FALSE MEMORY vs AD

FALSE MEMORY is a real-time audio disintegration effect. Feed it any sound and watch it decay. A tape left in the sun. A corrupted file half-recovered from a dead drive. A memory dissolving as you try to hold onto it. Turn up MEMORY and the destruction begins. Everything else shapes how the sound falls apart. DESTRUCTION ENGINE The Analog / Digital slider is the soul of the effect. Slide left for warm, organic decay: Cassette wobble, Reel-to-reel saturation, VHS tracking errors. Slide right for cold, precise corruption: Lo-fi aliasing, Circuit-bent glitches, Data-mosh block artifacts. Drift destabilizes pitch and timing. At low settings it breathes. Cranked up, the signal loses its grip on reality. Damage controls how aggressively the signal gets torn apart. ATMOSPHERE Fog smears the frequency spectrum into clouds. Three modes: Tonal keeps harmonic structure intact, Inharmonic scatters it, Evolving slowly morphs between the two. Ghosts lets past audio bleed through the current signal. Echoes repeat rhythmically. Imprints leave residual traces. Granular scatters fragments across time. TEXTURE Hiss adds tape noise, from subtle warmth to a roaring floor. Crackle introduces vinyl pops and surface damage. SET IT AND FORGET IT Evolve lets the destruction deepen automatically over time. Pick a duration from 1 to 64 minutes. Walk away. Come back to something completely different. The Randomize button rerolls all destruction parameters instantly. Hit it until something clicks. AUv3 plugin for iOS. Runs in AUM, GarageBand, Logic, and any AUv3 host. Standalone app for iPhone and iPad. From All The Machines.

We rebuilt the legendary micro composer of 1983, then gave it everything the original owners wished for: eight voices, MPE, a sequencer worthy of the name, and a couple of new dirty tricks. The voice is the one you know: a single fat oscillator with sawtooth and pulse (manual, LFO, or envelope PWM), a three-mode sub oscillator, and a noise source, mixed and driven into a classic four-pole lowpass filter. One snappy ADSR, switchable env/gate VCA, and an LFO with triangle, square, stepped random, and noise shapes, complete with onset delay, tempo sync, and retrigger. Portamento with the proper on/auto/off modes, and gate, gate+trig, and LFO trigger modes, exactly like the hardware. And the a sequencer: eight patterns of up to 64 steps, drawn right on the panel, with accent, slide, and octave per step, follow actions and repeats, swing, and tools to randomize in a key and scale, mutate, copy, and rotate. Play a pattern from a held key, transpose it from the keyboard, lock it while you browse presets, and run it from its own clock, the host transport, or an Ableton Link session in the standalone. Sequences save with your presets. • Eight-voice polyphony, or the original mono behavior with the flip of a switch • MPE support with per-note pitch bend and pressure, four aftertouch destinations (VCO mod, VCF mod, filter freq, LFO rate), and adjustable pressure smoothing • MTS-ESP microtonal tuning, retuned continuously while notes sound • SPREAD for stereo voice panning, and AGE, which drifts each voice like forty-year-old components • A full drive section: pre-filter saturation, filter drive, post-VCA distortion, and a tilt EQ • Velocity to filter and amp • A chicklet keyboard with latch and octave shift, playable right on the panel • Full preset manager with favorites and a factory bank • Five faceplate colors, including one for console cowboys • AUv3 and standalone, with an interface that fills whatever window your host hands it AD-202 works everywhere iOS makes noise: AUM, apeMatrix, Logic Pro, GarageBand, Cubasis, and any other AUv3 host, plus a standalone app with its own audio and MIDI settings, Ableton Link, and background audio. No subscriptions. No accounts. No nonsense. Buy it once, own it forever.