Processor Fissure

s3g Processor Fissure is an internally excited noise instrument and optional-input audio processor built from eight configurable physical objects. Filtered noise, pressured oscillation, structural failure events, contact-mic transduction, shaker-box impacts, modal metal bodies, cell-specific distortion circuits, signed feedback, and causal delay memory remain inside the same network.

The instrument separates authorship into three layers. Objects determine what the eight things are. Energy Paths determine how they couple. Performance Gestures decide what changes or receives an impact now. This separation makes broad variation possible without requiring 64 individual matrix edits or allowing one random action to replace the whole instrument.

There is one plug-in and one fixed eight-channel output bus. Its OUTPUT MODE selects STEREO, QUAD, or 8 DIRECT projection; inactive bus channels are explicitly silent. All three modes run the same eight cells, random decisions, authored 8-by-8 matrix, and saved performance state. Choosing fewer speakers therefore changes projection without reducing the composition to fewer voices.

Processor Fissure is advertised to hosts as a CLAP audio effect, not a CLAPi instrument. Its internal generators and MIDI strikes remain available, but this classification makes the optional live input follow the ordinary track-FX signal path. The minimum OUT position is an exact mute: neither generated nor incoming audio can leave the plug-in at that setting.

Processor Fissure interface showing its eight by eight signed energy matrix, physical object controls, scenes, structure actions, performance gestures, and input meters — The complete Fissure performance surface: eight physical objects feed a signed coupling matrix, while scenes, structure grammars, input excitation, and performed fracture gestures remain visible together.

Workflow

Set the REAPER track to eight channels and insert s3g Processor Fissure. Its stereo input can receive audio but may remain silent.
Select STEREO, QUAD, or 8 DIRECT. Route channels 1–2, 1–4, or 1–8 respectively to the matching speakers or monitor path; unused channels on the fixed bus remain silent.
Open the title-band PRESET menu and choose one of twelve complete instruments. Each preset supplies its own four related scenes, then MORPH travels continuously between them.
Click one of the six structure buttons to apply ISLANDS, RING, PAIRS, HUB, CLUSTERS, or SCATTER. BLEND controls how strongly it replaces the current matrix.
Select and strike an object. Change its SIZE, DECAY, HARDNESS, SENSITIVITY, DRIVE, and LEVEL to make it physically distinct from its neighbors.
Use MASS, PRESSURE, BODY, and MEMORY mainly in their expanded lower halves, then perform faster contrasts with EDGE, VOID, CUT CONTRAST, and MOTION. The field readouts report effective energy, not merely slider travel.
Raise BOX IMPACT for isolated low/mid metal-container blows, LOOSE RATTLE for dry clustered high-mode collisions, and SPRING WIRE for sparse coupled twangs with a shifted high resonant family. These are independent attached-object models rather than modifiers for one common impact clock. Feed the optional stereo input and raise CONTACT for piezo-like excitation or INPUT COUPLE to let its envelope and spectral motion disturb the wider material field.
Read MIC POST IN · RMS to verify the continuous post-gain level reaching the plug-in. The filled bar is a 72 ms RMS average; its thin marker retains short peaks separately. ECOLOGY XFER shows how much input energy is reaching either excitation path. The F0 readout separates pitch LOCK confidence from continuous HOLD drive; the numbered responders show which objects the input is disturbing.
Paint detailed paths in the dominant left-hand matrix by clicking or dragging across crosspoints: each click cycles off, positive, negative, then off. Use the bipolar route strip, FLIP ±, and CLEAR for exact editing.
Use the eight CUT MASK cells immediately below the matrix to choose which objects may fracture. Click to toggle one or drag across several to paint a group. The mask governs autonomous cuts, both fracture pucks, Repeat, and the destination rows changed by CUT + LINKS.
Use the left RATE × VOID Cut Density puck to control how often decisions occur and how many become actual holes. Use the right EDGE × SPACE Rupture Shape puck to control spectral/seam hardness and the temporal scale of each absence. Move slowly to deform those macro relationships; flick to inject impacts, splices, gaps, directional cell scans, and temporary route scars. By default each puck springs independently back to the stored four-axis composition on release. Enable CUT LATCH or SHAPE LATCH in the right-side performance column to hold that pair instead; switching the latch off releases both axes to zero.
Click GRAB once to begin recording a performance phrase; the button stays lit. Move macros and either fracture puck or trigger Cut and cell strikes, then click STOP GRAB to close the duration. Hold REPEAT to replay that control-and-event trajectory while the live audio system keeps evolving.
CUT + LINKS performs an immediate guarded splice in eligible cells while mutating their authored destination rows. IMPACT ALL adds energy without replacing structure; DROP OUT, HOLD, and PANIC control longer interruption.
Select Scene A–D and press STORE to capture the fourteen field macros, all 64 signed routes, and all 48 object controls. MIDI notes 36–43 strike objects 1–8; later octaves repeat that mapping.

