• Solid with oversized audio blocks: some hosts hand over blocks considerably larger than the size they announced at startup. The seven oversamplers and the mono path now carry the same headroom as the rest of the buffers. Normal processing stays bit identical, verified against 229 reference renders. The Auto Gain tooltip also shows the right text again.

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• The dry path is now reset only on an actual mode change instead of on every audio block. That removes the broadband noise 1.7.0 produced around 20 dB below the signal with oversampling switched on. The analyzer picks its FFT size from the sample rate, 2048 points below 50 kHz, 4096 up to 100 kHz and 8192 above, so the bottom octave is drawn at 96 and 192 kHz as well.

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• AAX for Pro Tools, PACE-signed and included in the installer for macOS and Windows. It loads in any regular Pro Tools installation, with no wrapper and no developer build, and carries the same audio engine, the same 227 presets and the same six bands as VST3, AU and CLAP. The category in Pro Tools is Harmonic.
• Bypass now sits after the complete gain staging and outputs the pure original, without input and output volume. Match the processed sound with output, hit bypass, and you hear exactly what the saturation contributes instead of a level difference.
• The EQ display computes from the same coefficients as the audio processing and shows every curve accurate to 0.2 dB, including the characteristic overshoot at the shelves. Before that the display deviated from the real filter curve by up to 4.3 dB.
• Solo auditions a band that is switched off instead of leaving it silent, so you find the right spot before you activate it. Dry and wet also pass through the same oversampling chain and stay phase-aligned across the whole spectrum, which removes the notch around 17 kHz in the 2x, 4x and 16x modes.
• Activation is tied to a fixed machine ID (IOPlatformUUID, MachineGuid, /etc/machine-id) and stays in place across system and plugin updates, carried over silently on the first launch. The demo noise is half as loud, with a fade at both ends instead of a click.

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• BREITSEITE arrives. Stereo width sits as a curve across the spectrum instead of on a single control: an STFT with a 2048 window and a 512 hop splits the signal into 1025 bands, and in each band only the side component is multiplied by the curve value. No time shifts, no allpass filters, no artificial decorrelation. Behind it an analyzer measures on the same grid, joined by a correlation bar with 90 logarithmically spaced bands, a goniometer and a broadband correlation readout.
• Every curve point can move its width with its own LFO, up to eight points per side, with five waveforms, 14 note values in SYNC mode and 0.01 to 20 Hz in FREE mode. In SYNC the phase follows from the song position alone, so a bounce sounds exactly like playback. Depth is signed, so two points can counter-move against each other.
• Two tools work against being fooled by loudness: A/B crossfades to the original in 7 ms and matches loudness up to 12 dB, while AUTO GAIN pulls the processed signal down by the level increase that extra width brings. BASS MONO removes the side component below a threshold between 0 and 300 Hz and fades it back in above that with a gentle 100 Hz ramp. ADAPT learns a mirrored ten-point starting curve from a passage you play.

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• Two row performance tab: the upper row picks the mode, the lower row holds eight fixed values of it. ROLL gives window lengths, SLICER eight slices of the phrase with Slicer Loop, GATE eight gate rates on the final mix, RESTART immediate or quantised up to 16 beats, BUMP eight absolute cutoff values up to 10 kHz, ACCENT eight patterns or strengths, ECHO eight delay divisions as a throw and TRANS eight intervals. A held pad overrides the value, it does not write it.
• 64 macros in the place of four, as a grid in the performance tab, 32 per page or all 64 at once. A macro is a second knob rather than a modulator: its position is the value of its destinations, it has no depth and shows a marker instead of a ring at the destination. The mapping belongs to the sound and is mode aware, HOLD freezes it, and your own layouts live in the PerformancePresets folder. There are 51 destinations now, among them MORPH, PULSE BIAS, the delay's XFEED and FILTER, the limiter ceiling and the two ACC knobs.
• TIMING switch below CIRCUIT with the positions Modern and Classic. Classic charges the accent ten times faster, so the peak arrives after 47 instead of 141 milliseconds and the filter swings 2.91 instead of 1.18 octaves, and in Vintage every note holds for 8 milliseconds before it falls. Modern stays the default, so all 274 factory presets sound unchanged.
• ACCENT ONLY for delay and reverb. One ACC knob per effect sends accented notes only into the echo and the reverb, while the dry path and running tails stay untouched. At 0 percent the result is bit identical to the state before.
• SEMI and MICRO in the waveform column tune the oscillator in semitones from minus 24 to plus 24 and in cents from minus 50 to plus 50, both saved with the preset. Cutoff now reaches down to 60 Hz instead of stopping at 200 Hz, as deep as the filter has always run internally. The composing engine works with up to 64 steps per pattern.

