Slide 1–8	Arrive at this stage legato.
Skip 1–8	Leave the stage out — it takes no time.
Ratchet 1–8	Split each gate into 1–4 retriggers.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Piano Roll

In: 1× MIDI · Out: 1× MIDI + EOC

Tempo-synced MIDI phrase recorder whose recording is saved with the patch: Record overdubs live notes and expression (CC, bend, pressure) as a new take, Play loops what is captured, Undo drops the newest take, Clear wipes the buffer. Length sets the loop size in bars.

Quantize snaps recorded note-ons to a grid (Off keeps your timing); note-offs and expression move with their note, so durations and MPE gestures keep their shape. Drive from a surface Piano Roll card for hands-free capture.

Output ports

Port	Role
Out	Live input plus looped playback.
EOC	End-of-cycle trigger — one clock pulse each time the pattern wraps to step 1. Wire into another node's Trig or Clock to chain patterns.

Parameters

Parameter	Role
Length	Loop length in bars 1–8.
Record	Off / On — overdub live input as a new take.
Play	Off / On — playback loop.
Clear	Momentary — wipe loop buffer.
Quantize	Off / 1/4 … 1/32 — snap recorded note-ons to the grid.
Undo	Momentary — drop the newest take.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

CC Seq

In · Trig · Clock · Reset · Out: 1× MIDI + EOC

A 16-step automation lane for one CC number — stepped filter sweeps, acid resonance, rhythmic tremolo. Each clock step writes the matching step value on Target CC while note data passes through.

Layer several CC Seq nodes on parallel branches to automate multiple parameters in sync.

Input ports

Port	Role
In	Primary MIDI path — incoming events pass through unchanged to Out.
Trig	External step clock: each note-on advances the internal pattern one step (overrides Rate).
Clock	Wire from a Clock node — one pulse per step (mutually exclusive with Trig).
Reset	A note-on or clock pulse restarts the pattern at step 1 (on either clock mode) — wire a master lane's EOC or a performance pad here to re-align lanes.

Output ports

Port	Role
Out	MIDI passthrough with the stepped value written on Target CC.
EOC	End-of-cycle trigger — one clock pulse each time the pattern wraps to step 1. Wire into another node's Trig or Clock to chain patterns.

Parameters

Parameter	Role
Rate	Clock division `4/1` … `1/64`, each with a dotted (`1/8D`) and triplet (`1/8T`) variant. Follows host transport tempo.
Target CC	MIDI CC number to write (0–127).
Steps	Pattern length 1–16.
Step 1–16	CC value 0–127 per step. Edit on the surface step grid.
Prob 1–16	Per-step probability 0–100% (default 100). Lane+ control only.
Cond 1–16	Per-step trigger condition — fires only on that one pass out of every M loops (Always, `1:2`…`4:4`). Lane+ control only.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Matrix

In · X Trig · Y Trig · Out: 1× MIDI + EOC

A grid sequencer: a grid of note values (0 = rest, default 4×4, up to 8×8). The internal clock walks the grid at Rate in a Mode — Rows, Columns, Snake, Diagonal, Spiral or Random — one cell per step, playing the current cell's note.

Or scan it as an XY sequencer: wire clocks into X Trig and Y Trig to advance column and row independently. Built-in Root + Scale snap each cell's output in-key (Chromatic = off). Like the other sequencers it pulses EOC when the cursor returns to the origin. Bind a surface Matrix control to edit the grid with a live playhead.

Input ports

Port	Role
In	Primary MIDI path — passes through unchanged to Out.
X Trig	Note-ons advance the column one step (overrides the internal clock).
Y Trig	Note-ons advance the row one step — wire two clocks for XY scanning.

Output ports

Port	Role
Out	Note of the current cell (0 = rest); input passes through.
EOC	End-of-cycle trigger — one clock pulse each time the pattern wraps to step 1. Wire into another node's Trig or Clock to chain patterns.

Parameters

Parameter	Role
Rate	Clock division `4/1` … `1/64`, each with a dotted (`1/8D`) and triplet (`1/8T`) variant. Follows host transport tempo.
Mode	Traversal: Rows, Columns, Snake, Diagonal, Spiral, Random.
Velocity	Note-on velocity 1–127.
Gate %	Note length as percent of one grid step (1–100).
Width	Active grid columns 2–8.
Height	Active grid rows 2–8.
Root	Scale root (C, C#, D…). Used with Scale to snap output notes in-key.
Scale	Scale name (Major, Minor, Pentatonic…, or one of the patch's custom scales). Chromatic (default) passes every note unchanged — effectively off.
Cell 1–64	MIDI note per cell (0 = rest); the active Width × Height subset plays. Edit on the surface Matrix grid.
Prob 1–64	Per-cell probability 0–100% (default 100). Engine-only — no dedicated surface control yet, but wireable as a mod destination.
Tie 1–64	Per-cell tie — suppresses the cell's own note and extends the previously fired note's gate through it instead. Engine-only.
Cond 1–64	Per-cell trigger condition — fires only on that one pass out of every M loops around the origin (Always, `1:2`…`4:4`). Engine-only.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Gate

In: 1× MIDI · Out: 1× MIDI + EOC

Also called Trance Gate. Holds incoming notes and chops them with a 16-step on/off pattern — sustained chords become a rhythmic pulse without retriggering the source.

Unlike a sequencer, it reacts to whatever you play in real time. Draw the gate pattern on the step row for trance, house and EDM stutters.

Output ports

Port	Role
Out	Gated note stream.
EOC	End-of-cycle trigger — one clock pulse each time the pattern wraps to step 1. Wire into another node's Trig or Clock to chain patterns.

Parameters

Parameter	Role
Rate	Clock division `4/1` … `1/64`, each with a dotted (`1/8D`) and triplet (`1/8T`) variant. Follows host transport tempo.
Steps	Pattern length 1–16.
Step 1–16	Gate open (1) or closed (0) per grid step. Draw on the step row.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Swing

In: 1× MIDI · Out: 1× MIDI

Adds shuffle by delaying off-beat note-ons. Amount sets how late (percent of half a grid step); Grid is the timing reference.

Place after sequencers, arps or generators to loosen rigid timing without changing the underlying pattern.

Parameters

Parameter	Role
Amount %	Shuffle depth 0–100%. Higher = more laid-back off-beats.
Grid	Reference clock division for quantization or swing (`4/1` … `1/64`, dotted and triplet variants included).

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Snap

In: 1× MIDI · Out: 1× MIDI

Quantizes note-on timing to the clock grid while preserving note lengths. Strength blends dry input (0%) with fully locked timing (100%).

Use after live keyboard input or Humanize to tighten a part without reprogramming it.

Parameters

Parameter	Role
Grid	Reference clock division for quantization or swing (`4/1` … `1/64`, dotted and triplet variants included).
Strength %	Blend 0% = passthrough timing, 100% = fully snapped.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Mute

In: 1× MIDI · Out: 1× MIDI

Branch mute / bypass. When Pass is Off the stream is silenced and held notes are flushed; On lets events through normally.

Bind a toggle button to Pass to mute a part during performance.

Parameters

Parameter	Role
Pass	Off = muted (notes flushed), On = live.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

A/B Switch

In: A · B · Trig · Out: 1× MIDI

Routes one of two musical inputs to Out. Active picks A or B when no trigger is active. Wire a sequencer or keyboard to Trig for performance switching.

In Gate mode (default), B is selected while trigger notes are held; Toggle flips on each trigger note-on. Off ignores Trig.

Input ports

Port	Role
A	First musical input — heard when Active is A.
B	Second musical input — heard when Active is B.
Trig	Control input — note-ons here drive Gate (hold B while trigger notes play) or Toggle mode.

Parameters

Parameter	Role
Active	A or B when trigger input is idle.
Trigger	Off / Gate / Toggle — how Trig port behaves.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Seq Switch

In: 1…N + Trig · Out: 1× MIDI

Sequential router: wire different musical sources to inputs 1…N and a clock or trigger source to Trig. Each trigger note-on advances the active step and passes only that input through.

Step selects manually when Trigger is Off. Held notes are flushed on step change to avoid stuck notes.

Input ports

Port	Role
1…N	Musical inputs (count = Inputs). Only the active step's stream reaches Out.
Trig	Advance clock — each note-on moves to the next input when Trigger is On.

Parameters

Parameter	Role
Inputs	Number of musical input ports (2–8).
Step	Active input index (0-based). Manual when Trigger is Off.
Trigger	Off = manual Step; On = advance on each Trig note-on.
Next	Momentary — advance one step (same as a trigger pulse).

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Pulse

In: 1× MIDI · Out: 1× MIDI

Momentary trigger node. A rising edge on Fire emits a short note burst or a CC value depending on Mode; in Gate mode the note holds until Fire goes low. Incoming MIDI passes through unchanged.

Bind a momentary pad or button to Fire for one-shot hits and automation spikes, or for a note that holds while pressed in Gate mode.

Parameters

Parameter	Role
Fire	Momentary — rising edge fires the pulse.
Mode	Note = MIDI note burst; CC = single CC value; Gate = note held while Fire is on.
Note	MIDI note number 0–127.
Velocity	Note-on velocity 1–127.
Channel	MIDI channel 1–16 for Note and Gate modes.
CC	CC number for CC mode.
Value	CC value 0–127 for CC mode.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Channel

In: 1× MIDI · Out: 1× MIDI

Filters MIDI by channel and optionally remaps it. Passes only events on Input Ch (0 = any channel) and can rewrite them to Output Ch (0 = leave channel unchanged).

Route one branch to channel 10 for drums and another to channel 1 for bass in a multitimbral rig.

Parameters

Parameter	Role
Input Ch	0 = accept any channel; 1–16 = filter to that channel.
Output Ch	0 = keep original channel; 1–16 = force output channel.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Note Range

In: 1× MIDI · Out: 1× MIDI

Passes only notes inside pitch and velocity windows. Events outside Low/High Note or Low/High Vel are dropped; CC and other message types pass through.

Split a keyboard by pitch, isolate hard hits, or block low-end rumble before a bass synth.

Parameters

Parameter	Role
Low Note	Lowest pitch in range (0–127).
High Note	Highest pitch in range (0–127).
Low Vel	Minimum velocity 1–127.
High Vel	Maximum velocity 1–127.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Msg Filter

In: 1× MIDI · Out: 1× MIDI

Per-type Pass/Block switches for Notes, CC, Pitch Bend, Aftertouch and Program Change. Strip CC clutter or pass only notes to a monophonic line.

Parameters

Parameter	Role
Notes	Pass or Block note on/off.
CC	Pass or Block control change.
Pitch Bend	Pass or Block pitch wheel.
Aftertouch	Pass or Block channel pressure.
Prog Change	Pass or Block program change.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

CC Filter

In: 1× MIDI · Out: 1× MIDI

Per-number CC filter: list up to six CC numbers and choose Pass Listed (only those survive) or Block Listed (everything but those). Non-CC messages always pass.

Keep just the mod wheel and CC 74 for a synth that misbehaves on stray controllers, or strip one noisy encoder without losing the rest. Set a slot to Off (128) to leave it unused.

