Master module for mono or stereo operation with integrated master clock, volume and balance controls. Clear signal path, no extra processing.
Dual-Stereo Clear-Path Master Module
Master module for dual stereo operation (two stereo inputs and two stereo outputs) with integrated master clock, per channel volume and balance controls. Clear signal path, no extra processing.
Octo-Channel Clear-Path Master Module
Master module for multi-channel audio operation (up to 8 inputs and 8 outputs) with per-channel gain and mute controls, peak meter and global preset control.
16-Channel Clear-Path Master Module
Master module for multi-channel audio operation (up to 16 inputs and 16 outputs) with per-channel gain and mute controls, peak meter and global preset control.
32-Channel Clear-Path Master Module
Master module for multi-channel audio operation (up to 32 inputs and 32 outputs) with per-channel gain and mute controls, peak meter and global preset control. This is currently the largest master module available.
Dual-Channel Clock-Free Master Module
Master module for mono or stereo audio processing with no master clock and with maximum transparency. Only per-channel gain controls are provided.
Quad-Channel Clock-Free Master Module
Master module for up to 4 audio inputs and 4 audio outputs, with minimal processing, per-channel gain control and peak meter.
Octo-Channel Clock-Free Master Module
Master module for multi-channel audio operation (up to 8 inputs and 8 outputs) with per-channel gain and mute controls, peak meter and global preset control.
16-Channel Clock-Free Master Module
Master module for multi-channel audio operation (up to 16 inputs and 16 outputs) with per-channel gain and mute controls, peak meter and global preset control.
32-Channel Clock-Free Master Module
Master module for multi-channel audio operation (up to 32 inputs and 32 outputs) with per-channel gain and mute controls, peak meter and global preset control.
Powerful RoboControl low frequency oscillator (LFO) able to modulate any control port in the patch. Wheter in absolute or relative mode you always retain live control on the modulation and can easily disengage at any time to regain manual control over the parameter.
Brown noise generator with amplitude and mute controls. Brown noise (also called Brownian noise) has a power density which decreases 6 dB per octave with increasing frequency. It is a good signal to test the lower end of a sound system, but it can also be used for synthesis.
Pink Noise PNG1
Pink noise generator with amplitude and mute controls. The frequency spectrum of pink noise is linear when using a logarithmic scale. The power density decreases by 3dB per octave. This is a very useful reference signal.
Sin Test-Gen Mk1
Basic sinusoidal test signal generator with amplitude, frequency and mute controls. This module is based on a cheap mathematical approximation and is one of the few modules operating in frame-accurate mode (FA) instead of sample-accurate (SA). Might not be the purest sinus around but it's pretty efficient. Use this module for system test, not for synthesis!
Sin Test-Gen Mk2
Basic sinusoidal signal generator with amplitude, frequency and mute controls. As close to a perfect sinus as is reasonably possible. Not very CPU efficient. However this is just a testing and system calibration module and not a real instrument.
White Noise WNG1
Simple white noise generator with amplitude and mute controls. White noise is a random signal with equal power at all frequencies. The term "white" is an analogy to the white light, which contains all visible colors. Filtered white noise can be useful for synthesis.
Simple meter to display beats in real-time from any live source. Detection band and sensitivity can be adjusted to improve the selection.
BPM Meter
Pretty basic real-time BPM meter with adjustable detection parameters. Works good enough for straight beats, typically the kind of signals where you could make use of a BPM meter.
Peak Meter
Simple peak meter module, display instant peak signal value in dBFS. As this is a quasi-peak (by opposition to true-peak) you should always allow for some headroom when using this meter as reference, as the actual signal peaks after reconstruction might be higher.
Phase Correlation Meter
Displays the cross-correlation product of two signals. Meter in the red means signals are out of phase and bad things will happen when your mix will be converted to mono. Green means the two signals are strongly correlated (in phase). Meter in the middle is usually a sign of a good stereo image with decorrelated signals.