Instrument Presets

The twelve factory presets are complete instruments rather than aliases for a few macro values. They are retuned around low field energy and differentiated by independent Edge, Rate, Void, Space, Cut Contrast, motion, topology, and physical excitation, so preset browsing demonstrates sustained drones as well as fast interruption. Recall changes the fourteen field and exciter macros, all eight object profiles, signed topology, input/output gain, Seed, Variation, and the complete A–D scene bank. OUTPUT MODE is deliberately preserved so browsing instruments never reroutes a Stereo, Quad, or 8 Direct performance. Editing a structural value changes the title readout to CUSTOM; LOAD and SAVE still operate on the complete plug-in state.

Factory recall is also a performance rearm: it clears the temporary Grab phrase, cancels Repeat and fracture-puck pressure, releases inherited dropouts, returns every cut read toward live causal history, opens the cell gates, and strikes two separated objects. Every factory scene retains a small autonomous excitation floor, and its output trim is matched for useful no-input auditioning. A preset can therefore recover directly from Panic or a depleted feedback state without clearing the whole three-second history allocation on the audio thread.

Preset	Starting behavior
INIT / PLATE RING	Balanced eight-plate circulation and the neutral point for learning the matrix.
SHAKER BOX	Small hard objects, paired collisions, dense autonomous rattling, and stereo projection.
SPRING NEST	Long high modes around a contact-sensitive hub, projected to Quad.
CONTACT SHEET	Large metal surfaces with high mic sensitivity and isolated self-resonance.
TIN PAIRS	Four bright coupled pairs with rapid collisions and strong object drive.
BROKEN HUB	A high-pressure direct-eight network organized around one unstable object.
RUST CLUSTERS	Two aging four-object neighborhoods with persistent memory and spring chatter.
EMPTY ISLANDS	Sparse, slowly decaying isolated bodies designed for external mic excitation.
SCRAP CASCADE	Fast, hard, high-contrast memory splices, scattered impacts, and asynchronous holes across all eight outputs.
NEGATIVE WEB	Inverted off-diagonal relationships and slow high-mass feedback tension.
SLOW PRESS	Heavy low bodies, long memory, little autonomous motion, and stereo projection.
MIC RESONATOR	High input gain and object sensitivity; the external mic is the primary driver.

For a microphone that influences the performance without sitting in front of it, keep CONTACT low and raise INPUT COUPLE. CONTACT is intentionally the more literal piezo/transducer path. INPUT COUPLE discards the incoming waveform's polarity and fine structure, transfers its timing and energy onto each object's own material noise, and uses a confident pitch estimate as harmonic gravity for the modal field. A held sung note maintains a confidence-and-loudness-derived noise carrier for as long as the pitch remains present; it does not collapse back to onset-only excitation.

