055U4RY vs AD

055U4RY (say it: "ossuary") is an 8-voice polyphonic synthesizer sealed inside a haunted DOS terminal — and, since 1.30, a second plug-in that turns the same machine loose on any audio you feed it. A photographic ASCII skull is the front panel: its jaw hinges open with the amplitude envelope, its eye sockets ignite with the output level, and the whole interface tears, melts and reassembles itself while you play. THE VOICE - 15 synthesis engines: detuned saw/square/triangle unison stacks, sine and sub-oscillators one and two octaves down, two-operator FM, ring modulation and inharmonic partials. Every factory preset is a different engine. - Twin chaotic LFOs that cross-modulate each other's RATE, so pitch and filter drift never repeats. Held notes stay alive and slightly wrong. - A Shepard-Risset layer tuned beneath every note: five windowed partials in an endless downward glissando - the bottomless-pit illusion of classic horror scoring, fused into the oscillator core. - A 19 Hz infrasonic tremolo at the edge of perception. On headphones it is a shiver; on a big system it is pressure. THE CHAIN - State-variable filter, low-pass or band-pass per engine, with resonance that will scream - Sample-rate reducer and bit-depth crusher for terminal-grade lo-fi - Saturating drive stage - GLTCH: a real-time stutter buffer that seizes and re-loops your signal - CRYPT: a damped, pitch-black comb/allpass reverb - GLIDE: exponential portamento up to 1.5 seconds - DOOM: one macro that leans the chaos, the descent and the tremor deeper into the signal PERFORM - 14 knobs, all ASCII, every one audible on every preset - 15 factory presets with per-preset patch memory: your tweaks persist for each preset, and [RESET] restores the factory sound - Two-octave on-screen keyboard with octave transpose and note names - Hardware MIDI in (all sources auto-connect), built-in Bluetooth MIDI pairing, pitch bend, MIDI 2.0 aware - The skull is your meter: jaw = envelope, eyes = level, decay = how hard you push GLTCH 055U4RY FX - THE EFFECT The same app installs a second, separate plug-in. Put it on a drum loop, a guitar, a vocal or a whole mix and run it through the machine: - The full destruction chain as an insert - drive, bit crusher, sample-rate reducer, stutter, filter and the CRYPT reverb - in true stereo - HAUNT: a cross-fed delay whose repeats rot as they decay, with MURK controlling how fast they turn to mud - SYNC: stutters and echoes locked to your host's tempo, 1/16 through 1/1, or free-running - DOOM as an injector: the endless Risset descent and the 19 Hz tremor printed underneath your audio, so anything you feed it gains a bottomless falling drone that was never in the source - Fifteen presets sharing the instrument's names, each a different topology - Wet/dry MIX, output trim, and a skull that reacts to whatever passes through AUv3 + STANDALONE The synth runs standalone with zero setup. Both plug-ins install into your host: AUM, Logic Pro, GarageBand, apeMatrix, WBTRK and any AUv3-compatible DAW, with full parameter automation - "hejluxom: 055U4RY" under instruments, "hejluxom: 055U4RY FX" under effects. One purchase, every platform: iPhone, iPad and Mac. No accounts, no ads, no data collected - your patches never leave the device.

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.