Presence Meter
Simple module to display signal presence and over-range for up to 8 inputs at a time.
RMS Meter
Simple RMS metering module, fast integration time (125 ms). When metering multiple channels the maximum RMS value is displayed. RMS stands for root-mean-square and is a value representing average power that is often more meaningful than the peak value.
Classic effect with a wide range of applications. When using the internal sinusoid carrier, you get the classic tremolo effect. When using any signal as a carrier, any kind of amplitude modulation can be applied to the source(s).
Delay
Simple variable fractional delay with optional feedback, for up to 8 channels.
Dub Delay
Analog-style delay with filtered and saturated feedback path. Meant to be played live of course!
Long Delay
This module can delay the input signal(s) up to 60 seconds. As expected, it consumes more RAM than the standard Delay.
Ping-Pong Stereo Delay
Stereo delay for symmetrical or asymmetrical ping pong effects. The bounce and link parameters cover most variations on the genre.
Ring Modulator
Ring modulator with internal or external carrier. Modulates the input with the internal carrier or with the signal connected to the second input, if present. The leakage control emulates non-perfect hardware units.
2-band signal splitter using 3rd order allpass filters in Linkwitz-Riley configuration. The separate outputs can be used for arbitrary multi-band processing.
3-Band Crossover
3-band signal splitter using 3rd order allpass filters in Linkwitz-Riley configuration. The separate outputs can be used for arbitrary multi-band processing.
4-Band Crossover
4-band signal splitter using 3rd order allpass filters in Linkwitz-Riley configuration. The separate outputs can be used for arbitrary multi-band processing.
3-Band Equalizer
This is the 3-band equalizer of the K-series mixing consoles in standalone form, with multichannel support.
DC Blocker
DC-Blocking filter with multi-channel support. Remove any DC component (offset) from a live source. Always good to have one in your pocket.
RC Hipass 12
RC high-pass correction filter, -12dB/octave slope, non resonant. Cuts the low end of up to 8 input channels.
RC Lowpass 24
RC low-pass filter with 24 dB/octave roll-off and no resonance. Cuts the high end of up to 8 input channels.
Simple gain control with up to 8-channel audio support (7:1)
CamoMixer x4
Simple 4 channel mixer. Can mix sources from mono to 7:1 multi-channel audio.
CamoMixer x8
Simple 8 channel mixer. Can mix sources from mono to 7:1 multi-channel audio.
CamoMixer x16
Simple 16 channel mixer. Can mix sources from mono to 7:1 multi-channel audio.
CamoMixer x32
Simple 32 channel mixer. Can mix sources from mono to 7:1 multi-channel audio.
CamoMute x1
Mute control for up to 8 channels, with smooth transitions for live cutting.
Cross-Fader
Simple cross-fader to mix smoothly between two input sources.
Fader-Cross
Inverse cross-fader module. Mixes one source to two outputs.
K-Series Console x16
K-Series mixer line, sporting 16 mono/stereo switchable input channels, British-style 3-band equalizers (also switchable), solo/mute section, and monitoring support that integrates directly with the application dedicated audio monitor (a must for live performance!)
Amplitude inverter waveshaper. Quiet becomes loud and vice versa. Very noisy if applied to audio signals, use with extreme caution!
Asymmetrical Clip
Simple variable hard asymmetrical signal clipper with automatic gain compensation. Output signal never exceeds 0dBFS.
Asymmetrical Gain
Simple variable asymmetrical gain. Produces even harmonics.
Asymmetrical Saturation
Variable asymmetrical saturation. Signal is warranteed to never excess 0dBFS.
Bit Quantization
Bit quantization distortion effect. Progressively reduces the signal bitdepth until it becomes very low-fi.
Black Fuzz Mk1
Fuzz distortion effect. Strong, no compromise.
Black Fuzz Mk2
Fuzz distortion effect. Amongst the trashiests modules.
