• Bypass Sampler without a signal: if nothing arrives at the sidechain input, for example on a MIDI track in Ableton with no source chosen, Amen Machine stays silent, and a mono sidechain plays on both sides. Plus sessions with the earlier fixed FX layout load the Upward Multiband into the same slot again.

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• The slide randomizer no longer ties a note to one beyond the pattern end, variation works on a hand drawn pattern too, and GATE, GROOVE and DENSITY keep working after a manual edit. A drawn DRAW curve no longer stays on screen after a preset change. Two presets carry new names: Tape Echo and Clip Techno.

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• Amen Machine as an effect: 50 new FX Board presets turn it into an insert effect for a drum bus, break or loop. They switch on Bypass Sampler when loaded and process the signal at the sidechain input, from drum bus glue and parallel compression through dub throws and lo-fi buses to techno rumble. Reverb and delay are always filtered, stereo width sits above a mono bass.
• Retro Stretch as the 35th module in the rack: the stretch of the fourth engine now works on any signal. At speed 1 a pitch shifter with up to 12 semitones and the flutter of old hardware samplers, below that halftime in a window from a quarter note to two bars, above that doubletime up to four times. Latency is fixed at 30 ms. Plus the editor opens at 120% instead of 200% on Retina Macs, and the BitCrusher modes are now called Mu-Law 12 and 12-bit 26k.

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• New is Gang, a switch in the master section: a knob move on one band follows on all six. Gain, Q and Drive shift by the same amount, the offsets between bands stay, and frequency stays free. Host automation still moves exactly one band, so existing projects sound unchanged.

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• Stretch as the fourth engine: every slice is stretched in the style of old hardware samplers, from eighth speed up to four times. Every hit stays in place, its attack plays exactly once and untouched, and only what comes after it gets stretched. That gives the metallic sound of stretched jungle breaks, with no latency and no more CPU than Repitch.
• Textures retuned: slowed down, the break flutters and smears, every hit comes twice with a slight pre-echo, and the attack lands at full level at any tempo. Projects using Textures sound different as a result, Textures Cyclic is unchanged. Plus a punchier attack: new notes start with no wait and no click, even when all 16 voices are busy.

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• Maintenance update. Transcribe works again in DAWs on the Mac, where the AU and VST3 could not find their MIDI models, and on Linux, where the models were missing. Full-length songs can be transcribed on macOS 26 again, a three minute song takes about nine seconds. On Windows the VST3 now loads its own ONNX Runtime instead of an older system copy, so it loads in Cubase, Mixcraft, Reason and UAD LUNA as well.

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• Eight pattern pads in the performance tab switch the bassline at the end of the pass, or right on the playhead with INSTANT SWAP. MIDI Learn accepts notes too, so every pad can sit on a pad controller.
• Aftertouch as a sixth meta source. MIDI PICKUP with soft takeover as the default and Jump for motorised faders. Every MIDI menu shows which CCs are already assigned.
• The factory list is grouped into eight sections by mode, and a filter narrows it by mode, circuit, timing and modulation. The eleven Ground basses and the eleven Fossil presets now load on TIMING Classic.

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• New pattern dice: every roll follows the rules of the handmade patterns, a snare in every bar, no hi-hat carpets, bar 4 never a copy. VARIETY at full really takes you away from the original. The filter macros rest at Off.

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• Eleven new effects in the rack: Gate, Resonator, Chorus, Flanger, Phaser, Tremolo / Pan, Ping-Pong Delay, Tape Stop, Vinyl / Cassette, Tilt EQ and Utility, 34 modules in total. Nine new factory presets show what they can do, sound presets can be filtered by category, and the Transient Shaper has a mix control.

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• Maintenance update. On some Macs CoreML returned invalid output during separation without raising an error, and EXTRAKT still reported success over silent stems. Every segment is now checked and redone on the CPU when needed. Activation survives system and plugin updates without using another machine slot, and errors go to a log file for support.

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• Maintenance update, includes 1.0.1. A fast DRIVE move, a preset change or an automation jump in CUTOFF or RESO no longer causes a short volume burst. The curve display no longer cuts off the resonance peak and no longer jumps while a knob sweeps through the resonance. On Linux, install.sh installs the CLAP again.

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• RASPEL arrives as a free plugin. A resonant filter with six types, saturation at the input of every filter stage with linear feedback, the CHARACTER wavefolder and CIRCUIT Vintage. Zero-latency mono maker, oversampling up to 8x, 50 factory presets in four banks. VST3, AU, CLAP and standalone for macOS, Windows and Linux, no serial number.