Parameters

Parameter	Role
Mode	Pass Listed = only the listed CCs survive; Block Listed = they are removed.
CC 1–6	CC numbers 0–127; Off (128) = slot unused.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Hold

In: 1× MIDI · Out: 1× MIDI

A monophonic note latch: each new note-on replaces the previous held note. The prior note-off is sent when the next note arrives — legato overlap on a single voice with no extra parameters.

Chance

In: 1× MIDI · Out: 1× MIDI

Probabilistic gate: each note-on passes with Chance %; note-offs always pass so notes never stick. Thin dense streams or add organic drop-outs to arps and generators.

Parameters

Parameter	Role
Chance %	Probability 0–100% that an event fires.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Bernoulli

In: 1× MIDI · Out: A · B
Mod out: the last toss (1 = A, 0 = B)

A coin toss for every note (after Mutable Instruments' Branches): heads goes out A, tails out B. Nothing is dropped — that's Chance — Bernoulli routes. Feed one hat pattern in and send A to the closed hat and B to the open one, or spread one arp across two instruments.

Toss flips a fresh coin for every note. Toggle flips it to decide whether to switch sides: a low A % holds long runs on one side, 100% alternates strictly.

Clock pulses are tossed too (on their own coin), so a Clock wired through drives two generators in complementary random patterns. A note-off always follows its note-on; CC, pitch bend and pressure reach both outputs.

Output ports

Port	Role
A	Heads — A % of the notes.
B	Tails — the rest.

Parameters

Parameter	Role
A %	Probability 0–100% that a note goes out A (default 50).
Mode	Toss — a coin per note; Toggle — the coin decides whether to switch sides.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Divide

In: 1× MIDI · Out: 1× MIDI

Passes every Nth note-on after skipping Offset hits — accent every third note in a run, or extract a sparse melody from busy generator output.

Also divides clock pulses: every Nth pulse from a Clock node passes through (separate counter from notes). Halve or quarter a master clock into a generator's Clock input.

Parameters

Parameter	Role
Every N	Pass every Nth note-on or clock pulse (1–8).
Offset	Skip this many events before counting (0–7).

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Rotate

In: 1× MIDI · Out: 1× MIDI

Round-robin channel assignment: first note goes to First Ch, then increments, wrapping after Channels count. Spread one stream across multitimbral timbres or layered synth patches.

Parameters

Parameter	Role
First Ch	MIDI channel for the first note (1–16).
Channels	How many channels to cycle through (1–16).

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Split

In: 1× MIDI · Out: T · Low · High

Keyboard split at Split pitch. Notes at or below the split point route to Low; above to High. T outputs the full input.

CC, pitch bend and aftertouch copy to both zones.

Output ports

Port	Role
T	Thru — full unmodified input.
Low	Notes at or below Split pitch.
High	Notes above Split pitch.

Parameters

Parameter	Role
Split	Split pitch 0–127 (default middle C = 60).

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Chord Split

In: 1× MIDI · Out: T · 1…n voices

Decomposes each chord into separate voice outputs (up to Voices). Lowest note → port 1, next → port 2, etc. T passes the untouched chord.

Route each voice to different processing chains for per-note effects.

Output ports

Port	Role
T	Thru — full chord unchanged.
1…n	Individual chord voices (count = Voices), lowest note on port 1.

Parameters

Parameter	Role
Voices	Number of voice outputs 2–8.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Transpose

In: 1× MIDI · Out: 1× MIDI

Shifts every note by Semitones (−24…+24). Note-offs track the transposed pitch so voices don't stick. Instant key change or fine interval tweak (+7 = fifth up).

Parameters

Parameter	Role
Semitones	Interval shift −24 … +24 semitones.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Mirror

In: 1× MIDI · Out: 1× MIDI

Inverts pitch around Pivot — notes above become equidistant below and vice versa. Set pivot to the tonic for inverted lines that stay in register.

Parameters

Parameter	Role
Pivot	Mirror axis 0–127 (MIDI note number).

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Chord

In: 1× MIDI · Out: 1× MIDI

Expands each note-on into a full Chord type (Major, Minor, 7ths, sus, etc.). Spread staggers voice onsets in milliseconds for a strummed feel. One-finger pad chords.

Parameters

Parameter	Role
Chord	Chord quality (Major, Minor, dim, aug, 7ths, sus…).
Spread ms	Delay between chord voices 0–100 ms.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Harmony

In: 1× MIDI · Out: 1× MIDI

Adds up to two diatonic voices at scale-degree offsets from Root + Scale. Keep Root On = original note plus harmonies; Off = harmony voices only.

Parameters

Parameter	Role
Root	Scale root (C, C#, D…).
Scale	Scale for voice selection — built-in or one of the patch's custom scales.
Voice 1	Scale-degree offset for first harmony (−7…+7).
Voice 2	Scale-degree offset for second harmony (−7…+7).
Keep Root	On = pass input note plus harmonies; Off = harmonies only.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Velocity

In: 1× MIDI · Out: 1× MIDI

Scales note-on velocity: multiply by Scale % then add Offset. Compress or expand dynamics from a controller, sequencer or humanized stream.

Parameters

Parameter	Role
Scale %	Velocity multiplier 0–200%.
Offset	Added after scaling (−64…+64).

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Note Length

In: 1× MIDI · Out: 1× MIDI

Forces a fixed Length (clock division) on every note. Input note-offs are ignored; the node issues its own off at grid time — staccato lines from legato input.

Parameters

Parameter	Role
Length	Fixed note length as a clock division (`4/1` … `1/64`, dotted and triplet variants included).

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Mono

In: 1× MIDI · Out: 1× MIDI

A voice limiter: only one note sounds at a time. Priority picks the winner — Last (newest press steals), Low or High — and releasing the sounding key falls back to the best still-held key, like a classic mono synth.

Mode orders the switch: Retrig closes the old note before the new one; Legato opens the new note first, so a legato-mode synth slides instead of restarting its envelope. Put it before mono basses, leads, or Glide.

Parameters

Parameter	Role
Priority	Which held note wins the voice: Last, Low, or High.
Mode	Retrig = off-then-on; Legato = overlapped on-then-off.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Glide

In: 1× MIDI · Out: 1× MIDI

Pitch-bend portamento (the 303 slide): a voice's first note passes through, and when its target note changes the change becomes a smooth pitch-bend ramp toward the new pitch over Time ms instead of a retrigger. Releasing back to a still-held key slides back down. Polyphonic — up to 8 voices glide independently: held notes are ranked by ascending pitch, each rank keeps its own voice, so whole chords slide when the harmony shifts.

Pitch bend is channel-wide, so each voice gets its own fixed output channel (Channel Base + voice index, wrapping mod 16) — the one-channel-per-voice trick MPE controllers use. Bend Range is announced on every voice channel as pitch-bend sensitivity (RPN 0,0), so the built-in Analog — and RPN-honoring hardware — lands exactly on pitch; jumps beyond the range re-anchor with a fresh note and keep sliding. Always mode glides even detached notes in from the previous pitch.

Parameters

Parameter	Role
Time ms	Glide time 5–2000 ms per slide.
Bend Range	Bend span in semitones (1–48); match the receiver.
Mode	Legato = only overlapping notes slide; Always = every note.
Channel Base	Lowest of the 8 per-voice output channels (1–16).

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Ratchet

In: 1× MIDI · Out: 1× MIDI

On each incoming note-on, fires Repeats additional hits at Rate with Decay % velocity falloff and Chance % per hit. Machine-gun hi-hats and trap snares.

Parameters

Parameter	Role
Repeats	Extra hits per note-on 1–4.
Rate	Clock division `4/1` … `1/64`, each with a dotted (`1/8D`) and triplet (`1/8T`) variant. Follows host transport tempo.
Decay %	Velocity falloff per repeat 0–100%.
Chance %	Probability 0–100% that an event fires.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Echo

In: 1× MIDI · Out: 1× MIDI

Tempo-synced MIDI delay: Repeats echoes at Time division, each quieter by Decay %. Original notes pass through; echoes are added alongside.

Parameters

Parameter	Role
Time	Delay interval as a clock division (`4/1` … `1/64`, dotted and triplet variants included).
Repeats	Number of echo taps 1–8.
Decay %	Velocity reduction per repeat 0–100%.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Humanize

In: 1× MIDI · Out: 1× MIDI

Adds controlled randomness: Vel ±% jitter, Timing % shift and Chance % dropouts. Place after sequencers for life; before Snap to tighten back up.

Parameters

Parameter	Role
Vel ±%	Random velocity variation 0–100%.
Timing %	Random timing jitter 0–100%.
Chance %	Probability 0–100% that an event fires.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

AU MIDI Effect

In: 1× MIDI · Out: 1× MIDI

A hosted third-party AUv3 MIDI effect — any MIDI-processor plugin installed on the device (arpeggiators, chord tools, generative sequencers, harmonisers) sits in the MIDI chain like a built-in node: the events routed into it go through the plugin and whatever it emits comes out the other side, at sample offsets. Pick the plugin in the inspector (Choose…) and open its own window from there; its settings are saved with the patch, and its parameters appear as node parameters you can bind and modulate. The plugin follows the transport — tempo, beat and play/stop — so arps and step plugins stay in time.

Clock pulses bypass the plugin, and a plugin that fails to render passes its input through rather than swallowing notes.

Standalone app only. Inside a host like AUM or Logic the node stays in the patch but passes MIDI through untouched.

Quantize

In: 1× MIDI · Out: 1× MIDI

Snaps every note to Root + Scale. Essential after Random Notes, Walk, or emergence generators; also sweetens live keyboard input into a chosen key.

Parameters

Parameter	Role
Root	Scale root (C, C#, D…).
Scale	Scale name (Major, Minor, Pentatonic, etc.).

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Arp

In: 1× MIDI · Out: 1× MIDI

Arpeggiates held notes in Mode (Up, Down, Up/Down, Random…) at Rate across Octaves with Gate % length. Latch keeps running after keys are released.

Hold a chord for running trance and synth-wave leads.

Parameters

Parameter	Role
Mode	Arp direction / pattern.
Rate	Clock division `4/1` … `1/64`, each with a dotted (`1/8D`) and triplet (`1/8T`) variant. Follows host transport tempo.
Octaves	Range extension 0–4 octaves.
Gate %	Note length as percent of one grid step (1–100).
Latch	Off = stop when keys released; On = keep arpeggiating.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Clock

In: 1× MIDI (pass-through) · Out: 1× MIDI + clock pulses

A dedicated timing pulse generator. Emits one clock pulse per Rate step on the MIDI stream (in addition to passing input through). Wire Out to the Clock input of sequencers and generators to drive many nodes from one master tempo.

Sync steps on a clock division, locked to the host transport (pauses when stopped). Free ticks at a Rate Hz you set — independent of the transport and the tempo, so it keeps going while stopped and doesn't speed up with the song.