DC Offset
Add a fixed DC offset (positive or negative) to the signal. Useful in combination with other waveshapers.
Full-wave Rectifier
Full-wave signal rectifier. Folds one side of the signal to the other side, when applied to audio it produces a strange octave doubling effect.
Half-wave Rectifier
Half-wave signal rectifier. Removes one half (positive or negative) of the signal, producing even harmonics.
Hard Clip
Simple variable hard symmetrical signal clipper. Hardest distortion with infinite harmonics production (and a hell lot of aliasing!)
Infinite Limiter
Infinite limiter waveshaper. Completely removes the amplitude envelope from the source signal. Use with caution on audio signals, can be very loud!
Overdrive Mk1
Soft overdrive / distortion effect. Warm and gentle.
Overdrive Mk2
Soft overdrive / distortion effect. Nice but particular character.
ParaShaper
Parametric waveshaper using combined and normalized functions. Very versatile effect.
Pink Fuzz
Ultra strong fuzz distortion effect. Beware, this one is nasty!
PolyShaper
Polynomial waveshaper based on Chebyshev polynomials of the first kind. Allow precise control of the produced harmonics.
Sasquatch Distortion
Strong distortion effect. Semi-parametric ultra strong signal squasher, this beast has no mercy!
SkyDrive Mk1
Distortion effect. Covers medium to strong trashing.
SkyDrive Mk2
Distortion effect. Versatile, clean, moderately strong but good presence.
Soft Clip Mk1
Simple variable soft symmetrical signal clipper. Ensures output signal will never reach more than 0dBFS.
Soft Clip Mk2
Soft saturation/clipper with variable softness control. When linear the effect is almost transparent, then the shaper gently starts to compress the upper signal range until a soft clipping is achieved. Then moving the slider further will increase the clipping hardness.
Spectrum Inverter
Spectrum inverter. Low frequencies become high frequencies and vice versa. Works best with high frequency content like drums.
SuperPunch
Punch distortion effect. Adds instant punch to any signal, without distorting too obviously (provided you don't push it too hard)
This special module allows to control external instruments or effects via the host MIDI outputs. It acts as a bridge between the application and the external gear, forwarding control and automation by sending the appropriate MIDI messages.
Label 1x1
Handy module allowing to put labels on the virtual screens.
Label 2x1
Handy module allowing to put labels on the virtual screens.
Label 4x1
Handy module allowing to put labels on the virtual screens.
Latency Calibration (in + out)
Special two-parts module for latency calibration. The first part generates the 'ping' that must be received by the other part to perform the delay computation.
Latency Report (PDC only)
Special module to report a fixed patch latency, without delaying the signal itself. This module can for instance correct the patch latency created by a round-trip to an external processing unit (ex: multi-effects, compressor, etc)
Manual Delay-Compensation
This special module allows to delay a signal and report the added latency, in order to perform manual patch delay compensation.
Non-Compensated Delay
Special module allowing to create a fixed audio delay (retard) without reporting any latency to the automatic PDC system. Can be used to manually align sources or phases etc.
Phase Inverter
Simple but handy phase inverter module with multi-channel audio support.
Stress Tool
Special module to introduce artificial stress to the system, to ensure for instance that the wave engine settings (buffer size etc) can resist enough stress without glitching.
Pseudo-stereo based on Haas effect (aka precedence effect) Beware: might cause phasing/cancellation problems when converting to mono.
L/R to M/S Converter
Convert a L/R signal pair to M/S signals. Mid/Sides processing offers very interesting workflow possibilities. Each separate output can be processed differently, then the signals can be converted back to normal Left/Right stereo.
M/S to L/R Converter
Convert a M/S signal pair back to L/R signals.
N to 1 Averager
Sums N channels then divide by N, thus performing the mathematical average operation.
Stereo Balance
Stereo balance control. Can also create a stereo signal from a mono input.
Stereo Pan
Stereo pan control. Can also create a stereo signal from a mono input.