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• CLAP format alongside VST3, AU and standalone, supported by Bitwig 5 and up, Reaper 7 and up and Studio One 6.5 and up. Same plugin, same presets, same DSP: a wrapper around the existing engine rather than a rewrite, so nothing about the sound changes.
• Ten more FM presets. The FM slot previously shipped with two examples, but the ratio between modulator and note is the actual instrument and two examples show none of it. FM Sub Growl and Reese FM Bass use ratio 0.5, the one setting that adds weight below the note you played.

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• 49 modulated twins for the Vintage bank, growing it from 225 to 274 presets. Every Ground, Vintage and Fossil patch gains a companion with the identical sound plus its own modulation recipe: the Pillar's 105 Hz hump sways, the Pinhole's aperture eases open and shut, and every Mutter note speaks a different vowel.
• Browsing the MODE list now sounds different per engine. Stonefish, Sea Devil, Lionfish, Dragonfish and Torpedo Ray are additive engines whose macros default to zero, so with untouched knobs they sounded exactly like Angel Fish and stepping through them proved nothing. Selecting one now seeds its three macros with a characteristic setting, so you hear the choice instead of reading it.
• Clear buttons in the step sequencer and in both drawable curves, each in the section's title bar. One click resets all 16 bars, or the drawn curve, back to zero. Before that, every bar had to be dragged down by hand.
• Master tune and limiter ceiling can be stored as this machine's defaults. Anyone tuning to 432 Hz and limiting at minus 1 dB had to redo both on every fresh instance. The values go into the same preferences.xml that already holds the interface settings and apply to every newly created instance.
• In the standalone, the space bar starts and stops the composing engine exactly like the transport buttons, host-sync lockout included. Inside a DAW the space bar is left alone because it belongs to the host, and while a text field has focus it does nothing either.

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• FM on every channel, as a ninth effect slot: a sine modulator running at a ratio you pick against the note, 0.5 to 7, while the slot's curve sweeps the modulation index up from nothing across the length of the note. It starts clean and arrives as a scream, and the curve decides where along the way that happens.
• SYNC on every channel, as a tenth slot: hard oscillator sync, the effect the MS-20 is remembered for. A master runs at the note you played while the source runs faster, and every time the master comes round it snaps the waveform back to the start. The curve sweeps how much faster.
• SYNC and FM together, stacking rather than competing. Sync pins the pitch and tears the waveform, FM sprays inharmonic sidebands that the tear then chops up. Each has its own curve, so one can arrive early and the other late across the same eight bars, which is what keeps a long riser from sounding like a single gesture.

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• The CIRCUIT switch next to MODE moves envelope and accent over to the documented behaviour of the original circuit: the filter envelope then shapes level on accented notes only, an accent shortens the filter sweep instead of stretching it, and nothing rings on after note-off. It is stored with the patch and Init resets it to Modern, so no existing preset changes its sound.
• 50 new presets, growing the bank from 175 to 225. They come in three families: Ground with eleven low-end patches built around the pre-distortion highpass, Vintage with 22 squelch, lead and stab sounds that differ in the shape of the filter sweep rather than in cutoff alone, and Fossil with eleven patches for the new vintage wiring. All are appended, so no existing preset index moves.

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• Nine free slots instead of fixed pipelines. Every module fits in every slot, more than once if you want, and slots may stay empty. That is why a freshly loaded plugin is deliberately empty and makes no sound at first: you start from a factory preset or click an empty slot and pick a module.
• Two new modules for Schranz and hard techno. KESSEL is a feedback tunnel built from three tuned echo loops with saturation inside the loop, self-oscillating above 100 percent FEED, with a safety net that pulls it back down after about four seconds without input. WALZE is a crusher made of rectifier, wavefolder and an octave-down square whose intensity follows the kick envelope. Both have an OFFBEAT control that pushes their energy up to half a beat between the kicks.
• Groove Pump per slot. Every slot now has its own GRV switch: with transport running, that slot ducks on the beat and blooms toward the offbeat. PUMP and SWELL set depth and shape globally. It works independently of the master sidechain, so with both PUMP and DEPTH high you get double ducking.
• A meter view: one click swaps the nine slots for a stereo width tree with per-band phase correlation, a goniometer and a curve for Bass Mono and Sub Cut. Analysis only runs while the view is open.
• 115 factory presets instead of 51, sorted into 23 categories including the new Walzwerk category with KESSEL and WALZE racks. Around 70 presets were revised, many of them after community feedback. CLAP format joins VST3, AU and standalone.

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• A pattern generator in the composing tab: a dice roll drops a fresh Amen variation straight into the grid, shaped by the CHOP, VARIETY, REPEAT and GROOVE controls. VARIETY changes the beat structure itself, from a re-gridded roll at low settings through a hypnotic looped fragment in the middle to a programmed anchor fill.
• 50 factory patterns rebuilt. Variations 15 to 64 were previously all segment recombination and sounded too alike. They are now spread across three structural archetypes distilled from the hand-made variations 1 to 14, plus halftime, breakcore and syncopated flavours.
• MIDI preview files for every factory pattern, one standard MIDI file each following the Ext MIDI convention: note 48 plus slice, channel 10, 960 ticks per quarter. That makes every pattern auditionable in a DAW without loading the plugin.