Parameters

Parameter	Role
Rate	Clock division `4/1` … `1/64`, each with a dotted (`1/8D`) and triplet (`1/8T`) variant. Follows host transport tempo.
Mode	Sync = follow host transport on the clock division; Free = run at Rate Hz.
Rate Hz	Free mode only: cycles per second, 0.05–20 Hz. Shown in place of the clock division once Mode is Free; ignored in Sync.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Euclid

In · Trig · Clock · Reset · Out: 1× MIDI + EOC

Euclidean rhythm generator: distributes Pulses hits evenly across Steps, with Rotate phase offset. Fires Note at Rate or external clock.

Input on In passes through — layer polyrhythms on top of existing material without replacing it.

Input ports

Port	Role
In	Primary MIDI path — incoming events pass through unchanged to Out.
Trig	External step clock: each note-on advances the internal pattern one step (overrides Rate).
Clock	Wire from a Clock node — one pulse per step (mutually exclusive with Trig).
Reset	A note-on or clock pulse restarts the pattern at step 1 (on either clock mode) — wire a master lane's EOC or a performance pad here to re-align lanes.

Output ports

Port	Role
Out	Euclidean note hits; input passes through alongside.
EOC	End-of-cycle trigger — one clock pulse each time the pattern wraps to step 1. Wire into another node's Trig or Clock to chain patterns.

Parameters

Parameter	Role
Steps	Pattern length 1–16.
Pulses	Number of hits in the pattern 0–16.
Rotate	Rotate pattern start 0–15.
Note	MIDI note number 0–127.
Velocity	Note-on velocity 1–127.
Rate	Clock division `4/1` … `1/64`, each with a dotted (`1/8D`) and triplet (`1/8T`) variant. Follows host transport tempo.
Gate %	Note length as percent of one grid step (1–100).

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Random Notes

In · Trig · Clock · Out: 1× MIDI

Probabilistic melody generator at Rate: random pitches between Low/High Note with Chance % and Vel ±% variation.

Follow with Quantize unless you want chromatic chaos.

Input ports

Port	Role
In	Primary MIDI path — incoming events pass through unchanged to Out.
Trig	External step clock: each note-on advances the internal pattern one step (overrides Rate).
Clock	Wire from a Clock node — one pulse per step (mutually exclusive with Trig).

Parameters

Parameter	Role
Rate	Clock division `4/1` … `1/64`, each with a dotted (`1/8D`) and triplet (`1/8T`) variant. Follows host transport tempo.
Chance %	Probability 0–100% that an event fires.
Low Note	Lowest pitch in range (0–127).
High Note	Highest pitch in range (0–127).
Velocity	Note-on velocity 1–127.
Vel ±%	Random velocity spread 0–100%.
Gate %	Note length as percent of one grid step (1–100).

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Walk

In · Trig · Clock · Out: 1× MIDI

Random-walk melody: each tick moves ±Step semitones, clamped to Low/High Note. Wandering, self-similar lines for ambient and generative bass.

Input ports

Port	Role
In	Primary MIDI path — incoming events pass through unchanged to Out.
Trig	External step clock: each note-on advances the internal pattern one step (overrides Rate).
Clock	Wire from a Clock node — one pulse per step (mutually exclusive with Trig).

Parameters

Parameter	Role
Rate	Clock division `4/1` … `1/64`, each with a dotted (`1/8D`) and triplet (`1/8T`) variant. Follows host transport tempo.
Step ±	Max semitone jump per tick 1–12.
Low Note	Lowest pitch in range (0–127).
High Note	Highest pitch in range (0–127).
Chance %	Probability 0–100% that an event fires.
Velocity	Note-on velocity 1–127.
Gate %	Note length as percent of one grid step (1–100).

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Fibonacci

In · Trig · Clock · Reset · Out: 1× MIDI + EOC

Two modes: Melody walks Fibonacci scale degrees; Rhythm fires only on Fibonacci step indices (1, 2, 3, 5, 8…). Self-similar phrases that never quite repeat.

Input ports

Port	Role
In	Primary MIDI path — incoming events pass through unchanged to Out.
Trig	External step clock: each note-on advances the internal pattern one step (overrides Rate).
Clock	Wire from a Clock node — one pulse per step (mutually exclusive with Trig).
Reset	A note-on or clock pulse restarts the pattern at step 1 (on either clock mode) — wire a master lane's EOC or a performance pad here to re-align lanes.

Output ports

Port	Role
Out	Generated notes; input passes through alongside.
EOC	End-of-cycle trigger — one clock pulse each time the pattern wraps to step 1. Wire into another node's Trig or Clock to chain patterns.

Parameters

Parameter	Role
Rate	Clock division `4/1` … `1/64`, each with a dotted (`1/8D`) and triplet (`1/8T`) variant. Follows host transport tempo.
Mode	Melody = pitch walk; Rhythm = Fibonacci hit pattern.
Length	Pattern length 2–16.
Note	MIDI note number 0–127.
Scale	Scale for melody mode.
Span	Scale-degree span 2–24.
Velocity	Note-on velocity 1–127.
Gate %	Note length as percent of one grid step (1–100).

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Infinity

In · Trig · Clock · Reset · Out: 1× MIDI + EOC

Per Nørgård's infinity series — a fractal melody played as scale degrees around Note. The sequence contains itself at every scale: Stride plays every Nth term, so 4, 16 or 64 reproduce the very same melody and 2 or 8 play its mirror inversion — a zoom knob for self-similarity you can hear.

Offset starts the loop deeper in the series, Length sets how many notes before the loop wraps (EOC pulses there), and Span caps how far the melody strays. Always lands in the chosen scale — no quantizer needed.

Input ports

Port	Role
In	Primary MIDI path — incoming events pass through unchanged to Out.
Trig	External step clock: each note-on advances the internal pattern one step (overrides Rate).
Clock	Wire from a Clock node — one pulse per step (mutually exclusive with Trig).
Reset	A note-on or clock pulse restarts the pattern at step 1 (on either clock mode) — wire a master lane's EOC or a performance pad here to re-align lanes.

Output ports

Port	Role
Out	Generated notes; input passes through alongside.
EOC	End-of-cycle trigger — one clock pulse each time the pattern wraps to step 1. Wire into another node's Trig or Clock to chain patterns.

Parameters

Parameter	Role
Rate	Clock division `4/1` … `1/64`, each with a dotted (`1/8D`) and triplet (`1/8T`) variant. Follows host transport tempo.
Note	Centre note the degrees walk around.
Scale	Scale the degrees are drawn from.
Span	Maximum scale-degree excursion 2–24.
Stride	Play every Nth term (1–32) — 4/16/64 replay the series, 2/8 invert it.
Offset	Where in the series the loop starts (0–127).
Length	Loop length 2–64; the EOC pulse fires at the wrap.
Velocity	Note-on velocity 1–127.
Gate %	Note length as percent of one grid step (1–100).

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

LFO

In: — · Out: CC on Target CC
Mod out: main LFO signal (0–1)

Low-frequency oscillator writing Target CC continuously. Shape (sine, triangle, square…), Rate, Depth and Sync/Free mode. In Sync the cycle is a clock division locked to the host transport; in Free it runs at Rate Hz — unaffected by transport or tempo.

The amber mod out port drives any parameter directly — wire to Echo Decay, filter cutoff, or another node's knob.

Parameters

Parameter	Role
Shape	Waveform (Sine, Triangle, Square, Saw, Random…).
Rate	Clock division `4/1` … `1/64`, each with a dotted (`1/8D`) and triplet (`1/8T`) variant. Follows host transport tempo.
Depth	Modulation amount 0–127.
Target CC	MIDI CC number to write (0–127).
Sync	Sync = tempo-locked clock division; Free = Hz-based rate.
Rate Hz	Free mode only: cycles per second, 0.05–20 Hz. Shown in place of the clock division once Mode is Free; ignored in Sync.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

CC Map

In: 1× MIDI · Out: 1× MIDI

Remaps From CC → To CC on Channel (0 = any). Duplicate a mod wheel to multiple targets or translate controller numbers for incompatible synths.

Parameters

Parameter	Role
From CC	Source CC number 0–127.
To CC	Destination CC number 0–127.
Channel	0 = any channel; 1–16 = filter to channel.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

CC Math

In: 1× MIDI · Out: 1× MIDI + Target CC

Combines incoming CC A and CC B values: A, A+B, A−B, Average, Max or Min — then Scale, Offset and optional Invert on Target CC.

Parameters

Parameter	Role
CC A	First operand CC 0–127.
CC B	Second operand CC 0–127.
Target CC	MIDI CC number to write (0–127).
Mode	Math operation applied to A and B.
Scale %	Output multiplier 0–200%.
Offset	Added after scaling −127…+127.
Invert	Off / On — flip output (127 − value).

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

S&H

In · Trig · Clock · Out: 1× MIDI

Each Rate tick, Sample holds the current Source CC value or Random throws a new value on Target CC. Classic stepped and random filter sweeps.

Input ports

Port	Role
In	Primary MIDI path — incoming events pass through unchanged to Out.
Trig	External step clock: each note-on advances the internal pattern one step (overrides Rate).
Clock	Wire from a Clock node — one pulse per step (mutually exclusive with Trig).

Parameters

Parameter	Role
Rate	Clock division `4/1` … `1/64`, each with a dotted (`1/8D`) and triplet (`1/8T`) variant. Follows host transport tempo.
Source CC	CC to sample 0–127.
Target CC	MIDI CC number to write (0–127).
Mode	Sample = track input CC; Random = new value each step.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Counter

In: 1× MIDI · Out: 1× MIDI
Mod out: stepped count (0–1)

A stepped counter: its value rises by one on every input event — a note-on or a clock / EOC pulse — and is exposed on the amber mod out. Wire it onto another node's indexed parameter (waveform, scale, clock division, Selector…) to walk through the options; set Count to the number of options so each input advances exactly one.

Mode picks Wrap (cycle), Up-Down (bounce) or Clamp (rise once and hold). Input passes through unchanged — the count never appears as MIDI.

Parameters

Parameter	Role
Count	Number of steps before wrapping / bouncing 2–32.
Mode	Wrap = cycle; Up-Down = bounce; Clamp = rise once and hold.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Note→CC

In: 1× MIDI · Out: 1× MIDI + Target CC

Maps Note # or Velocity to Target CC on every note-on — keytracking and performance-driven automation without a separate LFO.

Parameters

Parameter	Role
Source	Note # = pitch drives CC; Velocity = dynamics drive CC.
Target CC	MIDI CC number to write (0–127).

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Smooth

In: 1× MIDI · Out: 1× MIDI

Slew-limits CC changes over Time ms. CC 0 smooths all CCs; otherwise only the named CC. Glides stepped sequencers and S&H into usable sweeps.

Parameters

Parameter	Role
CC (0=all)	Which CC to smooth (0 = all CC messages).
Time ms	Slew time 10–2000 ms.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Envelope

In: 1× MIDI · Out: 1× MIDI + Target CC

Per-note Attack / Decay / Peak envelope on Target CC, retriggered each note-on. Auto-filter sweeps and pluck brightness from your playing.

