56 presets. Pick a loop.
The whole factory bank on two sources: a two bar drum loop and an eighteen second synth line. Nothing here was recorded. Every clip is the same processor your host would run, fed the loop you can hear under DRY, with one preset loaded and nothing touched afterwards. No clip is normalised and none is limited, so a preset that takes the bottom out sounds exactly as much quieter as it really is.
- Kick ShaperKick
- Sub WeightKick
- Tail TunerKick
- Click TopKick
- 909 PunchKick
- Rubber FloorKick
- Dry ThumpKick
- Acid 303Bass
- Reese SplitBass
- Rolling LowBass
- GrowlBass
- Sub DropBass
- Wobble 1/8Bass
- Wobble 1/16Bass
- Iron BassBass
- SquelchAcid
- Open SweepAcid
- Resonant RainAcid
- Ladder ScreamAcid
- Two LaddersAcid
- Peak ChaseAcid
- Metal ThroatScream
- Ring BiteScream
- Self TalkScream
- SirenScream
- KlangScream
- Broken RadioScream
- Deep FMScream
- Slow RiseSweep
- Bar SweepSweep
- Four BarSweep
- Notch DriftSweep
- Two SpeedsSweep
- Breathing IronSweep
- Loop CrusherDrums
- Hat LiftDrums
- Snare BodyDrums
- Ducking FilterDrums
- Gate ChopDrums
- Room SquashDrums
- Dub FilterSpace
- TelephoneSpace
- Under WaterSpace
- Wide NotchSpace
- Air PassSpace
- Half WetSpace
- Ring OutTexture
- Two TonesTexture
- Iron CrunchTexture
- Envelope BiteTexture
- Everything OnTexture
- InitUtility
- Iron OnlyUtility
- Gentle WarmUtility
- Low Cut 120Utility
- High Cut 8kUtility
A headless renderer loads one factory preset into the real processor, plays the source loop through it at 120 BPM with a play head running so a synced LFO locks rather than drifts, and writes what comes out. The loop is played once before the clip starts so the smoothers and the envelope follower are where they would be in the middle of a track rather than at a standstill. One gain is applied per source, the same for every one of the fifty-six clips and for the dry reference beside them, so within a loop the balance between presets, and between dry and wet, is the balance the plug-in made. The two sources get different gains only because the synth line was recorded ten decibels quieter than the drums, and a comparison nobody can hear is not a comparison.