Play something simple. Get a world back.
Eight texture engines catch what you play and send it back as octave layers, grain clouds, strummed rakes and darkening echoes, locked to your tempo. Underneath runs a looper whose heads move at any speed from −4× to +4×, straight through zero into reverse.
Try the demo in your DAW. Downloads & compatibility
The plugin’s own visualiser, replaying the frames the engine produced while it rendered this clip: vocal “ah” through Nebula Drift. Radius is pitch; every particle is a grain it fired.
Four families: loops, grains, fracture and echoes. A variation is a recipe of rate stacks, grain lengths and envelopes, not a different effect, and every switch crossfades, so you can browse while you play. Each clip below is one factory preset on the source its notes recommend. Flip between dry and wet; loudness is matched.
Captures a short loop and sustains two to four copies at once, each at a different octave. The upper octaves sit as shimmer, not as peers.
A chord becomes a stable, harmonised pad that follows what you play.
The event clock. Synced divisions with triplets and dots, scaled ¼× to 8×, or free in milliseconds.
How busy the texture is. On the glitch engines it is the chance a slice fires.
How long captured material keeps re-firing. On Taps and Smear it is the feedback.
The blend into the reverb. Pair it with Ambient for the biggest wash.
Record a phrase, close the loop, and the play and record heads become satellites. Each runs continuously from −4× to +4×. Half speed is a true octave down; negative rates literally play backwards, and the engine crossfades through a small dead zone so passing zero never stalls or thumps.
In Tape mode an overdub at a different speed bakes the varispeed copy into the loop, so one phrase grows an octave-down bed beneath itself. Studio mode stacks clean layers instead.
One take on the release build: two bars of synth pluck recorded, then the play head drops to ½× and sweeps through zero into reverse. The satellite on the ring is the play head, drawn from the engine’s own state.
After the engine, a fixed chain in signal order, then a linear dry/wet mix and an output trim. Mix at 0% is your dry signal, untouched.
Square · Ramp · Triangle · Saw, locked to the event clock, on volume or filter.
One LFO, 0.01–20 Hz, routed to grain pitch for vibrato across the cloud.
Zero-delay-feedback state-variable filter, 20 Hz–20 kHz, smoothed so sweeps never zipper.
An eight-line feedback-delay network with four measured characters.
Linear dry/wet, FX gain into a soft safety knee on the wet bus, and an output trim from −60 to +6 dB.
Two minutes and nineteen seconds, one continuous take. A dry arrangement goes in at 92 BPM; the engines, the dials, a freeze and a half-speed loop do the rest.
Rendered, not screen-recorded: the audio is the plugin’s processor running offline, and the picture is its own interface replaying the data that processor produced.
Graphite and copper, or enamel and brick. One switch in the header and the whole interface follows, from the dials to the frame around the orbital monitor.
The loop is a ring and its heads are satellites. Every grain orbits at a radius set by its pitch, the same picture the plugin draws.
Strum one chord and let it become a slow, self-sustaining pad.
Turn a single held note into a self-playing arpeggio.
Record a phrase, drop it to half speed and grow an octave-down bed beneath it.
Put Orrery on an audio or instrument track, pick First Light or Nebula Drift, and play a chord. Within a beat or two the engine catches your notes and starts re-firing them.
Step through the eight engines and their A–D variations. Every switch crossfades rather than cutting, so you can browse while you play.
Time sets the event clock, Density how busy it is, Regen how long material lingers, Space how far it opens into the reverb.
Record a phrase, close the loop, drop the play rate to ½× and overdub in Tape mode: the octave-down copy blends into the loop and keeps deepening.
All pitch in the engine is varispeed. Half speed is one octave down, double speed one octave up. Nothing is pitch-shifted.
The event clock syncs from 1/16 triplet to a whole note, with dotted and triplet values, scaled ¼× to 8×. Or turn Sync off and set it in milliseconds.
Freeze holds the engine’s current buffer as a sustained, shimmering snapshot while live input is ignored. Reverse flips the grain direction.
Loop the finished wet sound, or loop the dry input and feed it into the engine. Loop-Only bypasses the engine so you hear just the raw loop.
Resample renders the audible loop, including its speed, into a fresh 1× buffer, giving clean headroom to varispeed again from a new baseline.
The twelve factory presets are loudness-matched on a reference pad to within 0.1 dB, and presets never change bypass, freeze or the loop transport.
| FORMATS | VST3 · AU on Mac |
|---|---|
| ENGINES | 8 in four families · 4 variations each |
| LOOPER | 60 s · play and record heads −4× to +4× · 8-layer undo |
| OVERDUB | Tape (bakes the varispeed copy) · Studio (clean layers) |
| REVERB | Room · Dark · Hall · Ambient |
| LATENCY | 0 samples |
| CPU | Busiest preset 1.2% of a core at 44.1 kHz, 2.8% at 96 kHz (test machine) |
| PRESETS | 12 factory, loudness-matched · unlimited user |
| INTERFACE | Live orbital monitor · resizable · light and dark |
Worth knowing. The loop buffer is fixed at 60 seconds in this version. There is no MIDI input and no drag-out export of loops, and bar quantisation assumes 4/4. Freeze and loops can sustain indefinitely, so set an explicit end when you render.
Try the demo with your own material first. Activation removes the interruptions and keeps the plugin yours.
An audio effect. Insert it on any audio or instrument track and it processes what you play into it. It makes no sound of its own.
No. The engine reports zero samples of latency, so it is safe to play through live.
Yes. Loop audio, every parameter and the looper state are saved with your session. On a sample-rate change the loop is resampled, its length preserved, and parked in Stopped.
The Mac download is a universal VST3 and Audio Unit for Apple silicon and Intel. It is not yet notarized by Apple, so macOS asks you to allow it once; the included note walks you through it.
The demo briefly mutes the output at intervals and runs a ten-day trial counter. Activation with your key or an offline licence file removes the interruptions.
Windows builds are 64-bit VST3. Mac builds are universal for Apple silicon and Intel, with VST3 and Audio Unit formats. Check the compatibility and installation guide before buying.
Windows requires Microsoft WebView2. Mac uses its built-in WebKit and needs no separate web runtime. Mac downloads currently use local signing and are not Apple-notarized; see the Mac installation notes.
Demo audio is briefly muted at intervals, with a ten-day trial counter. Activation with your key or an offline licence file removes the interruptions.
Downloads & setup