Parameters

Parameter	Role
Target CC	MIDI CC number to write (0–127).
Attack ms	Rise time 1–2000 ms.
Decay ms	Fall time 10–5000 ms.
Peak	Maximum CC value 1–127.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Life

In · Trig · Clock · Out: 1× MIDI
Mod out: Population · Births · Deaths

Conway's Game of Life on a 16×12 grid. Pulse mode fires notes from live-cell events; Scan reads columns as time and rows as scale degrees for looping ostinatos.

Draw a seed on the surface Life grid. Pair with Quantize or use built-in Scale mapping.

Input ports

Port	Role
In	Primary MIDI path — incoming events pass through unchanged to Out.
Trig	External step clock: each note-on advances the internal pattern one step (overrides Rate).
Clock	Wire from a Clock node — one pulse per step (mutually exclusive with Trig).

Parameters

Parameter	Role
Rate	Clock division `4/1` … `1/64`, each with a dotted (`1/8D`) and triplet (`1/8T`) variant. Follows host transport tempo.
Mode	Pulse = event-driven; Scan = column scanner.
Scale	Pitch mapping for live cells.
Low Note	Lowest pitch in range (0–127).
Velocity	Note-on velocity 1–127.
Gate %	Note length as percent of one grid step (1–100).
Cell 1–192	Seed pattern on the 16×12 Life grid (bottom row = lowest pitch). Surface editor.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Rule

In · Trig · Clock · Out: 1× MIDI + EOC

1D Wolfram cellular automaton (Rule 0–255; notable rules show tags like 90 · fractal). Trigger pitch mode fires from live cells; Melody maps columns to scale degrees.

Seed Center or Random initializes the row. Mutate % flips random cells each generation (0% = pure automaton). Dead or frozen rows reseed automatically so every rule stays musical.

Evolve morphs the row every 1/2/4/8 steps (Loop = once per pattern wrap, the default). Register view edits live cells (same idea as the Life grid seed editor).

Input ports

Port	Role
In	Primary MIDI path — incoming events pass through unchanged to Out.
Trig	External step clock: each note-on advances the internal pattern one step (overrides Rate).
Clock	Wire from a Clock node — one pulse per step (mutually exclusive with Trig).

Output ports

Port	Role
Out	Cellular-automaton notes; input passes through alongside.
EOC	End-of-cycle trigger — one clock pulse each time the pattern wraps to step 1. Wire into another node's Trig or Clock to chain patterns.

Parameters

Parameter	Role
Rate	Clock division `4/1` … `1/64`, each with a dotted (`1/8D`) and triplet (`1/8T`) variant. Follows host transport tempo.
Rule	Wolfram rule number 0–255 (notable rules tagged in the UI).
Note	MIDI note number 0–127.
Velocity	Note-on velocity 1–127.
Gate %	Note length as percent of one grid step (1–100).
Steps	Pattern length 1–16.
Seed	Center = single cell; Random = scattered start.
Pitch	Trigger = rhythm from cells; Melody = pitched output.
Scale	Scale for Melody mode.
Mutate %	Random cell flips per generation (default 10%).
Evolve	Loop, 1 Step, 2 Steps, 4 Steps or 8 Steps between row morphs.
Cell 1–16	Live row bits — tap or drag in the Register view to poke cells on/off.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Turing

In · Trig · Clock · Out: 1× MIDI + EOC

Self-mutating shift register: Length bits, Fill % density, Mutate % bit-flip chance per step. Pattern slowly evolves from locked to chaotic.

Input ports

Port	Role
In	Primary MIDI path — incoming events pass through unchanged to Out.
Trig	External step clock: each note-on advances the internal pattern one step (overrides Rate).
Clock	Wire from a Clock node — one pulse per step (mutually exclusive with Trig).

Output ports

Port	Role
Out	Shift-register notes; input passes through alongside.
EOC	End-of-cycle trigger — one clock pulse each time the pattern wraps to step 1. Wire into another node's Trig or Clock to chain patterns.

Parameters

Parameter	Role
Rate	Clock division `4/1` … `1/64`, each with a dotted (`1/8D`) and triplet (`1/8T`) variant. Follows host transport tempo.
Length	Register length 2–16.
Mutate %	Bit-flip probability per step 0–100%.
Fill %	Initial ones density 1–100%.
Low Note	Lowest pitch in range (0–127).
High Note	Highest pitch in range (0–127).
Velocity	Note-on velocity 1–127.
Gate %	Note length as percent of one grid step (1–100).

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Markov

In · Trig · Clock · Out: 1× MIDI

Learns note transitions from incoming MIDI. Listen = pass-through training; Generate improvises at Rate in the learned style.

Feed it a melody loop in Listen mode, then switch to Generate for variations.

Input ports

Port	Role
In	Primary MIDI path — incoming events pass through unchanged to Out.
Trig	External step clock: each note-on advances the internal pattern one step (overrides Rate).
Clock	Wire from a Clock node — one pulse per step (mutually exclusive with Trig).

Parameters

Parameter	Role
Mode	Listen = learn + pass through; Generate = improvise.
Rate	Clock division `4/1` … `1/64`, each with a dotted (`1/8D`) and triplet (`1/8T`) variant. Follows host transport tempo.
Velocity	Note-on velocity 1–127.
Gate %	Note length as percent of one grid step (1–100).

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Bounce

In: 1× MIDI (pass-through) · Out: 1× MIDI

2-D physics simulation: balls under Gravity bounce off walls and play scale degrees on impact. Organic polyrhythms from motion rather than fixed grids.

Parameters

Parameter	Role
Gravity	Downward acceleration 1–100.
Bounce %	Wall rebound energy 50–95%.
Spread	Initial horizontal spread 0–100%.
Note	MIDI note number 0–127.
Velocity	Note-on velocity 1–127.
Balls	Number of balls 1–4.
Scale	Pitch map for wall impacts.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Attractor

In: — · Out: CC on Target CC
Mod out: X · Y · Z

Lorenz chaotic attractor driving Target CC. Never-repeating organic modulation — wire X, Y, Z mod ports to cutoff, resonance and LFO rate for evolving textures.

Parameters

Parameter	Role
Speed	Evolution rate 1–100.
Depth	Output amplitude 0–127.
Target CC	MIDI CC number to write (0–127).

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Analog

In: 1× MIDI · Out: — (audio sink)

Terminal polyphonic subtractive synth. MIDI on In is rendered to audio inside Konstrukt — nothing passes downstream. Two oscillators (the second tuned in semitones and cents against the first, blended by Osc Mix), a resonant lowpass — a 24 dB transistor Ladder or the 12 dB SVF — dual ADSR envelopes (amplitude + filter) and an LFO that can add vibrato and wobble the cutoff — the same LFO the mod wheel drives. Under them: a Sub oscillator and Noise, pulse width with LFO PWM, Drive into the filter, key and velocity tracking, a Pitch Env for drops and blips, and Poly / Mono / Legato voicing with the Analog's own Glide. Width spreads the voices across the stereo field.

Wire sequencers, arps or keyboards into one or more Analog nodes for a self-contained patch. Multiple instruments sum at the output.

Parameters

Parameter	Role
Preset	Sound preset: 57 sounds on seven shelves — Bass (Sub Bass, Acid Bass, Reese, 808 Bass, Moog Bass, Picked Bass …), Lead (Bright Lead, Hoover, Mono Lead, Chip Lead, Theremin …), Keys (Soft Keys, Organ, Clavinet, Wurli, Tine Keys …), Pads (Warm Pad, Juno Pad, PWM Strings, Analog Strings, Shimmer Pad …), Plucks (Marimba, Kalimba, Guitar Pluck, Steel Drum …), Chords (Deep Stab, Rave Stab, Garage Chord, Skank) and FX & Perc (Synth Kick, Zap, Riser, Noise Sweep, Synth Tom …). Picking one fills the controls below so you can tweak from there.
Volume	Master level 0–1.
Wave	Oscillator 1 waveform: Sine, Tri, Saw, Square.
Cutoff	Lowpass cutoff 0–100.
Resonance	Filter resonance 0–100 (the Ladder self-oscillates near the top).
Filter	Ladder (default): a 24 dB transistor ladder — fat, warm, bass thins as Resonance rises. SVF: the gentler 12 dB state-variable. Patches saved before the switch keep the SVF.
Amp Att	Amplitude attack 0–2000 ms.
Amp Dec	Amplitude decay 0–5000 ms.
Amp Sus	Amplitude sustain 0–100%.
Amp Rel	Amplitude release 0–5000 ms.
Flt Att	Filter envelope attack 0–2000 ms.
Flt Dec	Filter envelope decay 0–5000 ms.
Flt Sus	Filter envelope sustain 0–100%.
Flt Rel	Filter envelope release 0–5000 ms.
Flt Env	Filter envelope depth −4…+4 octaves.
Osc2 Wave	Oscillator 2 waveform: Sine, Tri, Saw, Square.
Osc2 Semi	Oscillator 2 coarse tune −24…+24 semitones (+12 = octave up, +7 = fifth, −12 = sub).
Osc2 Fine	Oscillator 2 fine tune −50…+50 cents — a few cents against osc 1 beats into a fat unison.
Osc Mix	Blend 0–100: 0 is oscillator 1 alone (the classic single-osc sound), 100 is oscillator 2 alone.
LFO Rate	LFO speed 0.1–20 Hz (also the mod-wheel vibrato rate).
LFO Pitch	LFO → pitch depth 0–2 semitones — fixed vibrato on top of whatever the mod wheel adds.
LFO Cutoff	LFO → cutoff depth −4…+4 octaves — a filter wobble around Cutoff.
Sub	Sub oscillator level 0–100, an octave (or two, Sub Octave) under oscillator 1; Sub Wave Sine or Square.
Noise	Noise level 0–100; Noise Color White or Pink (darker).
Pulse Width	Width of the Square waves 5–95% (50 = square; narrower is thinner, nasal).
PWM	LFO → pulse width 0–45% — the classic moving, chorused pulse.
Key Track	Cutoff follows the keys 0–100%: 0 holds it still, 50 (default) is gentle, 100 tracks an octave per octave.
Vel → Cutoff	Soft notes up to 4 octaves darker.
Vel → Amp	How much velocity sets the level, 0–100% (100 = default; 0 plays every note at full level).
LFO Shape	Sine, Tri, Square or S&H (a new random value each cycle).
LFO Sync	Free runs at LFO Rate; Sync locks it to the tempo at LFO Division (1/4, 1/8, 1/16, dotted, triplets).
LFO Fade	LFO fade-in 0–5000 ms after each note — vibrato that blooms.
Voice	Poly (default); Mono — one note at a time, each restrikes, gliding from the last; Legato — overlapping notes slide in without restriking, detached notes start fresh.
Glide	Glide time 0–2000 ms in Mono and Legato. With a Glide node in front as well, the note glides twice — use one or the other.
Pitch Env	Pitch at the strike −24…+24 semitones, falling to the note over Pitch Decay (1–2000 ms): +12…+24 with ~60 ms is the 808 drop.
Drive	Saturation into the filter 0–100%, level-matched — grit without getting louder.
Width	Stereo spread 0–100%: successive voices sit at alternating places. Mono and Legato stay centred.
Pressure → / Slide →	Where an MPE note's pressure (channel pressure) and slide (CC 74 on its own channel) go, each with an Amount −100…+100%: Off, Level, Cutoff, Reso, Vibrato, Drive, Osc Mix. Default Pressure → Level +100% (up to +6 dB), Slide → Cutoff +50% (±2 octaves). Each note moves only its own voice.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Drums

In: 1× MIDI · Out: — (audio sink)

Terminal analog-style GM drum kit, built the way the classic machines build their sounds: swept bodies with a click for kicks and toms, two tuned modes under snappy noise for snares, a bank of six square waves through a bandpass for hats and cymbals, gated noise bursts with a tail for claps, a ringing resonator for rims, and a family of percussion picked by note (cowbell 56, tambourine 54, shakers 69/70/82, claves 75, woodblocks 76/77, bongos 60/61, congas 62–64, timbales 65/66, agogô 67/68). Closed hats choke open hats. Renders audio in-plugin — no MIDI output.