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• Angel Fish II as the eighth mode: the same structure as Angel Fish but driven far harder. Overdrive up to roughly 41x with sine fold-back, level-matched so that at full crank the voice stays within about 1 dB of Angel Fish instead of collapsing. Hi Reso reaches into pitched scream territory, turning the resonance knob into a scream throttle.

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• CLAP format alongside VST3, AU and standalone, for Bitwig Studio, Reaper and Studio One 6.5 and up. It wraps the same audio engine rather than duplicating it, so the sound is bit-identical across formats and presets work either way.

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• Pentode as a new per-band saturation type: a drive-dependent ladder of purely odd harmonics, third before fifth before seventh, built from weighted Chebyshev polynomials. The ladder opens up as drive rises, with fifth and seventh growing relative to the third. It is the analog counterpart to Pure H3, which works in isolation and surgically.

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• Support back to macOS 10.13 High Sierra on Intel. The deployment target of the x86_64 slice was lowered from 11.0 to 10.13 while the arm64 slice stays at 11.0, since no Apple Silicon Mac predates it. The universal build therefore runs on Intel from 10.13 and on Apple Silicon from 11.0, enforced by a dedicated build gate.

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• Grid-909 ships as an instrument instead of a MIDI effect and therefore loads in Ableton Live. Audio output, MIDI input and MIDI output are unchanged, verified with pluginval at strictness 10 and with auval. In Ableton the plugin belongs on a MIDI track whose MIDI output points at the target instrument. In Logic the AU type changes from MIDI FX to software instrument, so existing Logic projects need the plugin inserted once more, while VST3 projects still find it.

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• An accent engine that turns the insert effect into a playable acid voice: the 303-style accent is triggered from the audio itself, with no MIDI routing, in any DAW.
• True-Drive oversampling at two, four and eight times. It clears the recursive intermodulation on hot 303 lines, with a latency-matched dry path and no comb filtering. In its off state the plugin is bit-exact with the previous version.
• Hard Clip as the ninth distortion type, a brutal asymmetric brick-wall clip with rich highs. Plus an input trim of plus or minus 24 dB, to push harder into saturation and hold the level afterwards through gain compensation.
• Ten factory presets from Chicago Acid Bass to Techno Brutalizer, plus a cleaner interface with three tabs: DRIVE, FILTER and DYNAMICS. Existing projects and presets sound unchanged.

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• DRAG MIDI in the preset row: pull the finished 64-step pattern onto a DAW MIDI track or onto the desktop. Format 1, 960 ticks per quarter, exactly four bars. The slice to MIDI note mapping matches external MIDI mode, note 48 plus slice number.

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• Ext MIDI mode as a global switch in the header. With it on, the internal sequencer goes quiet and incoming host notes drive the sample voices directly. Notes 48 to 93 map to slices 0 to 45, matching the original Amen MIDI file. All slice settings and the full FX chain stay active.

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• The Mac installer ships a genuine universal binary for Intel and Apple Silicon again. That is now verified on all three bundles, VST3, Audio Unit and standalone, before the package is signed.

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• Two buttons beside the BPM readout halve and double the detected value, for the classic octave confusion where 120 BPM reads as 60. Transcription now works reliably on the Mac, with three minutes of audio taking around eight seconds on Apple Silicon. And when something goes wrong inside the inference, the reason now appears in the status line instead of the process quietly stalling.

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• EXTRAKT arrives. Four tools in one plugin: stem separation into vocals, drums, bass and other via HTDemucs, MIDI transcription per stem via Spotify Basic Pitch, BPM detection from 60 to 200 BPM to one decimal place, and key detection after Krumhansl and Schmuckler with a Camelot readout. Everything runs locally on your own machine, with no network connection needed after the one-off model download of around 170 MB.

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• Drums with a loop length that does not divide into the pattern length, a snare on 9 against a 16-step pattern for instance, now cross the pattern boundary cleanly at every tempo. Saving a custom kit always opens a dialog pre-filled with the current name: keep the name to overwrite, change it to store a variation as a new kit. And Clear All now leaves drum-locked rows alone the same way it leaves locked pages alone.

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• A polyrhythm engine: every drum row gets its own LEN control from 1 to 64 steps. Kick at 16, snare at 9, closed hat at 3, and the patterns drift across bars and only realign when the maths says so. Each row's playhead follows its own cycle, so what you see is exactly what you hear.
• Custom kits as presets. The MIDI note and channel mapping can be saved under a name straight from the Machine dropdown, renamed and deleted. That removes the need to remap on every project switch, and the kits persist across sessions.
• Universal binary for macOS, native on Apple Silicon without Rosetta. Plus a wider, cleaner layout with tighter row spacing and a real-time safe audio engine with no heap allocations in the audio callback.

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