Asymmetric exponential slew rate limiter II
Different rates for increasing and decreasing slew. A bit like how the channels work in the makenoise maths module. New output is error, which gives you the rising/falling information.
Sign change detection
Outputs a sample burst whenever the sign of it's input changes. This means 1 -> 0 or -1 -> 0 or 0 -> also counts. It's not a pure zero crossing, but it's cheaper and fits most uses.
Vari-Response
Reshapes a signal's response curve through a continuously variable log-linear-exponential transformation. Takes an input signal (typically in the -1 to +1 range) and a K value that sets the curve shape. At K = 0, the signal passes through linearly. Negative K values produce logarithmic response (output rises quickly near zero, then eases toward the extremes). Positive K values produce exponential response (output stays low near zero, then rushes toward the extremes). The K knob is internally mapped as 2^(K × 2.32), giving a useful exponent range of approximately 0.2 to 5, symmetric around linear. Sign is preserved through the shaping, so bipolar signals remain bipolar. Magnitude is warped according to sign(x) × |x|^k. Useful anywhere you want to bend a signal's response without changing its endpoints — envelope contours, portamento curves, LFO shapes, CV scaling, or modulation depth that should feel natural across its full range. Assumes input is bounded within ±1; larger values will produce extreme output at non-linear settings. - Claude
Granular pitch shift
Based on the doppler delay, but with slightly more options, and an all important meta feedback loop. Chuck a bell synth in here and listen to it sparkle!
Planck EQ
Planck EQ is a spectral shaper modeled on the blackbody radiation curve — the equation that describes how stars emit light across frequencies depending on their temperature. The same mathematics that tells us a cool red dwarf glows dull and red while a blue-white giant blazes across the ultraviolet here sculpts the frequency spectrum of audio. A single Temperature knob controls the entire spectral character. At low temperatures the curve peaks in the bass and falls off steeply through the mids and highs, producing a warm, dark, bottom-heavy tilt — the sonic equivalent of a red star. As temperature rises the peak migrates upward through the spectrum, passing through a neutral midrange presence around 1–2kHz before climbing into the upper registers at high values, mimicking the bright, high-energy spectrum of a blue giant. The transition is not linear — the Planck curve has a characteristically asymmetric shape, rising steeply below the peak and falling exponentially above it, which is what gives this EQ its distinctive character versus a simple tilt or shelf. Under the hood each of the ten octave bands from 31Hz to 16kHz gets its gain from a live evaluation of x³/(eˣ−1) where x = frequency / temperature, mapping the Planck spectral radiance function directly onto filter gains across the audible spectrum. The peak band sits at unity while all others are attenuated proportionally, so the curve always feels like a window onto different parts of the same continuous spectrum rather than an arbitrary boost or cut. - Claude
Doppler delay
Polyphonic echo synth where each voice pitch shifts as a kind of linear flanging effect, and as all voices overlap, produces a pitch shifting effect
Lorentz Attractor 2
Outputs 3 semi-random but interrelated oscillating control signals. Good for modulation of ambient pads. Credit: Claude