Tune and shape each voice independently, then pick a Kit model and set Tone, Snap and Drive for the whole kit. Route a Drum Seq branch or Drum Pads into Drums for an all-in-one groovebox.

Parameters

Parameter	Role
Preset	Kit preset: 33 kits by scene — Studio (Punchy, Boomy, Tight, Acoustic, Big Room), Machines (808, 909, Eighties, Linn, 606, 707), Club (Techno, Garage, House, Minimal, Tech House), Breaks (Glitch, DnB, Jungle, Breakbeat, Big Beat), Hip Hop (Lo-Fi, Trap, Dusty, Boom Bap, Drill, Phonk, Crunk) and Dub (Reggae, Dub, Steppers, Rub-a-Dub, Dancehall). Picking one fills the controls below so you can tweak from there.
Volume	Master level 0–1.
Per-voice Pit / Dec	Kick, Snare, Rim, Clap, Cl/Op Hat, Lo/Mid/Hi Tom, Crash, Ride, Perc — each has Pit (−12…+12 semitones) and Dec (25–400% tail length).
Kit	The model the voices follow: Analog (round and long, pure sines and the metal bank — 808-ish) or Crunch (hard pitch drops, brighter noise and saturation through a 12-bit, 26 kHz sampler — the dusty MPC/SP sound).
Tone	Noise and cymbal brightness 0–100 (50 = as written).
Snap	The transient click on kicks, snares and toms, 0–100.
Drive	Per-voice saturation 0–100 on top of each voice's own.
Per-voice Lvl	Each voice's level 0–100 % — balance the kit.
Per-voice Pan	Each voice's place in the stereo field (on the panel's Pan · Tone page).
Per-voice Tone	Brightness on top of the kit's Tone, −50…+50, for the snare, clap, hats, crash, ride and percussion.
Kick / Snare / Hat / Cymbal / Perc Model	The Kit model for one group of voices — Kit follows the kit's, or Analog / Crunch on their own (an Analog kit with a Crunch snare). Snare covers snare, rim and clap; Perc the toms and percussion.
Choke	Hats (default): a closed hat closes the open one. + Cymbals: also a crash or ride closes the one still ringing. Off: the open hat rings over.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

MegaSaw

In: 1× MIDI · Out: — (audio sink)

Terminal unison saw stack — up to 200 detuned sawtooth oscillators per voice for supersaw leads, trance pads and walls of sound. Renders audio in-plugin; no MIDI output.

Spread is two-stage: Detune sets the coarse pitch spray across the stack, Fine Detune adds slow-beating shimmer within it. More oscillators = thicker (and louder — presets lower Volume as the count grows).

Its own Filter (SVF, Ladder or Sallen-Key, with an envelope), an Amp envelope, stereo Spread and a Sub make it playable without a Filter node after it. Soft — the default — is the stack's original gentle top-end tame.

Parameters

Parameter	Role
Preset	Sound preset: 22 sounds by shelf — Lead (Classic Supersaw, Wide Trance, Soft Lead, Hoover Lead, Thin Lead …), Pads (Massive Wall, Monster (200), Saw Pad, Swell, Dark Saws), Chords (Rave Hoover, Anthem Chord, Stab), Plucks (Trance Pluck, Arp Pluck), Unison Keys, basses (Supersaw Bass, Bass Wall) and FX & Perc (Detuned Chaos, Ocean, Screamer). Picking one fills the controls below so you can tweak from there.
Volume	Master level 0–1.
Oscillators	Saws per voice, 1–200.
Detune	Coarse detune spread 0–100.
Fine Detune	Slow-beat shimmer within the stack, 0–100.
Filter	Soft (default: a fixed gentle tame), SVF, Ladder or Sallen-Key.
Cutoff / Resonance	The filter's cutoff and resonance, 0–100 (not in Soft).
Env → Cut	Filter envelope depth −4…+4 octaves, over Flt Att / Dec / Sus / Rel.
Amp Att / Dec / Sus / Rel	The amplitude envelope (defaults: the stack's original 5 ms / 120 ms / 65% / 250 ms).
Spread	Stereo width 0–100%: the stack's saws fan out across left and right.
Sub	Sine an octave below, 0–100%.
Pressure → / Slide →	Where an MPE note's pressure (channel pressure) and slide (CC 74 on its own channel) go, each with an Amount −100…+100%: Off, Level, Cutoff, Reso, Vibrato, Detune. Default Pressure → Level +100%, Slide → Cutoff +50%. Each note moves only its own voice.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Wavetable

In: 1× MIDI · Out: — (audio sink)

Terminal wavetable synth. Each voice scans a bank of sixteen single-cycle frames — Position picks the frame, and the frames between are crossfaded — so one knob sweeps a sine into a pulse, a vowel from A to U, or an FM index from clean to metallic. Every frame is stored band-limited per octave, so high notes stay clean. Stereo out; renders audio in-plugin, no MIDI output.

Eight tables: Basic (sine → triangle → saw → square → pulse), PWM (a narrowing pulse), Vowel (A → E → I → O → U formants), Sweep (a resonant peak climbing the harmonics), FM (two operators, index 0 → 7), Distort (Casio-style phase distortion), Fold (a sine through a wavefolder) and Grit (random harmonic spectra). The mod envelope moves the position (Env → Pos) and the lowpass (Env → Cut); the LFO wobbles position and pitch; Unison stacks up to seven detuned copies across the stereo field. MPE slide nudges the position and pressure leans into the level by default — Pressure → and Slide → route them elsewhere.

Parameters

Parameter	Role
Preset	Sound preset: 52 sounds by shelf — Bass (PWM Bass, Grit Bass, Vowel Bass, Wobble Table, Donk, Reese Table, Acid Table …), Lead (Sweep Lead, Sync Lead, Formant Lead, Flute, Vox Lead …), Keys (Glass Keys, House Piano, E-Piano, Vibes, Clav Table …), Pads (Vowel Pad, Digital Choir, Evolving Pad, Vox Pad, Spectral Pad …), Plucks (Folded Pluck, FM Bell, Chime, Harp, Mallet, Pluck Table), Chords (Table Stab, Sweep Chord, Vowel Stab, Lo-Fi Chord, Trance Chord) and FX & Perc (Drone, Laser Table, Glitch Hit, Breath, Riser Table, Impact). Picking one fills the controls below so you can tweak from there.
Volume	Master level 0–1.
Table	The frame bank: Basic, PWM, Vowel, Sweep, FM, Distort, Fold, Grit.
Position	Scan position through the table, 0–100%.
Env → Pos	Mod-envelope depth on the position, −100…+100%.
Cutoff / Resonance	Resonant lowpass; 100% is fully open.
Filter	Ladder (default, 24 dB) or SVF (12 dB) — as on the Analog.
Env → Cut	Mod-envelope depth on the cutoff, −4…+4 octaves.
Amp A/D/S/R	Amplitude envelope (ms / %).
Mod A/D/S/R	The mod envelope that drives Env → Pos and Env → Cut (ms / %).
LFO Rate	0.1–20 Hz.
LFO → Pos	LFO depth on the position, 0–100%.
LFO → Pitch	Vibrato depth, 0–2 semitones (the mod wheel adds more).
Unison	Oscillators per voice, 1–7.
Detune	Unison detune spread, 0–100 (±50 cents at 100).
Spread	Stereo width of the unison stack, 0–100%.
LFO 2	A second LFO for slow drifts: Rate 0.05–20 Hz, → Pos 0–100%, → Cut −4…+4 octaves.
Sub / Noise	A sine an octave down and white noise into the filter, 0–100% each.
Vel → Cutoff	Soft notes up to 4 octaves darker.
Vel → Amp	How much velocity sets the level, 0–100% (70 = default).
Pressure → / Slide →	Where an MPE note's pressure (channel pressure) and slide (CC 74 on its own channel) go, each with an Amount −100…+100%: Off, Level, Cutoff, Reso, Vibrato, Position. Default Pressure → Level +100%, Slide → Position +50% (±¼ table). Each note moves only its own voice.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Sampler

In: 1× MIDI · Out: — (audio sink)

Terminal sample player: one sample repitched chromatically around its root note, SP-style — no time-stretch, and the character that comes with that. Pick a factory sound with Sample, or load your own file from the node inspector; the root note is detected automatically so imports land in tune.

The waveform card on the surface trims the playable region. Mode Loop finds a sustain loop inside the region, turning one-shots into playable pads, keys and basses; the Analog's lowpass, amp envelope and filter envelope shape the result (close the cutoff and turn Flt Env up for plucks and filter-swept stabs). Slides from a Glide node bend the sample like any synth voice.

Parameters

Parameter	Role
Sample	Factory sound picker (Init keeps the loaded sample). Loading your own file flips it to Custom.
Volume	Master level 0–1.
Root	The note the sample plays at original pitch (auto-detected on import).
Tune / Fine	Coarse ±12 semitones, fine ±50 cents.
Start / End	Playable region, % of the file.
Mode	Gate follows note-off · One-Shot plays through · Loop sustains.
Cutoff / Resonance	Resonant lowpass, as on the Analog.
Amp Att–Rel	Amplitude ADSR.
Flt Att–Rel	Filter envelope ADSR, as on the Analog.
Flt Env	Filter envelope depth −4…+4 octaves around Cutoff (0 = static filter, the default).
Loop	In Mode Loop: Auto (default) finds a loop for you; Forward or Ping-Pong loop between Loop Start and Loop End (% of the region), Forward with a Crossfade (0–50% of the loop).
Reverse	Plays Gate and One-Shot notes backwards.
Vel → Cutoff	Soft notes up to 4 octaves darker.
Vel → Amp	How much velocity sets the level, 0–100% (100 = default).
Pressure → / Slide →	Where an MPE note's pressure (channel pressure) and slide (CC 74 on its own channel) go, each with an Amount −100…+100%: Off, Level, Cutoff, Reso, Vibrato. Default Pressure → Level +100%, Slide → Cutoff +50%. Each note moves only its own voice.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Slicer

In: 1× MIDI · Out: — (audio sink)

Terminal loop slicer: load a drum loop and it's cut at its detected hits into up to 16 one-shot slices, each on its own note — slice 1 on note 36 (a fresh Drum Seq's default), slice 2 on 37, and so on. Point one Drum Seq lane per slice at its note and the loop becomes a kit you can resequence.

