Click a chain slot to cycle it through the scenes. With Chain on, the rack walks the slots and swaps scenes on the bar — patterns cut, knobs morph.

Filter is bipolar — centre is off, left low‑passes, right high‑passes. Pads are momentary; hold them.

Kick fed into the long chamber, low‑passed and ducked. The floor of the whole track — bounce it as its own stem.

Continuous detuned pair, slow filter.

Resonant noise band. The room tone and the risers.

Sing, talk, or feed a line in — it lands where every module lands: ducked by the kick, chopped by the clock, into the same plate and delay. Wear headphones. Throw pushes the delay send and its feedback while held; Cut kills the dry so only the tail carries. Shift adds a pitched layer under your voice — left for the octave‑down monster, right for the sped‑up hook. A live take (Capture) records it; an offline bounce cannot, because there is no microphone inside an offline render.

Published pages can only save a short list of file types, and audio is not one of them. Everything here plays and patches normally — to bounce audio, stems or MIDI, open your local copy of rack.html. Patch JSON does save from here.

Bounce renders offline — faster than real time, sample‑exact, no dropouts. Stems come back as one zip, all bar‑aligned so they drop into Ableton on the grid.

Arm, then move any knob while the rack runs. The move is written to a 4‑bar lane, loops from then on, and is baked into every bounce.

Drives Ableton or hardware from the rack’s own sequencer. Enable the IAC Driver in Audio MIDI Setup to route into Live.

Space run/stop · M mutate · R reroll · F/D/S hold for fill/drop/stutter · 1–4 scenes
Knobs: drag, or focus and use arrows (Shift = fine). Steps: click cycles auto → on → off, Shift+click sets a ratchet.

Bouncing runs offline, so a heavy patch never drops samples in the exported file even if it stutters live.