Eight-cell Architecture

Every object combines low noise, bright noise, saturated oscillation, burst excitation, modeled failure, three resonant modes, and a dedicated nonlinear circuit.
Each object's six authored controls change modal register and decay, transient spectral balance, contact and impact response, nonlinear drive, and network participation. Variation is therefore structural rather than a set of hidden random offsets.
MASS admits the cells in a distributed order rather than merely multiplying master gain. Sparse settings therefore expose a structurally varied subset.
A contact stage emphasizes fast surface vibration and input transients. Box Impact drives the lower two modal families with irregular container blows. Loose Rattle owns a faster clustered clock and emphasizes high, hard collision modes. Spring Wire owns a sparse pluck clock, retunes and lengthens the high modal family, then excites coupled cells with opposing polarity.
A confidence-gated periodicity tracker follows monophonic input between roughly 45 Hz and 4 kHz, including held voice, high spring, scrape, whistle, and feedback tones. Stable loudness multiplied by pitch confidence supplies continuous modal pressure. The eight objects approach different harmonic or subharmonic relatives of that estimate; signed-route tension, MOTION, and EDGE introduce independent detuning and wandering. With uncertain or unpitched input, pitch attraction and held drive recede while transient energy coupling continues.
Three resonant modes per cell act as attached metal sheets and springs. Physical impacts, cell strikes, and the contact path drive those same states before nonlinear processing and feedback.
The editable signed 8-by-8 matrix couples self, neighboring, and distant returns. Structure buttons author recognizable global grammars; matrix painting and CUT + LINKS create local deviations.
Each cell writes a private causal history of up to three seconds. MEMORY / FRAG changes both return depth and the available splice distance. Eight asynchronous event clocks can jump eligible cells to different causal fragments and polarities. Every jump is committed at the bottom of a 0.22 ms down / 1.15 ms up seam, so dense cut-up remains decisive without raw discontinuities.
GRAB records as much as eight seconds of the fourteen composition macros, Cut Contrast, all four fracture-puck coordinates, eligible gate states, cuts, and cell strikes at a 200 Hz control rate. REPEAT re-performs that trajectory; it does not read a captured audio buffer.
Eight Macro Shred circuit types form the nonlinear bodies. Object hardness participates in circuit assignment and distortion character, independently of matrix topology.
Per-cell energy observers reduce persistent excess inside the network. A final transparent ceiling is reserved for last-stage protection.
The renderer places every cell on a ring. Stereo uses equal-power left/right projection; Quad and 8 Direct use equal-power interpolation between adjacent ring outputs.

The renderer does not feed back into the material system. With the same seed, automation, MIDI, and action sequence, switching output mode therefore preserves the internal composition before projection.

Cut-up System

Feedback Shift creates cut-up by inventing temporary virtual patches above its two authored scenes. Fissure now applies the same compositional principle to physical objects and causal memory rather than copying Feedback Shift's frequency-shift lanes. Each object has an independent clock. A cut can move its memory read to another past fragment, invert that fragment, close the object's gate, or reopen it with a fresh impact while the visible 8-by-8 matrix remains the authored foundation.

EDGE now controls spectral hardness, pulse squaring, nonlinear detail, and splice seam character without setting the clock. RATE exclusively schedules the eight private event clocks from approximately 0.0012 decisions per second at minimum—long drone time—to 180 per second at maximum. Raising Rate immediately pulls already scheduled clocks toward the new value. VOID PROBABILITY is a dimensionless 0–100% likelihood control: at each eligible event it determines whether the interruption opens an actual cell hole, with Cut Contrast scaling the final chance. SPACE sets the resulting absence duration from about 8 ms to 4 seconds and moves the gate from hard cuts toward slower fades. MEMORY / FRAG controls fragment audibility and distance; MOTION controls polarity and offset instability; CUT CONTRAST controls splice departure and link mutation. HOLD freezes new decisions and current gap timers.

Pressure, Mass, Memory, and Body use an expanded low-energy response: 20% slider travel produces 4% effective energy, 50% produces 25%, and the upper end still reaches the full former range. In practical terms, the old 0–20% working area now occupies roughly the first 45% of each slider. Void and Cut Contrast use an S-shaped response so stable space and hard fracture are both easier to land. Edge, Void, and Motion smooth over only a few milliseconds for performed contrast; sustained low Edge remains deliberately slow.

The eight numbered cells directly below the matrix are the CUT MASK. Dark cells are protected; lit cells may receive autonomous or manual cuts. A fading outline around a destination row records recent cut order, the mask cell flashes + or − for fragment polarity, and its small colored underline shows fragment age. These overlays describe temporary performance state without changing the route values drawn inside the matrix.

The two fracture pucks are temporary overrides rather than scene macros. The orange RATE × VOID Cut Density puck moves right toward faster private clocks and upward toward a greater likelihood that each eligible decision opens a hole. These axes have a direct causal interaction: their combination determines realized cut density. High Rate with low Void produces rapid splices, impacts, and chatter without much silence; low Rate with high Void produces rare decisive holes; the high/high corner becomes a perforation storm with an active last-cell silence guard. The blue EDGE × SPACE Rupture Shape puck moves right toward harder fragments and upward toward longer absences. Its coupled corners range from soft short seams, through brittle high-Edge microfracture and slow low-Edge breathing cavities, to hard long-form ruptures. Edge counteracts Space's softened gate attack while Space expands fragment reach, so the high/high corner remains decisive rather than simply fading away.