The waveform card shows the markers: tap a slice to hear it, double-tap to add or remove a marker, drag one to nudge. Sense re-runs detection — more sensitivity, more slices. Marker positions live in the patch like any other parameter, so edits persist and undo.

After the loops the picker holds drum kits — sixteen one-shots, a pad per slice in a fixed order (Kick, Snare, Cl Hat, Op Hat, Clap, Mid Tom, Crash, Ride, Rim, Lo Tom, Hi Tom, Cowbell, Shaker, Clave, Conga, Snare 2), nine rendered from the Drums voices and six sampled from real drum machines. Kit pads answer the GM drum notes the Drums node answers (36 kick, 38 snare, 42 closed hat…), not chromatic slice notes, so a Drum Grid on its default notes plays a kit exactly as it plays the Drums node.

Parameters

Parameter	Role
Loop	Factory loop and kit picker (Init keeps the loaded sample). Imported loops are sliced on load.
Volume	Master level 0–1.
Sense	Onset-detection sensitivity 0–100 — re-slices the loop.
Slices	Active slice count (written by detection, editable).
Cutoff / Resonance	Resonant lowpass over all slices, as on the Sampler.
Per-slice Pit / Dec	Each slice has Pit (−12…+12 semitones) and Dec (25–400% — under 100 chokes the hit early).
Per-slice Lvl / Pan	Each slice's level 0–100% and place in the stereo field.
Per-slice Rev	Plays the slice backwards.
Per-slice Choke	Choke group Off or A–D: a slice cuts the others in its group (an open hat closed by the closed one).
Flt Env, Flt Att–Rel	A filter envelope over Cutoff, −4…+4 octaves (0 = static, the default).

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

AU Instrument

In: 1× MIDI · Out: — (audio sink)

A hosted third-party AUv3 instrument — any instrument plugin installed on the device plays the MIDI routed into this node, mixed into Konstrukt's output like a built-in instrument. Pick the plugin in the inspector (Choose…), then open its own window from there to edit its sound; the plugin's settings are saved with the patch.

Its parameters appear as node parameters you can bind and modulate; a frequency or time parameter with a wide range (a 20 Hz–20 kHz cutoff) gets a logarithmic taper automatically — a bound knob spends equal travel on equal ratios, so the sweep feels like the plugin's own knob.

Standalone app only. A plugin can't host other plugins, so inside a host like AUM or Logic the node stays in the patch but is silent — route that MIDI to a track instead.

Parameters

Parameter	Role
Volume	Output level of the hosted plugin, 0–1.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

External Instrument

In: 1× MIDI · Out: — (leaves on a MIDI output port)

A synth, drum machine or another app on a MIDI output, as a channel. Like an instrument it is a terminal — wire lanes and keyboards into it and nothing flows back into the graph — but instead of sounding, everything leaves on its Port forced onto its Channel (MPE keeps each note's own channel). On the mixer it gets a channel beside the audio channels: a fader and pan that send CC 7 / CC 10, mute and solo that hold the gear silent (held notes are released), and Program / Bank pickers that send a program change.

One node per piece of gear. Prefer it over MIDI Out's channel connectors whenever the thing on the other end has a name: the mixer, scenes, surface bindings and MIDI Learn all treat it as a mixer channel.

Parameters

Parameter	Role
Volume	Sent as CC 7 (0–1 → 0–127) whenever it moves.
Pan	Sent as CC 10 (−100…100 → 0–127) whenever it moves.
Port	The MIDI output port the gear is on (Out 1–4).
Channel	MPE (per-note channels pass through) or Ch 1–16 (forced).
Program	— (nothing sent) or 1–128; sent as a program change when it moves.
Bank	— or 1–128; sent as bank select MSB (CC 0) before the program.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Drive

In: 1× Audio · Out: 1× Audio

Saturation for your instruments. Audio FX nodes carry audio, not MIDI: wire an instrument's Audio output into the effect's input, chain effects into each other, and the last effect in the chain feeds the speakers. Instruments left unwired play dry, straight to the output — so effects apply only to what you route through them, in stereo.

Drive pushes its input into a shaper in one of five characters: Soft is a smooth tanh — gentle warmth at low Amount, full-on fuzz at high; Tube rounds the two half-waves differently for even harmonics; Tape saturates the highs first and stays soft; Fuzz is a hard clip; Fold is a wavefolder — whatever passes the top comes back down, metallic and synthy. Tone is a post-shaper lowpass that tames the added brightness; Mix blends the dry signal back in for parallel drive on drums.

The output is matched to the input's level: a driven channel never rises above its own peaks, it gets denser — turn Level up if you want it louder too. Oversample runs Tube, Tape, Fuzz and Fold at twice the sample rate so the grit stays harmonic instead of folding back as aliasing — worth it on bright sources, off by default to keep the CPU light.

Parameters

Parameter	Role
Amount	Input gain into the shaper, 0–100 %.
Tone	Post lowpass, dark → bright (500 Hz–12 kHz).
Level	Output trim 0–100 %.
Mode	Soft · Tube · Tape · Fuzz · Fold.
Mix	Dry/wet, 0–100 %.
Oversample	Off / 2× — Tube, Tape, Fuzz and Fold at twice the rate (Soft never is).

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Crusher

In: 1× Audio · Out: 1× Audio

Bit crusher and sample-rate reducer — the grit of an old sampler. Rate holds each sample for a while with no anti-aliasing, so high notes fold back into metallic overtones; Bits rounds what's left to fewer steps, and at low settings quiet tails drop out entirely, which chops reverbs and decays into gated stutters.

Bits sweep smoothly between whole values, so a knob or an LFO on Bits is a usable effect, not a stepped switch. Put it on a break for lo-fi hip hop, on hats and percussion for IDM, or on a send and blend it in.

Parameters

Parameter	Role
Bits	Resolution 1–16 bits (fractional values sweep).
Rate	Sample-and-hold rate, 200 Hz – 44.1 kHz.
Drive	Input gain into a hard clip, 0–100 %.
Mix	Dry/wet, 0–100 %.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

DJ FX

In: 1× Audio · Out: 1× Audio

A performance effect played from an XY pad, Kaoss style. Its panel is the pad: touch it to engage the effect, move the finger for X and Y, lift to let go — or turn on Hold and the pad stays engaged until Hold goes off. Not engaged, the sound passes untouched. One Mode at a time:

Filter — X sweeps a lowpass to the left of the centre and a highpass to the right, off in the middle; Y is resonance. Repeat — the beat-grid slice under your finger (X: 1/4 … 1/32) plays through, then repeats; Y lowers each repeat's pitch. Tape Stop — the sound slows to a halt over X (1/8 beat … 4 beats) and spins back up on release; Y is wet. Gater — chops in time at X's rate in a pattern; Y is depth. Echo Out — a dub throw: what you play while the pad is held goes into an echo (X: 1/16 … 1/2, Y: feedback) that rings on after you let go.

Riser — a build-up of its own: noise through a rising resonant band-pass, a high-pass climbing on the input and, with Tone up, a sine rising two octaves. X picks 1, 2, 4 or 8 bars, and the riser lands on the next boundary of that length — engaged late, it climbs faster — then drops on the downbeat: the noise cuts and the input opens. Let go early and it fades out. Y balances the filter build (0) against the noise (100). It plays even with nothing coming in, and runs at the session tempo while the transport is stopped.

Release (beside Hold) decides what letting go does, like a Kaoss Pad's FX Release. On, the effect tails off over the Release Time, 1/8 beat … 4 beats (1 beat to start): the Filter glides back to off, Repeat keeps repeating as it fades, Tape Stop spins back up, the Gater's depth fades and the Riser fades out; Echo Out's echoes ring on by themselves, whatever the time. Off, the pad lets go dry at once and cuts any tail. Touching the pad during a release picks the effect back up. Release is for the lift: switching modes while held changes over at once (Echo Out's echoes still ring on).

Two pads side by side (the Pads switch: one or two): pad B is a second DJ FX with its own Mode, X / Y, Hold and Release, after pad A — a filter on one hand and a stutter on the other. It starts on Repeat beside A's Filter.

X, Y and Engage are ordinary parameters: a surface knob, XY pad or button, MIDI learn or a mod wire can play them. Put it last on a channel, or on the master for the whole mix.

Parameters

Parameter	Role
Mode	Filter, Repeat, Tape Stop, Gater, Echo Out, Riser.
X / Y	The pad, 0–100; what they do follows the Mode (above).
Engage	On while the pad is held; Off passes the input untouched.
Hold	Latches the pad: a touch engages it until Hold goes off.
Filter Type	Filter mode: SVF, Ladder (default) or Sallen-Key.
Pattern	Gater mode: Straight, Offbeat or Trance.
Tone	Riser mode: the rising sine's level, 0–100 % (0 = off).
Release	On (default): letting go tails the effect off over the Release Time. Off: it lets go dry.
Release Time	1/8, 1/4, 1/2, 1 (default), 2 or 4 beats.
Pads	1 or 2 (default). Back to 1 lets go of pad B.
B Mode … B Release Time	Pad B's own set of the above, after pad A; B Mode starts on Repeat.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Filter

In: 1× Audio + 1× Mod (audio-rate CV) · Out: 1× Audio

A stereo virtual-analog filter for whatever you wire into it, with three classic circuits modelled zero-delay-feedback style, so the cutoff tracks exactly and sweeps stay smooth. Bind a knob — or an LFO, via a modulation wire onto the Cutoff row — for classic sweeps.

SVF is the clean, precise 12 dB state-variable. Ladder is a 24 dB transistor ladder: steeper, warmer, its bass thins as Resonance rises, and it self-oscillates near full Resonance. Sallen-Key is a 12 dB MS-20-style core whose feedback clips — resonance screams, then compresses, and it self-oscillates too.

Parameters

Parameter	Role
Type	SVF (12 dB) / Ladder (24 dB) / Sallen-Key (12 dB).
Mode	Lowpass / Bandpass / Highpass, on every type.
Cutoff	0–100 %, exponential sweep 20 Hz – 20 kHz.
Resonance	Peak at the cutoff, 0–100 %; Ladder and Sallen-Key sing on their own above ~95 %.
Drive	Input saturation, 0 % clean → +24 dB into a soft clipper, level-compensated.
Mod Depth	How far a signal on the Mod input moves the cutoff: 0–8 octaves at full scale. Wire any audio into Mod for an audio-rate sweep.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Delay

In: 1× Audio · Out: 1× Audio

A stereo delay in three voices. Digital is the clean line; Tape is a tape echo — three playback heads, wow and flutter, saturation and hiss, and a Feedback that runs past 100 % into a held, self-oscillating dub echo; Analog is a bucket-brigade delay, every repeat darker and grainier than the last.

Time is a clock division that follows the transport — or, with Sync off, milliseconds for slap-back and dub throws; changing it glides the delay line tape-style instead of clicking. Ping-Pong crosses the feedback so repeats bounce left ↔ right. Switching the mode ducks the echoes for a moment rather than clicking.

