Generative Instruments

Generative instruments synthesize their source material internally. Some run without MIDI; others combine free-running voices with MIDI notes. Spatial instruments publish ACN/SN3D directly and are also organized under Ambisonic Encoders.

Workflow

1. Choose an instrument and, for an Ambisonic instrument, select its output format or order. Set the REAPER track to the required channel count, then insert the plugin.
2. For an eight-lane instrument, route its outputs to the main speakers, a downstream direct panner, or Output Autogain Stereo/Quad for fold-down monitoring. For an Ambisonic instrument, follow it with an ambisonic decoder.
3. Choose a preset or initialize the instrument's internal source, then start its free-running or MIDI-controlled performance mode.
4. Shape the source, voice relationships, and timing with the instrument's primary controls.
5. Explore movement, topology, or spatial placement while listening through the established output path.

Discrete Multichannel

• Processor Fissure: composes one eight-object material system from metered contact-mic and shaker-box excitation, twelve complete factory instruments, independently authored modal bodies, six topology grammars, a paintable signed 8-by-8 matrix, scoped mutations, and full-instrument scene morphing. One fixed eight-channel bus can project the same field as Stereo, Quad, or 8 Direct.
• Processor Feedback Shift: performs an eight-node shift/ring network through paired scenes, signed matrix feedback, virtual patch splicing, energy-responsive governors, per-node inserts, an in-network aux return, and a post-network granulator. It can process eight external lanes or excite the same graph internally.
• Processor No Input Mixer: grows sound from an interactive eight-lane signed matrix, two effect-bearing aux returns, resonant bodies, in-loop EQ, pedal cells, and s3g Matrix movement. Its MIDI, NIM Gesture, E16, and BU16 control layer is optional.
• Processor Fault: reads generated data or file bytes as moving waveforms, joins them into stochastic curves, and reshapes them with damaged codec models and resonant wavefolding. Its fixed eight-channel bus can remain 8 Direct or internally project the lane ring to Quad or Stereo with adjustable rotation.
• Processor Errant: places a driven, resonant, cross-wired mutant bass circuit inside repeatable stereo glitch genealogies whose MIDI notes inherit and branch through a shared archive.

Stereo Synthesis

• Processor LF Synth: sustains a struck twelve-mode body through sixteen virtual surface pickups, last-note priority, glide, harmonicizing mass load, stable resonant filtering, a coordinated tube stage, selectable bass-tuned stereo Shred circuits, and a post-processor amplitude LFO.
• Processor Lowform: layers a protected phase-stable foundation with eight selectable bodies—Pressure, Swarm, Modal, Acid, Rave, Phase, Throat, and Sync—plus direct engine and texture controls, MIDI transpose, a Stack-derived scale arpeggiator, three assignable modulators, and a low-safe finish chain.
• Processor Stack: couples two plucked-string rigs, tempo-aware arpeggiators, pedals, sagging amplifiers, speakers, and governed microphone returns as a playable stereo feedback instrument.
• Processor Conduit: turns mono or stereo live input into a playable virtual transducer, material body, wide-band contact pickup, movable pedal, and moving-microphone PA loop.

Ambisonic Synthesis

• Ambi Encoder Modal: shares 96 modes among four to eight independent fictional resonant bodies, adds an automatable two-dimensional contact and four-sample skin radiation without expanding that budget, and sustains the field through a visible Tetra 4 or Cube 8 Listener/Actuator environment.
• Ambi Encoder Medium: drives an eight-node fractional-waveguide cube from MIDI, clicks, optional mono audio, or per-node Euclidean patterns, with percussive and sustained exciters, ratchets, pitch dispersion, and event-following spatial masks.
• Ambi Encoder Membrane Kick: makes a deep pitch-dropping drum from one shaped modal membrane whose sixteen surface patches radiate into ambisonic space or appear as direct pickup lanes.
• Ambi Encoder Acid: runs a scale-locked, MIDI-transposable sixteen-step bassline with a sub oscillator and selectable drive circuits whose body, resonant edge, and delayed wake trace one editable path.
• Ambi Encoder Horizon: creates autonomous outdoor-edge scenes from synthetic bells, machinery, traffic, aircraft, foghorns, surf, environmental bodies, and per-source propagation.
• Ambi Encoder VOT: interpolates among sixteen waveforms while voices follow editable paths through the resulting timbre field.
• Ambi Encoder Wave Terrain: turns closed contour scans across a procedural surface into oscillator waveforms and spatial positions.
• Ambi Encoder Wind: shapes broadband noise into gusts, turbulent air, and resonant material responses.
• Ambi Encoder Water: combines continuous flow noise with modeled droplets, splashes, and resonant bubbles.
• Ambi Encoder Pyrosphere: gives finite fuel, structure, and ember entities an aleatoric ignition–propagation–consequence score alongside thermal fracture, debris, plume motion, and pressurized flame jets.
• Ambi Encoder Cryosphere: gives finite plates, loads, crack tips, brine pockets, and detached ice masses an aleatoric stress–rupture–aftermath score, with the SURF cursor also placing a normalized localized load on the distributed ice skin.
• Ambi Encoder Insect: combines call-function templates with stridulation, tymbalisation, wing vibration, percussion, tremulation, and swarm motion.
• Ambi Encoder Pulsar: repeats short windowed waveforms from rhythmic rates into pitch, with recurrent-network waveform capture.
• Ambi Encoder Neural Ecology: grows recurrent node populations inside a field whose adaptive ears learn where to listen and vote on movement through a behavioral lattice score.
• Ambi Encoder Stochastic: uses second-order random walks to evolve breakpoint amplitude and duration curves.
• Ambi Encoder Wrangler: couples oscillator pairs through comparator-driven feedback shift registers for repeating but unstable patterns.

Output Formats

Processor LF Synth, Processor Lowform, Processor Stack, Processor Conduit, and Processor Errant use ordinary stereo output; Conduit also accepts stereo input and can select either channel, a mono sum, or stereo-through behavior. Processor Fissure exposes one fixed eight-channel bus plus an optional stereo input; its internal Output Mode uses channels 1–2 for Stereo, 1–4 for Quad, or all eight for 8 Direct while keeping unused channels silent. Processor Fault follows the same fixed-bus output convention and adds adjustable ring rotation. Processor Feedback Shift and Processor No Input Mixer use eight ordinary output lanes. Feedback Shift is organized here as an input-responsive generative instrument and exposes a matching eight-channel input through its CLAP effect identity even when its internal sources are active. Ambi Encoder Modal, Medium, Membrane Kick, and Acid use 16-channel host buses; Modal can publish eight body stems, while Membrane Kick can publish sixteen direct pickups or a stereo downmix on channels 1–2. Horizon and the other Ambi instruments use fixed 64-channel buses. In an encoded mode, the active order occupies the first (order + 1)^2 channels.