Puck velocity is a separate performance signal. Slow travel changes position without adding much impact; a fast flick injects temporary energy but that energy decays even when the puck is latched. Horizontal motion scans the eight cells in its travel direction, vertical motion spreads from the current cell into the strongest matrix-linked destinations, and coherent turning walks the eight-cell ring. A fast directional reversal leaves a decaying route scar in the feedback network without rewriting the visible authored matrix. A fading path displays the pointer gesture. The eight miniature cells at the top of each pad show affected cells as colored outlines, realized splices as bright caps, and actual gap occupancy as blue fill. The right column reports realized gaps and changes to SILENCE GUARD as the field approaches seven closed cells.

In default return mode, releasing either puck applies a 72 ms return on its two position axes. CUT LATCH and SHAPE LATCH independently keep their respective puck at its released position; turning a lit latch off returns that puck to zero. Latching never freezes gesture velocity or route-scar decay. The latch buttons occupy the right-side performance column rather than the panel title/header area. Use a narrow mask for solos and call-and-response, an alternating mask for interleaved rhythm, or all eight cells for a full-field rupture.

GRAB is a latch. Its first click clears the old phrase and starts recording; the lit STOP GRAB button and REC timer show that capture is active. Perform the macros, Cut Contrast, both fracture pucks, Cut action, and cell strikes, then click it again to set the loop length. Capture is quantized to a 200 Hz control tape and is bounded at eight seconds. The authored object definitions and 8-by-8 matrix remain the live foundation rather than being overwritten by playback.

Hold REPEAT to replay the complete duration. The recorded macro path continuously retunes the physical/nonlinear system, recorded gate states restore its rhythm, and recorded cut and strike events fire again on each pass. The RPT percentage shows position in the phrase. Release Repeat to crossfade control back to the current live surface. Audio history, modal bodies, incoming-mic analysis, and matrix circulation never stop, so each pass has recognizable timing without becoming a sampled-audio loop.

Start with SCRAP CASCADE for the clearest demonstration. For articulate voice-controlled cuts, lower CONTACT, raise INPUT COUPLE, use moderate MEMORY / FRAG, then raise Rate while setting Edge independently for dull tears or hard shards. For sparse tape-like interruptions, lower Rate, raise Space, keep moderate Void, and use CUT + LINKS manually.

The contact and shaker controls treat springs, metal containers, loose parts, and imperfect mechanics as performable excitation gestures. They do not replay recorded objects: every impact enters the same running modal bodies, distortion cells, signed coupling matrix, and causal memory used by the autonomous field.

Matrix and Cells

Matrix columns are sources and rows are destinations. A positive route returns a source with its original polarity; a negative route returns it inverted. Click an empty crosspoint to paint a positive route; click again for negative; click again to erase it. Continue dragging to paint the same value across several routes. The bipolar route strip provides exact gain, while FLIP ± and CLEAR handle polarity and removal.

Structure	Routing grammar
ISLANDS	Self-routes only; eight parallel objects with no cross-coupling.
RING	Forward circulation, weaker inverted reverse paths, and moderate self-return.
PAIRS	Four strongly coupled object pairs with no default connection between pairs.
HUB	The selected object sends to and receives from every other object with alternating return polarity.
CLUSTERS	Two four-object neighborhoods with weak, occasional bridges.
SCATTER	A deterministic sparse topology derived from Seed.

BLEND interpolates from the current matrix toward the clicked structure; it is not an ongoing macro. The eight object buttons select and strike physical objects. CLAP automation exposes every route as D# from S# and all six controls for every object.