Parameters

Parameter	Role
Time	Delay interval as a clock division (`4/1` … `1/64`, dotted and triplet variants included).
Feedback	Repeat level, 0–95 % (Tape: up to 120 %).
Mix	Dry/wet, 0–100 %.
Ping-Pong	Off / On — cross-feed the repeats between channels.
Mode	Digital · Tape · Analog.
Sync	Sync — Time is a division; Free — Time ms instead (1–2000 ms).
Tone	50 % is neutral. Digital: lower darkens the repeats, higher thins them; Tape and Analog: the loop's brightness.
Drive	Tape and Analog: how hard the repeats saturate.
Age	Tape: wow, flutter and hiss; Analog: clock drift and noise. The noise only rides the echoes — silence stays silent.
Heads	Tape: which playback heads sound — 1, 2, 3 or a combination.
Spacing	Tape: the heads' distances as multiples of Time — 1·2·3, 1·1.5·3, 1·1.25·1.75, 1·2·4.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Reverb

In: 1× Audio · Out: 1× Audio

A stereo reverb in four rooms. Plate — a diffused, gently modulated figure-eight tank with a wide, smooth tail; Hall — the same tank stretched, with early reflections and longer decays; Gated — the 80s gated snare: a dense tail that cuts Hold ms after the input falls quiet; Vintage — an early digital box, 12-bit at half rate, grainy and dark.

Short rooms to long washes via Size; Damp rolls highs off the tail. Chain it after a Delay for classic dub tails.

Parameters

Parameter	Role
Size	Tail length / room size, 0–100 %.
Damp	High-frequency damping of the tail, 0–100 %.
Mix	Dry/wet, 0–100 %.
Mode	Plate · Hall · Gated · Vintage.
Predelay	0–250 ms before the room answers.
Low Cut	20–1000 Hz high pass into the room (100 Hz by default) — keep the bass out of the tail.
Mod	Movement in the tail, 0–100 % (50 by default).
Width	0 % mono … 100 % full stereo.
Hold	Gated: how long the gate stays open after the input falls quiet, 20–1000 ms.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Compressor

In: 1× Audio + Key (sidechain) · Out: 1× Audio

Evens out levels — or pumps them. A stereo-linked, feed-forward compressor with a soft knee: everything over Threshold is turned down by Ratio, with Attack and Release setting how fast it grabs and lets go. Its panel draws the curve and a live gain-reduction meter.

The Key input is a sidechain: wire another instrument's Audio output into it (or pick it under Sidechain from in the insert's menu on the mixer) and the key's level, not the input's, drives the gain. A kick keyed into a pad's compressor is the classic pumping pad. The key is only heard by the detector — with nothing on In, the compressor is silent. Mix below 100 % blends the dry signal back in: parallel compression.

Parameters

Parameter	Role
Threshold	Level where compression starts, −60…0 dB.
Ratio	1:1 (off) … 20:1 (limiting).
Attack	How fast it reacts, 0.1–100 ms.
Release	How fast it recovers, 10–1000 ms.
Makeup	Output gain after compression, 0–24 dB.
Auto Makeup	Off / On — adds back half the reduction a full-scale peak would get.
Mix	Dry/compressed blend, 0–100 %.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

EQ

In: 1× Audio · Out: 1× Audio

A 3-band channel EQ. A low shelf, a peaking mid with adjustable width (Q) and a high shelf, each ±15 dB, plus a Low Cut (a 12 dB/oct highpass) to clear rumble and mud. The panel draws the combined response curve. Sweeps glide, so an LFO on a frequency or gain doesn't click.

Parameters

Parameter	Role
Low / Low Freq	Low shelf gain ±15 dB, corner 30–500 Hz.
Mid / Mid Freq / Mid Q	Peak gain ±15 dB, centre 200 Hz–8 kHz, width 0.3–8.
High / High Freq	High shelf gain ±15 dB, corner 1.5–16 kHz.
Low Cut	Highpass 20–500 Hz; all the way down is Off.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Chorus

In: 1× Audio · Out: 1× Audio

Width and movement for pads and keys. One to three slowly modulated copies of the signal (7–25 ms), with the left and right channels modulated a quarter-cycle apart — so a mono synth comes out wide. Tone darkens the chorused signal, Juno-style.

Parameters

Parameter	Role
Rate	Modulation speed, 0.05–5 Hz (free-running).
Depth	Modulation amount, 0–100 %.
Voices	1 / 2 / 3 modulated copies.
Mix	Dry/wet, 0–100 %.
Tone	Wet-signal brightness, 0–100 %.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Phaser

In: 1× Audio · Out: 1× Audio

The swirling sweep. 4 to 12 allpass stages swept between about 100 Hz and 4 kHz carve moving notches into the sound; Feedback sharpens them. In Sync the sweep follows the transport at a clock division, landing the same way every loop — a synced phaser on a drum loop or a Slicer break is the classic use. Stereo offsets the right channel's sweep.

Parameters

Parameter	Role
Rate Hz	Sweep speed in Free mode, 0.02–10 Hz.
Rate	Sweep length in Sync mode, a clock division.
Sync	Sync (transport) / Free (Hz).
Depth	Sweep width, 0–100 %.
Feedback	Notch sharpness, 0–90 %.
Stages	4 / 6 / 8 / 12 allpass stages — more notches.
Stereo	Right-channel sweep offset, 0–100 %.
Mix	Dry/wet, 0–100 %; 50 % gives the deepest notches.

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

AU Effect

In: 1× Audio · Out: 1× Audio

A hosted third-party AUv3 effect in the audio chain — any effect plugin installed on the device processes the audio wired into it, exactly like Drive or Reverb. Pick the plugin in the inspector (Choose…) and open its own window from there; its settings are saved with the patch. Music effects (plugins that also take MIDI) receive the MIDI routed through the node.

Sidechain. A plugin with a second input bus grows a Key port on the node: wire any channel into it (or pick Sidechain from on the insert chip or bus strip in the mixer) and the plugin ducks, gates or follows that signal. A Key wire carries the whole signal, counts as neither a send nor an insert, and doesn't take the source off the master.

Standalone app only. Inside a host like AUM or Logic the node stays in the patch but passes audio through untouched.

Audio In

In: — · Out: 1× Audio

Live audio input — the microphone or a channel of your audio interface as an audio source. It has no MIDI ports: wire its Audio output into effects or straight to Audio Out, and it gets a mixer channel like any instrument (meter, fader, pan, mute/solo, inserts, sends). Run a guitar through Drive and Delay, a synth through Reverb, or a mic through a hosted AU effect.

Input picks the hardware channel (1 = the first input of the interface, or the built-in mic); Stereo takes the pair starting there. The app asks for microphone access the first time a patch carries an Audio In node, and only switches the audio session to record mode while one exists.

Standalone app only. Inside a host like AUM or Logic the node stays in the patch but is silent — route the host's input to the track instead.

Parameters

Parameter	Role
Volume	Input gain 0–1 (default 1).
Input	Hardware input channel 1–16.
Stereo	Off: the one channel, centered. On: the channel pair starting at Input.
Pan	Mixer pan −100…100 (balance law: centre = unity).

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Audio Out

In: 1× Audio · Out: —

The audio terminal, mirroring MIDI Out: every instrument and effect chain wires its Audio output here to be heard. The app adds it (and wires up loose chain ends) automatically whenever a patch has audio nodes, so nothing goes silent by accident.

Wire an instrument into both an effect and Audio Out and it plays wet and dry in parallel — a classic dry/wet send.

On a multi-out interface, Output picks the stereo pair the master leaves on; channels and buses can leave on their own pair with Direct Out (mixer strip menu › Output). A pair the current route lacks folds back to the master.

Parameters

Parameter	Role
Output	Which stereo pair of a multi-out interface the master leaves on (1–2 by default).

Every parameter accepts amber mod wires (MIDI In signals, LFO, Attractor, Life stats, etc.).

Monitor

In: 1× MIDI · Out: 1× MIDI (unchanged)

Zero-latency debug tap — MIDI passes through unchanged while messages log to the surface Monitor readout or a bound Note Scope. Splice anywhere the stream goes dark.

Knob

Binding: node parameter or CC · drag vertically

Rotary control for any bound parameter or raw CC. Values display musically when the target is a note, clock division or scale name.

Resize in edit mode; color via Appearance in the inspector.

Fader

Binding: node parameter or CC · drag vertically

Vertical slider — same binding model as a knob, better for long throws (filter sweeps, levels).

Selector

Binding: indexed node parameter (or CC) · tap / scroll to pick

Touch-friendly picker for indexed / named parameters — waveform, scale, mode, chord type, clock division. It adapts to the option count: a segmented pill bar for short lists, a scroll-wheel drum for long ones.

Prefer it over a knob whenever the parameter is a list of choices rather than a sweepable range. Short enums also appear as inline pills in the node inspector.

XY Pad

Binding: X and Y each → parameter or CC · drag the puck

Two-axis control. Set X Axis and Y Axis independently in the inspector — mix filter cutoff and resonance, or drive two node parameters at once.

Send Note (inspector) plays a note while the pad is touched. Record & Loop adds record / play chips: tap ●, draw one gesture, and it loops — synced to whole beats or free-running.

Every new pad has its own XY Pad graph node: wire its MIDI output into a synth to play a note while touched, and X, Y and Gate to any parameter.

Button

Binding: parameter or CC · sends max on, min off

Toggle latches on/off; Momentary is active only while held. Use for gates, mode switches, or momentary CC bursts.

Keyboard

Emits: notes · own graph branch via keyboardSource

Piano keyboard — slide across keys for glissando. Octave menu (C−1…C7) sets the range, Octaves how many each row shows (Auto fits the width; a tall card stacks rows); Latch on the toolbar sustains notes. Velocity Sensitive (inspector) maps vertical touch to dynamics.

Each keyboard is a graph node. Wire its output through processors or to a specific MIDI Out channel.

Drum Pads

Emits: GM drum notes · channel 10 by default

4×4 pad grid mapped to General MIDI percussion (kick, snare, hats…). Set Channel in the inspector for non-GM rigs.

Switch Layout to Chromatic in the inspector for a pad grid rising semitone-by-semitone from Base Note at the bottom-left pad — for samplers, slicers, and gear with its own drum maps.

Custom layout maps every pad yourself: tap a pad in the inspector's mini grid to set its note and label, or Learn it from a hardware pad hit. Pads start from what the previous layout showed, duplicates are allowed, and Reset returns to the GM map.

Chord Pads

Emits: stacked chord per scale degree

One pad per diatonic degree — plays a triad or 7th from Root + Scale. Voices picks triad vs seventh. Toolbar: latch, octave, root and scale.

Scale Keyboard

Emits: in-scale notes only

Every visible key is in Root + Scale — no wrong notes. Good for live performance and teaching patches. Octaves per row on the toolbar (two by default, Auto fits the width). Toolbar Slide: a held finger's height on its key sends CC 74. MPE gives each finger its own channel: glide bends through the scale, slide and pressure are per note.

MPE Seaboard

Emits: per-note MPE · glide, slide, pressure

Continuous ribbon surface: horizontal glide (pitch bend per finger), vertical slide (CC 74), and pressure. Routes to MPE-capable synths on per-note channels.

