Update GENERATE Figures + a Voicing tab
Thank you again. Your notes, patches and crash reports shaped this build, and it is the biggest one yet: GENERATE becomes a dial of rhythmic Figures that remember your edits, every oscillator gets its own voicing, and the Phase-Locked Loop (PLL) gains FEEDBACK and a cleaner COLOR. Update in place: presets, favorites and your license carry over. Restart your DAW after updating, and read the compatibility notes at the end of the release notes. The beta runs until 15 October 2026, after which an unregistered build continues as a demo.
- GENERATE is now a Figure dial: 127 rhythmic Figures in eight families, plus Home, the groove your patch holds. Around it sit Morph, Busyness, Variation, Ties, Line (28 melodic lines) and Spread. Every Figure remembers your edits in the preset, the knobs reshape them, and every change is heard inside the bar you are playing. The Figure and Ties can be automated and MIDI-learned, and the other GENERATE dials and the Humanize knobs take MIDI Learn.
- A new Voicing tab on the OSC page holds Key Tracking per oscillator, so one oscillator can hold its pitch as a drone layer while the others play the notes; Pitchbend and Independence per oscillator, Skip and Paraphony, all moved from the Notes page; and PORTAMENTO, which puts Glide and Legato side by side (Legato leaves the Groove band). Paraphony is the former Drift: the knob, its host automation lane (formerly Osc Drift) and its modulation destination now read Paraphony, and presets and automation carry over. Skip and Paraphony now roll with SEQ off too, and with KEEP SEQ on a preset switch brings the preset's Voicing settings, Legato included. Glide has three curves (Rate, Time and Exponential), both Glide and Legato can sync to the tempo, and Legato now reaches 5 s, like Glide.
- The PLL gains FEEDBACK: the loop bends its own reference into a growl, and the note stays in tune at every setting. It works live under a held note and is a modulation destination. COLOR is now one knob, the former SATURATE, with no switch: at 0 the loop is clean in every mode (FOLD keeps its clang), in HARM it blends the partial in over the shaped wave, and the COLOR macro has seven landmarks. A new stereo pair menu picks what the two stereo knobs drive: Track + Damp, as before, or Phase + Detune, and Phase and Detune are both modulation destinations. In the PLL LAB, STEP can lock to a tempo division, RELOCK can run FREE or on a division, and the lab knobs read in ms and %; under DIV LOCK the map shows a lattice of pure intervals to aim at, and MAGNET now really decides whether a map drag snaps.
- Two looks, picked in the cog menu: Modern, now the default, with side-lit knobs, brushed panels and displays under glass, and Classic, the face Phaseburn One has always had. The patchbay is reworked too: MASTER and OUT drag like every other box, each FX box carries its headline dial, jacks show the cables plugged into them, and hovering a cable highlights it and shows scissors, where a click unplugs it.
- VECTOR has an FM tab: MORPH, SUB and PLL modulate it, each with its own Tone, plus Feedback, Width and a FILTER ENV depth. VECTOR and MORPH gain oscillator Sync to the note or to the Sub (with a Reverse mode on VECTOR), and VECTOR, MORPH and SUB a Start Phase menu. MORPH's Swarm now plays seven detuned saws, and the Sub's Octave reaches +1.
- Modulation: on almost every destination a full amount now takes the knob all the way to its end, and a right-click on any knob or slider that can be modulated adds, edits and removes routes in place. New sources: the Mod Wheel and a third envelope, CUSTOM ENVELOPE, with two routes each. New destinations include Tune Wide (four octaves), the gain of every patchbay cable, Mod Sequencer rate, Delay Time, Filter 3 and 4 frequency, the PLL DIV LOCK, INJ LOCK and DETECTOR, and Transient Retrigger, which fires the Transient again inside a note. The Mod Sequencers gain COPY and PASTE between lanes and their own UNDO and REDO, and a new patch starts them unipolar.
- Envelopes gain a RESET switch that restarts the attack from zero on every retriggered note, and a VEL/STR switch on each velocity modifier. The Transient reaches longer times (Pitch Sweep Time and T·Fold Decay 1 s, Click Decay 2 s), adds S-curve decays and a Strength slider, and its T·Fold now works on the PLL.
- The Groove pages: per-beat Ties that slide into the next hit, Limit, Fill and Fill Force on Beats, eight Strength templates with a Lock, one Undo and Redo across Beats, Strength and Notes, and a Scale menu that names the scale your notes spell.