Composition Controls

Control	Function
PRESSURE	Raises cell drive, shared return gain, failure load, and burst intensity. Its squared response expands the low-energy region; high settings still approach a governed supercritical field rather than an unrestricted digital loop.
MASS	Admits more of the eight standing material cells and increases their fresh-source body. A direct MIDI, Repeat, or performance impact can briefly wake any object even when Mass leaves it outside the standing population.
EDGE	Raises spectral hardness, pulse squaring, nonlinear shred, failure detail, and the decisiveness of memory-splice seams. It no longer changes autonomous event density.
RATE	Sets only the eight independent interruption clocks, spanning long drone schedules through extreme micro-cut fields. An upward gesture also accelerates outstanding schedules immediately.
VOID PROBABILITY	Dimensionless likelihood shown from 0–100%. At each eligible event it determines whether an actual asynchronous cell hole opens; Cut Contrast scales the final event probability. It does not determine how long the hole remains.
SPACE	Sets hole duration from roughly 8 ms to 4 seconds, shapes the gate from hard cut toward fade, extends intentional all-cell blackout protection, and controls performed withdrawal duration.
MEMORY / FRAG	Raises delayed causal return, feedback persistence, material toughness, and the maximum past-fragment distance available to cut-up splices. Its squared response gives detailed control over short, lightly remembered fragments.
BODY	Moves the balance toward tonal and low material, changes cell oscillator register, and alters the resonant distortion body. Its squared response expands brittle, lightly embodied states.
INPUT COUPLE	Extracts stable level, onset, spectrally separated motion, and confident pitch from the optional stereo input. Onsets strike the material system; a held note continuously supplies modal pressure; pitch attracts each object toward a different unstable harmonic relation. It does not mix a sample-aligned dry copy into the output.
MOTION	Continuously perturbs matrix routes, rotates the cell ring, spreads breach arrivals, and introduces small cell-position irregularity.
CONTACT	Turns the optional stereo input into a piezo-like surface signal by emphasizing high-frequency vibration and fast changes, then drives every cell's modal body.
BOX IMPACT / SHAKER	Runs a slow irregular container-impact clock and sends strong energy mainly into low and middle modes, with a smaller structural-failure blow.
LOOSE RATTLE	Runs an independent fast clock with short collision clusters and emphasizes dry middle/high modal impulses rather than changing Box Impact density.
SPRING WIRE	Runs an independent sparse pluck clock, retunes and lengthens the high modal family, and excites a second coupled object with opposing polarity for audible twang.
INPUT	Applies −60 to +24 dB before the stereo excitation reaches the cell network.
OUTPUT	Applies −60 to +6 dB after ring projection and before the final transparent ceiling.
SIZE	Moves the selected object's oscillator and modal register. Larger objects are lower and heavier; smaller objects are higher and tighter.
DECAY	Changes the selected object's modal ring time, remembered toughness, and nonlinear feedback persistence.
HARDNESS	Moves impact energy toward upper modes and changes failure stiffness, spectral edge, and nonlinear circuit character.
SENSITIVITY	Controls how strongly contact input, shaker collisions, MIDI strikes, and performed impacts excite the selected object.
DRIVE	Changes the selected object's pre-nonlinear level, shred pressure, and fresh-to-processed balance.
LEVEL	Changes the selected object's contribution to feedback, private memory, activity, and output.
SEED	Defines event timings, source randomness, cell placement offsets, Scatter structure, and repeatable mutation choices. It does not replace an authored matrix by itself.
CUT MASK 1–8	Determines which cells can receive autonomous memory cuts, fracture-puck events, replayed gate/cut gestures, and the destination-row mutations made by Cut + Links.

Performance Gestures

Action	Performance behavior
HOLD	Stops autonomous opening, closing, and burst decisions while leaving the current gates, oscillators, histories, and feedback circulation running.
CUT CONTRAST	Sets autonomous splice departure and how far either mutation gesture moves from the current state. It changes fragment offsets and inversion probability without replacing the visible matrix.
RATE × VOID — CUT DENSITY	Orange return-or-latch XY gesture: X raises event rate; Y raises the likelihood that an eligible event opens a hole. Their interaction controls realized interruption density. Horizontal flicks scan cells; vertical flicks spread through matrix links.
EDGE × SPACE — RUPTURE SHAPE	Blue return-or-latch XY gesture: X raises hardness and seam contrast; Y raises gap duration and fragment reach. Their coupled corners span soft seams, brittle microfracture, breathing cavities, and hard long ruptures.
PUCK VELOCITY / TRAIL	Slow movement deforms the field; fast movement injects impacts, cuts, gaps, and temporary topology scars. Direction chooses cell traversal. Trails and eight telemetry markers show the performed path, affected cells, realized cuts, and occupied gaps.
CUT LATCH / SHAPE LATCH	Independently changes the associated puck from spring-return to held position. Turning a latch off explicitly releases both of that puck's axes. The buttons live in the right-side performance column; latch modes and puck positions are temporary performance state rather than scene content.
GRAB	Latching two-click capture: click once to start recording a control/event phrase and again to close its duration. The maximum phrase is eight seconds; no audio is sampled.
REPEAT	While held, replays the captured macro, four-axis fracture-puck, gate, cut, and strike trajectory over the still-running system. Release crossfades control back to the live surface.
MUTATE OBJECT	Changes Size, Decay, Hardness, Sensitivity, and Drive only for the selected object, then strikes it so the result is immediately audible. Level is preserved.
CUT + LINKS	Commits a guarded memory splice in every cut-enabled cell and mutates only their signed destination rows toward the selected structure grammar. Protected cells, object character, scenes, and global field controls are preserved.
IMPACT ALL	Sends a moving structural-failure and modal-impact cascade through all eight objects without replacing the matrix or object definitions.
DROP OUT	Closes the post-network audition envelope while the object network continues evolving. The field returns after a duration controlled by `VOID`.
PANIC	Immediately clears feedback, causal histories, bursts, physical modes, cell processors, and output. The field remains silent until an object strike or `MUTATE OBJECT` rearms it.
RUN	Ramps the final performance output on or off without clearing the network. It is suitable for automation when the same system should remain available behind silence.