MPE Strings

Emits: per-note MPE · grid tuned in fourths

Linnstrument-style grid: rows in fourths, columns chromatic. Same MPE expression as Seaboard with a different layout.

Sequencer Lane+

Binding: sequencer lane node · hit, note, deg or val prefix

The default sequencer-lane control: a 16-step row with a small layer picker above it — Pattern (hits, pitches, chords or CC values, same tap/drag/microtiming gestures as a plain Step Grid), Vel (per-step velocity as a % of the lane's Velocity — drag to shape accents and ghost notes; hidden on CC lanes), Prob (per-step probability, drag to set), Tie (tap to tie a step to the previous note's gate — hidden on lanes without ties, like CC Seq), and Cond (tap to cycle the step's trigger condition) and, on Drum / Step lanes, Ratchet (×1…×4 retriggers inside the step — tap to cycle, drag to set). A moving playhead tracks every layer, and every modifier layer keeps the sequence readable: steps the pattern fires are outlined in the lane's colour while silent steps dim, so a probability or condition lands on the right hit without switching back to Pattern.

On a Chord Seq lane the pattern layer is the Progression and its cells are named chord pads in shades of the lane colour by harmonic function (home I/iii/vi, lighter ii/IV, deeper V/vii). Each pad shows its chord symbol ("C", "Am", "G7") under its roman numeral, following the node's Root / Scale / Chord knobs live. A tied step draws as the held chord's tail. Pick a chord from the pen palette above the steps (I…VII in the lane's key, plus a 7th switch; short lanes carry it as a chip menu), then tap a step to place it — tapping the pen's own chord rests the step — or sweep sideways to paint it along. Drag a pad up or down to step its chord through the degrees; the pen follows. The auto-attached lane fits itself to the active steps, so a 4-chord progression gets four big pads. Under each pad a Tie button holds the chord before through the step and a voicing button cycles Root → 1st → 2nd → 3rd (lanes too narrow for the buttons keep Tie and Voicing as layers). Chord lanes swap Cond and Ratchet for a Rhythm layer: a second grid, with its own rate and length chips, that fires the chord the current step selected — empty, every chord step plays itself; set hits (tap, sweep to paint, drag up/down for the accent) and the progression walks at Rate while the rhythm stabs it, on 2 and 4 or every offbeat eighth. A Strum layer sets each step's roll (taller = longer, 0–100 % of the step; tap steps through none → 10 → 25 → 50 %), with direction and curve chips beside it.

The A·B·C·D chips beside the picker are the node's four pattern banks: tap one to edit that bank and switch the sequencer to it at the next pattern wrap. By default the lane auto-follows whichever bank is sounding (watch a Chain cycle); tapping a bank chip pins it for manual editing and the eye chip re-engages follow. A dot marks the sounding bank when it differs from the one shown. The ◀ ▶ chips rotate the shown bank one step left or right, every layer travelling with its step (one undo). An Analog Seq row adds a range chip (1 / 2 / 3 octaves) that sets what its knobs span.

Drum and Step Seq lanes also record: the ● chip arms Step Record (each note lands on the red cursor step and advances it; Rest writes a rest; tap a cell to move the cursor) or Live Record (notes snap to the nearest step of the sounding bank as the transport runs, velocity and timing feel kept, held notes tied; Replace clears the bank at the first note). The source is the lane's In port, or the patch's MIDI input and surface keyboards when nothing is wired there. A take is one undo step.

Add from ＋ → Sequencers → Drum / Melody / Chord / CC Lane — Konstrukt creates the matching sequencer node and binds the control automatically. Long-press the control's edge and turn on Hide Layer Picker to collapse it back to a plain pattern row (the Prob/Tie/Cond data stays on the node either way).

Scene Pads

Binding: none · drives every bankable lane's Pattern

A scene launcher: pads A–D (more as banks fill) that point every lane with banks — Drum, Melody, Chord and Analog lanes, Drum Grids, Matrices, Stage Seqs and Piano Rolls — at that bank in one tap. Each lane switches at its launch boundary, so the whole kit lands on the downbeat.

A scene never stops a lane: one with nothing in that bank switches to it and goes quiet, and a stopped lane starts again. The lit pad is the armed scene (every playing lane agrees); dots mark banks still sounding during the crossover. A named or coloured scene shows its name and colour. Lanes running a Chain keep cycling — set Chain to Off to hand them to scenes. Add from ＋ → Performance → Scene Pads.

Mixer

Binding: none · shows the patch's mixer channels

The Rack page's mix on a card: one strip per channel — level meter, fader, Mute and Solo, the channel's name and colour — with the master meter at the right. Put it beside your pads and Scene Pads and a whole performance fits one page; in the AUv3 it is the mixer.

Strips share the card's width and the card scrolls sideways once they would get narrower than a fingertip; on a short card the faders fold away and the meters, M and S remain. In the control's settings: Master Meter, Send Buses (their return faders join the strips), Pan, and Channels — All, or just the ones you pick (drums and bass, say).

The card plays the mix; building it — inserts, sends, routing, plugins — stays on the Rack page. Everything is the same state: a fader moved here has moved there, and solo is global, so it also silences channels the card doesn't show. Add from ＋ → Performance → Mixer.

Mutes & Solos

Binding: none · shows the patch's mixer channels

Just the mixer's Mute and Solo buttons: one tile per channel, big enough to play — drop the drums, solo the bass, bring them back on the one — without spending a page on faders and meters. Tiles wrap into rows to fill the card.

Each mute group (made on the Rack page) adds a tile whose button engages the group; a channel muted by a group shows its M half-lit. In the control's settings: Send Buses, Mute Groups and Channels — All, or just the ones you pick.

Same state as the Rack page and the Mixer card, and solo is global. Add from ＋ → Performance → Mutes & Solos.

Step Grid

Binding: sequencer node · hit1…16, note1…16 or val1…16 prefix

16-step row with moving playhead. Tap toggles steps; drag across a row to draw a run. Long-press a step and drag horizontally for microtiming nudges. Melody lanes show the sounding pitch after the bound node's Root + Scale quantizer.

The plain, single-layer grid — new lanes get Sequencer Lane+ above instead; use this (or Lane+ with Hide Layer Picker) when you just want the pattern row.

Matrix Grid

Binding: Matrix node · cell1…64 grid

A grid of knobs (default 4×4, up to 8×8) mapped to a Matrix node's cells — each knob sets that cell's note (0 = rest), and a live playhead highlights the cell currently playing. Knob labels reflect the sounding pitch when Root + Scale quantize is on.

Auto-attached when you add a Matrix node; resize the control and the node's Width / Height follow.

Stage Panel

Binding: Stage Seq node · pitch1…64 prefix

The Stage Seq's front panel, one column per stage: the stage number (tap to make it the last stage), a pitch slider (drag up/down; sweep sideways to paint several), the pulse strip (tap or drag to set 1–8 pulses — it draws where the gates fire), the gate mode (tap: Rest → Single → Repeat → Hold) and the Slide · Skip · Ratchet switches.

The playing stage lights, and so does the pulse inside it. The bar on top cycles the Direction and picks the bank (the eye follows the sounding one). Auto-attached when you add a Stage Seq.

Piano Roll

Target: Piano Roll node · Record / Play / Undo / Clear

Transport for a Piano Roll node: record overdubs as takes, play the loop, undo the newest take, clear the buffer. Shows loop length, the quantize grid, the recorded phrase and the playhead, or (with Edit on Card on) the clip as an editable roll. The ⤢ button opens the full editor: Select / Draw / Erase tools, marquee selection, pinch-zoom, a velocity lane, quantize, legato, transpose, duplicate, copy / paste, loop length and ×2, with its own undo. Send to lane quantizes the take onto a Drum Seq or Step Seq lane's grid (its selected bank, replaced). Add from ＋ → Sequencers → Piano Roll to splice the node automatically.

Monitor

Target: Monitor node · text log

Scrolling text log of MIDI at a splice point. Add from ＋ → Monitors → MIDI Monitor — splices a Monitor node into the signal path.

Note Scope

Target: Monitor node · piano-roll view

Scrolling piano-roll of note-ons and offs — see arps, sequencers and generators as they play.

CC Scope

Target: Monitor node · CC trace

Oscilloscope-style CC history: value on Y, time scrolling. One color per CC number — watch filter automation and LFOs.

Audio Scope

Target: an audio node's output (audio) · none = the master

Sound on a card: Wave is an oscilloscope (5–200 ms, held still by a rising-edge, free-run or Beat trigger — the window starts on the transport beat, so a kick pattern stands still at tempo), Spectrum an analyser on a log axis (20 Hz–20 kHz, dBFS, peak hold, the patch key's root ticked) and Stereo a goniometer with a correlation meter that turns red when the mix goes anti-phase for a beat. Add from ＋ → Monitors → Audio Scope.

The inspector's Source picks a channel (an instrument, Audio In or an effect's tail, tapped where its meter reads) or the Master (what the speakers get). A scope costs the engine nothing until it is on screen.

Drum Grid

Binding: Drum Grid node · hitA prefix

The whole kit on one card: a Drum Grid node's eight rows — one drum sound each, named after its note — across 16 steps. Tap a cell to toggle a hit, drag to paint a run, long-press a cell and drag sideways to nudge its timing; the layer chips switch the grid to Vel, Prob and Ratchet (tap cycles, drag up/down dials) and Cond (tap cycles the trigger condition). Tap a row's name to mute it.

Everything a lane has: A·B·C·D banks with auto-follow, ◀ ▶ rotate (all rows together), the ● record chip (step record lands every pad you hit together on the cursor column; live record sorts each hit into its row by note) and a shared playhead. Add from ＋ → Sequencers → Drum Grid.

Plugin View

Binding: AU Instrument / AU Effect / AU MIDI Effect node, or a built-in Analog, Drums, MegaSaw, Wavetable, Sampler, Slicer, Drive, Filter, Delay or Reverb

A hosted AUv3 plugin's own UI as a card on the surface, so a synth's panel sits next to the knobs and lanes that drive it. The plugin fills the card; drag the card taller or wider and the plugin picks the nearest size it supports.

Bound to a built-in instrument or effect, the card shows that node's own panel instead — every parameter on one page, scaled to the card — and it can stay on the surface while the same panel is open in its floating window.

A plugin has one view: the card and the floating plugin window hand it back and forth. The window glyph in the card's header pops the UI out; Bring Back returns it. Add from ＋ → Performance → Plugin View, or Show on Surface in the node's inspector. Standalone app only.

Life Grid

Target: Life node · cell1…192 seed

16×12 Game of Life colony. Tap cells to draw the seed; the pattern evolves while transport runs. Attached automatically when you add a Life node, or bind manually.

Register

Target: Turing or Rule node · live bit loop

Live view of a Turing shift register or Rule automaton row — active steps, playhead and mutations as the pattern evolves. Tap or drag to poke Rule cells on or off.

Scope

Target: emergence node · physics / melody trail

Node-specific visualizer: Markov note trail, Bounce ball physics, Attractor trajectory. Pairs with Markov, Bounce and Attractor nodes.