- The voice filters are revised: the ladder opens fully, resonance no longer acts as a volume knob (the level eases down a few dB and then holds), Bass Lock gives back exactly what resonance takes, the SVF is clean and climbs smoothly into in-tune self-oscillation, and the VOLUME ENVELOPE sits after both filters. The patchbay HP/LP slots, now Filter 3 and Filter 4, add notch modes.
- Effects: synced delay times reach 8 s, the delay tunes as a comb at SHIFT 0, and its TIME sweeps cleanly. TUBE on the delay now colors the first echo too, a little softer at high TUBE. The chorus uses the whole DELAY and RATE knobs in every mode, and in FLANGER the delay knob now reads FLOOR. In FLANGER and VIBRATO, IMAGE is fixed at 100 %, and synced chorus rates, the reverb PRE-DELAY and the freezer GRAIN and WINDOW fold onto a division that fits, like the delay.
- As an effect on a track: a DRY/WET knob on the AUDIO IN strip blends your track back in, host bypass on a VST3 or CLAP audio-track insert passes the track instead of muting it, and AUDIO IN stays silent when the host sends no input. Riding the AUDIO IN fader no longer zippers, a filter processing the track no longer clicks after each note, the AUDIO IN lamp warns before the input is squashed, M BASS switches without a click, loading a preset over a playing track no longer flashes the reverb, and a key over a sounding drone plays through it without a click.
- The Standalone: stereo audio input from any interface (macOS asks for microphone access first), Audio Output and Audio Input switch at once with no relaunch, the session follows the device's sample rate, an unplugged interface is picked up again when it returns, and losing an input or output mid-session can no longer freeze the app. Under an external MIDI clock it holds the master's tempo and position.
- Under a playing DAW, the DAW owns time: a KEY TRIGGER key joins the bar in progress, a loop wrap or locate chases the phrase note under the playhead, a key pressed just before the bar line keeps the downbeat, and the sequencer stays within a sample of the host's bar at every tempo.
- Twenty-seven new factory sounds, and the sixth factory bank is titled Powershots.
- Sound fixes: the BitCrusher DRIVE no longer dulls the top end at 44.1 and 48 kHz; a partial MIX on the distortion or on the freezer in GRANULAR no longer combs; high Sub notes no longer alias; filter TYPE and LADDER/SVF switches crossfade instead of clicking, even in quick succession; re-aiming a route or stopping a Mod Sequencer fades instead of clicking; and the FILTER ENVELOPE and CUSTOM ENVELOPE finish their release after the note falls silent.
- More fixes: the Audio Unit shows its editor when the VST3 is loaded in the same host; a reopened editor keeps your settings; projects from earlier versions open with newer controls neutral; the first note after a reset or bounce starts at the preset's level; typed "nan" or "inf" is refused; one unreadable preset no longer locks the whole user library; a misbehaving host no longer takes the session down; the Groove Undo starts empty after a project reload; the envelope Shape captions match the curve they play; and the logo popup shows the version, build and format. Hardware MIDI notes in the Standalone are no longer dropped or left hanging, a VST3 or CLAP instance on a mono track plays its first channel instead of silence, and Logic and CLAP hosts show the loaded values after a project or preset load.
- Compatibility: modulation amounts in presets and projects are converted on load and sound the same. Restart your DAW after updating, before you save presets or projects in it: a copy of 0.3.x still loaded there can save a converted library or project back in the old form, and 0.4.0 would then convert its modulation amounts a second time. The first time 0.4.0 converts your user library, it keeps an untouched copy beside it, user_presets.pre-mod-depth.json. Host automation lanes and MIDI-learn mappings recorded on a route's amount in 0.3.x send the old values. On most of the destinations whose reach changed they now play about twice as deep (a few only slightly deeper, Chorus LFO Rate about 2.6x), while PLL Stereo Track Offset and PLL Stereo Damp Offset play at half depth; listen through old lanes and redraw the ones that no longer match.
- Compatibility: every modulation route's Dest parameter lists more destinations now. A VST3 automation lane or a MIDI-learn mapping recorded on a route's Dest parameter in 0.3.x reads against the longer list and can land on a different destination; a CLAP or Audio Unit lane keeps its destination in hosts that record the parameter's own steps, and moves the same way in hosts that record a position along the range. The same holds for Sub Octave, which widened in place to +1: presets and projects keep their octave, a 0.3.x VST3 lane or MIDI-learn mapping on it remaps, and a CLAP or Audio Unit lane depends on the host in the same way. Check those lanes after updating.