DROP OUT and RUN are intentionally different. Drop Out is a finite compositional absence that returns by itself. Run is a persistent transport-like output gate. Panic destroys the current audible memory and requires an explicit new excitation or factory-preset recall. Outside HOLD, an accidental all-cell gate blackout lasting more than about 850 ms reopens one active cell with a guarded impact; deliberate held silences remain untouched.

Scenes, MIDI, and State

Scenes are complete instruments stored in neutral slots A–D; they are not actions. Every factory preset initializes its own coherent four-scene trajectory, so scene morphing explores variations of the selected instrument rather than returning to a shared generic bank. Select a scene, establish a field, and press STORE to replace that slot. Each scene stores the fourteen composition macros—Pressure, Mass, Edge, Rate, Void, Space, Memory, Body, Input Couple, Motion, Contact, Box Impact, Loose Rattle, and Spring Wire—all 64 matrix routes, and the six controls for all eight objects.

MORPH travels continuously A→B→C→D. It interpolates the global field, signed routes, and every object's physical character and level. Selecting a scene also moves Morph exactly to that scene. Editing after a morph changes the live instrument; it does not modify either endpoint until STORE is pressed.

Input gain, output gain, seed, Hold, Run, selected cell, output mode, and the eight-cell Cut Mask remain outside the scene so routing, safety, and performance eligibility do not jump during scene recall. Factory preset recall supplies its authored gain/seed values and rearms the field but preserves Output Mode. Project state restores the current fracture-puck coordinates, latch modes, and Grab/Repeat control positions along with the live surface and all four scenes. The recorded performance tape, moving trails, and route scars remain temporary; after reopening a project, release and re-engage Grab or Repeat before recording a new phrase. Grab records the cuts and strikes caused by a gesture, not a permanently held velocity. Actions alter the live field but do not overwrite a scene until STORE is pressed. Scene recall publishes all changed macros, routes, and levels to the host. Earlier two-axis projects map Edge to Rate and Void to Space so their timing remains recognizable; projects saved before the Cut Mask was available initialize all eight cells as eligible.

The CLAP note input accepts CLAP notes and ordinary MIDI. Notes 36–43 strike cells 1–8; other notes wrap through the same eight-cell order. Velocity controls the cell impulse. Notes do not impose equal-tempered pitch because this interface treats the keyboard as a bank of structural exciters.

Output Width and Routing

Mode	Active channels on 8-channel bus	Use
STEREO	1–2; channels 3–8 silent	Two-speaker work, headphones, recording, and compact downstream processing.
QUAD	1–4; channels 5–8 silent	Direct quad performance while keeping one stable plug-in and project bus.
8 DIRECT	1–8	One ordinary output lane per nominal cell position, with adjacent interpolation during movement.

Processor Fissure always advertises one eight-channel ordinary-audio bus, not an ambisonic signal. Output Mode changes how many leading channels are active and never changes the host port layout. This makes scenes, automation, and saved projects portable among Stereo, Quad, and eight-channel listening without replacing the plug-in.

Safety and Reproducibility

Feedback is bounded at several levels: routed returns are scaled against aggregate route magnitude, cell input and processor output are clamped, cell energy governors recover slowly from persistent excess, and the renderer uses energy-normalized projection. A soft ceiling bounds final samples to ±1. The left field reports the minimum current governor value so sustained containment is visible; the title's PK readout reports actual output peak.

Identical seeds and event streams produce the same eight-cell activity in Stereo, Quad, and 8 Direct modes. Output projection therefore changes speaker placement without feeding a different result back into the composition process.