Spectral Pressure Chamber

Input Trim sets the level entering both the spectral analysis and processed audio path. Raising it creates more pressure as well as more level into the dynamics stages.

Dry / Wet crossfades between the original stereo input and the complete pressure-processed output.

Output Trim sets the processed signal level after band recombination, before the Dry/Wet mix. It does not change the dry signal level.

Bypass bypasses the pressure-processing path.

The FFT analysis is used only for control. The audible signal remains in the stereo time-domain audio path in both modes.

Dynamics uses pressure-driven compression and overpressure saturation across the low, mid, and high audio bands.

Resonance adds tuned, damped feedback to the three audio bands. Intensity and each band's Amount set how much of that resonant sound is blended into the processed signal.

Chamber Size / Wall Stiffness also shape resonance tuning and decay. Larger chambers lower the tuning and extend the decay; stiffer walls raise the tuning and make the ringing brighter and longer.

Leak / Vent also controls feedback decay in Resonance. Increase it to shorten the ringing, or lower it for longer sustain.

Low / Mid / High Ratio Boost extend the corresponding band's resonance decay instead of increasing compression ratio.

Audio Band Shift moves the audio band centers that resonance tuning follows. Overpressure shapes saturation in the feedback path.

Mode is a global, DAW-automatable parameter saved with presets and projects. Slots and randomization do not change it, and switching modes is smoothly crossfaded.

Intensity scales gain reduction, ratio, threshold movement, and saturation drive in Dynamics, and the resonant blend in Resonance. Use it as the main amount control after shaping the model.

Chamber Size changes the time scale of the model. Smaller settings react and settle more quickly; larger settings build and retain broader, slower pressure movement.

Leak / Vent sets how quickly accumulated pressure escapes. Lower values retain pressure longer; higher values vent it more rapidly.

Coupling moves pressure between neighboring low, mid, and high chambers. Higher settings make activity in one region influence the others more strongly.

Wall Stiffness changes how firmly the chamber state resists and translates pressure, affecting both dynamics behavior and pressure-related tone.

Overpressure adds saturation and damping as chamber pressure rises above its normal range. Higher settings create denser, more forceful coloration.

Entropy Influence increases the influence of spectral complexity and mismatch on pressure, coupling, dynamics, and saturation. Safety scaling restrains unstable combinations automatically.

Pressure Sensitivity sets how strongly spectral energy excites the pressure system. Higher values build more pressure from the same input level.

Slow / Fast blends sustained pressure with the faster transient-following state. Lower settings emphasize slower energy; higher settings give attacks and spectral flux more influence.

Low / Mid / High Amount set the pressure-driven processing amount independently for each audio band.

Low / Mid / High Ratio Boost increase compression ratio in Dynamics for firmer control, or extend feedback decay in Resonance.

Audio Band Shift moves both audio crossover points together by up to one octave without changing their relationship.

The three audio crossover bands and the three analysis regions are independent. Moving an analysis center changes what creates pressure; Audio Band Shift changes where that pressure is applied to the audible signal.

Analysis Low / Mid / High Center set the center frequency of each analysis window from 20 Hz to 20 kHz. The windows may overlap or cross because they are independent control regions.

Analysis Bandwidth sets the shared width of all three analysis windows in octaves.

A-L, A-M, and A-H overlay lines show the current analysis centers in logarithmic frequency space. X-LM and X-MH show the audio crossover positions.

Membrane displacement reflects accumulated pressure and slower state, while ripples and shocks emphasize fast pressure and spectral flux.

Particle density and motion follow activity, pressure, entropy, coupling flow, and overpressure. Input and output meters show the current signal levels.

Analysis, pressure accumulation, dynamics, sequencing, and automation continue when the editor is closed. The display is only a view of processor state.

1-8 select a slot and show its stored pressure and dynamics state.

Copy / Paste copies or pastes the complete state of the selected slot.

Random generates new values for every slot-controlled parameter while leaving the global controls, including mode, unchanged.

CLK OFF stops automatic stepping. Manual slot changes and randomization still use Slew.

CLK INT runs from the internal clock. Rate is displayed in Hz and uses an exponential response for useful control at slower speeds.

CLK HOST runs from the DAW transport and changes Rate to musical divisions from 1/32 through dotted and triplet values to 8 bars.

Slew sets transition time with the clock off. In clocked modes it becomes a percentage of each step. A short minimum transition remains at the lowest setting to reduce clicks.

Holding a slot-controlled parameter while slots advance writes only that value into every incoming slot and prevents the held control from jumping. All other parameters continue their own slew.

Preset arrows step through available presets and wrap between the first and last entries.

Preset name opens the preset browser.

Name generates a preset name.

Save writes the complete state. Saving without first generating a name creates one automatically.

Factory / User / Starting Points / Favorites filter the preset browser.

Versioned Save writes a numbered copy when the current preset has changed.

Folder opens the preset directory for external renaming or deletion.

Refresh reloads externally renamed or deleted preset files.