- Compatibility: Legato Time and the Transient's longer times keep their exact values in presets and projects, but a 0.3.x host automation lane or MIDI-learn mapping on any of them (in the host: Legato Time, Transient Sweep Time, Transient TFold Decay, Transient Click Decay) remaps in every format. Lanes on the chorus DELAY and RATE (Chorus Base Delay, Chorus LFO Rate) remap as well; redraw them. A modulation route on the chorus DELAY now sweeps a share of the knob's span in the active mode, so it sounds much narrower in CHORUS, ENSEMBLE and VIBRATO and a little narrower in FLANGER.
- Compatibility: a fresh instance, a reopened project, or a bounce started right after loading now plays its first note on the patch, instead of gliding into it from built-in starting values, and a patch with Glide set lands its first note on pitch after a load or reset instead of sliding in from far below or from the previous patch's note. An existing project or bounce whose first note plays right after loading can sound different from its first note on, and on PLL patches the difference can last for the rest of the render.
- Compatibility: the plug-in now reports the limiter's 1.5 ms look-ahead with LIMIT on and off, so flipping LIMIT is a short gain fade: no brief comb or flam, and no change to the host's delay compensation. With LIMIT off the output sits 1.5 ms later than in 0.3.x; your host's delay compensation lines it up.
- Compatibility: the PLL COLOR switch has left the panel. A preset or project saved with it off opens at COLOR 0 and FOLD 0, which is exactly what it played, and its routes on COLOR, FOLD or RATIO stay muted until you raise them. 0.3.x automation on the switch (PLL Colored) keeps working; a lane that sat off when the project was saved needs redrawing on the COLOR knob. In an old HARM patch, a modulation route on PLL Color, which only added a faint third harmonic there, loads muted, and a lane or MIDI-learn mapping on PLL Color now sweeps the new HARM response. In an old SAT project, a lane or mapping on PLL Color starts from a clean wave instead of a little warmth. Check that both still land where you want.
- Compatibility: the PLL REF GAIN trim and its AUTO button have left the ROUTING panel, and PLL Ref Gain has left the host's parameter list. Every cable into PLL REF now carries its own gain, up to 4x (+12 dB), and presets and projects keep their reference level because the trim folds onto their PLL REF cables. A trim that pushed a hot cable past 4x stops there, and a trim of exactly 0 leaves the PLL REF cables unpatched, so that PLL no longer falls quiet when AUDIO IN does. A 0.3.x automation lane on PLL Ref Gain no longer does anything; set the cable gains instead.
- Compatibility: PLL Enable, Vector Enable and Morph Enable, which never did anything, have left the host's parameter list. So have Seq Host Sync, Sequencer Enable, Filter Mode, Filter 2 Mode, Filter Drive Boost, Filter 2 Drive Boost, Vector Phase Mode and the six AT Dest and AT Amount parameters: Aftertouch is retired as a modulation source, so a preset that routed it loses that route. Projects carrying them still load, and their filter settings carry over into the revised filters, but 0.3.x automation on Seq Host Sync, Sequencer Enable, Filter Mode, Filter 2 Mode or Vector Phase Mode no longer does anything: a project that automated Seq Host Sync off to free-run now follows the host. FREE RUN is retired: a project saved in it opens in KEY TRIGGER, so hold a note or use LATCH to run its sequence. A preset picked in the editor switches at once, even in a project saved with SWITCH BAR on; MIDI program changes still wait for the bar line while a pattern plays or a key is held.
- Compatibility: the Groove's Arpeggio (Chance, Complexity, Max Notes), Octave Length and Velocity As Strength have no control on the panel in 0.4.0, but presets that use them still play them. An Octave Length preference, like a note's Length bias, now weighs each note's slot length against the groove's other slots, so presets that set either one roll differently. The Notes page's Transpose and Register have left the panel too; Set Root on the note-edit row moves the whole pool.
- Compatibility: some factory sounds change. Every patch plays the revised filters and the new VECTOR stereo width, Swarm patches play the seven detuned saws, and HARM patches that had the old SATURATE up lose a faint third harmonic. Patches that use the BitCrusher, TUBE on the delay, a partial distortion MIX, a GRANULAR freezer below full MIX, high Sub notes or T·Fold on the PLL change with the fixes above, and a Freezer Grain route under SYNC now plays.