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• The frequency response shows the spectrum of the input behind the curves, and a line shows the fundamental of a clear note with note name and frequency. Both can be switched off in the settings. New 90 percent zoom step, small texts stay legible below 100 percent. The sound is bit-identical to 1.0.0.

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• Every macro assignment carries a range with a sign, so one macro can open the cutoff and pull the resonance back. FIT shows the whole pattern at once, LEN can be mapped to a controller, and MIDI Learn shows that it is listening.

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• STAFFEL arrives. Two complete filters with up to seven second-order sections each, eight types per side, and one knob that hands the signal from A to B section by section. Coefficients are never derived from in-between values, the endpoints are bit-identical to A and B, every position is stable. ORDER, SOFTNESS, DRIVE and LEVEL COMP shape the handover.
• IMPRINT derives filter B from a sound: CAPTURE from sidechain or input, LOAD FILE from WAV, AIFF or FLAC, 14th-order linear prediction over 85 ms, seven resonators with SHARPNESS, shiftable in octaves. The imprint is saved with the project and travels into user presets.
• STEP, ENVELOPE and LFO modulate the handover with their own bipolar amounts, host-synced even across loops and jumps. Oversampling 2x and 4x with 49 and 61 samples of latency, 51 factory presets in six banks, dark and light theme, standalone with loop player. VST3, AU, CLAP and standalone for macOS, Windows and Linux.

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• Bypass for delay and reverb that lets a running tail ring out. A tool pair of pencil and selection rectangle in the piano roll, arrow keys nudge the selection. Reverb at zero is truly zero.

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• The 8x8 view in the performance tab. EXPAND unfolds all eight modes at once, eight pads each, and they play together: GATE chops while ROLL repeats while TRANS transposes. COLLAPSE folds it back. The row header picks the row the eight generic pad parameters act on, so a mapping from 2.0.0 keeps working unchanged. The chosen view belongs to the window, not to the project.
• 64 row-bound pad parameters, perf_row_1_1 through perf_row_8_8: one tile, one parameter, no matter which row is selected. A right click on a tile opens MIDI Learn for it, and all 64 appear in the host's automation list. That lets a controller be laid across the whole matrix in one go, GATE on one pad bank and TRANS on the next. The eight generic pads remain and keep following the selected row.
• A switch can pick a row instead of stepping through all of them. A right click on a mode button or a row header learns its position along with it: the CC then reads go to ROLL, it switches from value 64 upwards, and releasing it leaves the row where it is. Eight buttons on eight CCs are eight fixed rows. Existing assignments stay linear and behave exactly as before.
• ROLL and SLICER nest. The roll sits inside the slice: shorter repeats its beginning, longer widens it into a loop across the neighbouring slices. Slicer Loop survives a mode change, and ROLL already takes effect while SLICER is merely selected.
• Fourteen new scales in the composing tab, 22 in total from two to twelve notes: Minor Pentatonic, Blues, Harmonic Minor, Phrygian Dominant, Major Pentatonic, Lydian Dominant, Melodic Minor, Whole Tone, Half-Whole Dim., Hungarian Minor, Hirajoshi, Double Harmonic, In-Sen and Fifth. They are appended rather than sorted in, so not a single note moves in the previous eight.
• A keyboard along the left edge of the piano roll, white and black keys with names wherever there is room, otherwise the C keys as a marker to count from. The horizontal grid now knows triplets and can be switched off: 1/8, 1/8T, 1/16, 1/16T, 1/32 and OFF. Cmd while dragging releases a single move. SNAP is now the upper switch and releases both directions, pitch and time. USED in the macro grid hides unassigned macros, and the page buttons carry real macro numbers.

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• AAX for Pro Tools, on macOS and on Windows, PACE-signed as Avid requires and listed under Sound Field. The macOS installer offers it as a fifth component, the Windows installer includes it in the full installation. There is no AAX on Linux.
• The host bypass is time-accurate. It used to pass the signal through undelayed while BREITSEITE kept reporting 2048 samples of latency: the host shifted every other track, leaving a bypassed track almost 43 ms ahead of the mix at 48 kHz. VST3, AU and CLAP were affected in the same way. BREITSEITE now reports a bypass parameter of its own and crossfades over 7 ms to the latency-delayed original, unchanged in level.

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• 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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• Eight perform pads on the Performance tab with the modes Roll, Slicer, Gate, Restart, Reverse, Tape Stop, Stutter and Trans in three banks. Any pad, mode or bank goes onto a MIDI controller with a right-click, and without any setup notes 36 to 43 play the pads. Plus the CLAP format next to VST3, AU and standalone, and an activation that stays in place across updates.

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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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