Laura. Fractal oscillators, wavetables, and a mod matrix you wire by dragging.

Mycelium is the first part of Laura where the voices in a chord affect each other. It's a small reaction-diffusion field, a living chemistry sitting behind the synth. Every note you play drops a little into it, at a spot set by pitch and by how hard you played, and the field spreads and grows slow shifting patterns. Each voice reads the field where it sits and turns what it finds into four modulation sources.

Because one note's chemistry spreads into the spot where another note is reading, the voices start to colour each other with nothing routed between them. Hold a tight chord and they grow together and the sound drifts around itself; play it wide and it stays clean. How you voice the chord is the control. Route Myc Value to cutoff, the gradients to pan or pitch, Flow to FM.

Play an MPE controller, a Seaboard, a LinnStrument, a Push, and Laura reads it per note. Each note's pitch bend, pressure, and slide belong to that note alone. Bend one note of a chord and the rest hold still. Lean on one and only it responds. Switch MPE on once, in the gear menu or on the VOICE panel, and it sticks across presets; if your controller announces its own setup when it connects, Laura just follows.

Pressure, Mod Wheel, and Timbre are also there as everyday modulation sources, so you can route aftertouch or the wheel to anything even on a plain keyboard. Per-note expression works on any polyphonic patch, which is nearly all of how you'd play MPE.

Laura's signature engine, and the one I'm proudest of. Each oscillator slot can switch to a fractal kernel: Mandelbrot, Julia, Burning Ship, Tricorn, Multibrot, or Newton. Every point on the canvas sounds different. Zoom in near the seahorse valley and you get smooth periodic textures. Drift toward a chaotic edge and the timbre turns rough and almost percussive.

The canvas in the oscillator card is interactive. Drag to move Center X and Center Y, scroll to zoom. All three coordinates are modulation destinations, so an LFO walks the timbre across the fractal forever. Pair two slow LFOs on incommensurate periods and the patch literally never repeats.

Laura's signature filter type is called Synapse. Two filter stages cascaded with a slight detune, always-on input warmth, six drive characters that shape the resonance itself, and a built-in Sing knob that folds the resonance peak into a harmonically-rich, almost vocal bloom.

Live response curve, A/B compare on the drive stage, audio-rate filter FM, per-voice cutoff jitter, stereo cutoff offset, resonance compensation. The character section of the synth, on its own full-width row.

Two new modes on the sequencer's mode pill, alongside the original geometric step grid. Galaxy throws bouncing balls inside the shape's bounding region; nodes fire as the balls cross them, so density, speed, and damping become physics knobs rather than musical ones. The rhythm is loose, the timbral movement is emergent. Constellation places gravitational attractors inside the shape and the balls orbit them; the orbits couple, the system reshapes itself, and the firing pattern emerges from the math. The most experimental sequencer I've shipped, and the one most likely to produce a sequence you wouldn't have programmed.

Wormhole portals on both modes. Place up to two on the canvas, balls passing through one teleport to the other with velocity preserved. Per-ball notes, per-ball mass, per-ball roles (bass, lead, pluck), and a per-ball inspector. Same per-step lanes as the geometric mode (velocity, gate, probability, two assignable mod lanes), so patches feel familiar even when the rhythm isn't.

Every slot in Laura's modulation rack, all three envelopes and all four LFOs, has an MSEG mode. Toggle it on and the slot becomes a multi segment editor: drag points to shape the curve, drag segment midpoints to bend them, drop loop and sustain markers anywhere on the cycle, snap to a tempo grid if you want rhythm. The shape you draw is the shape the engine plays.

One shot, looping, and held sustain modes on every slot. Per segment tension with a dedicated step mode for square or staircase shapes. Tempo sync at 1/32 through 4 bars with dotted and triplet, or free run in Hz. Right click any point or segment for templates: saw, triangle, square, staircase, random, exponential. Each slot keeps its own undo stack, with Cmd+Z and Cmd+Shift+Z bound to the editor.

Draw frames by hand, import a WAV, or type a formula like sin(tau*x) and watch it land. Brushes for sine, pulse, noise, hills, and step shapes. Per-frame, per-range, or per-table operators. NORM, SMOOTH, PHASE, SYNC, QUANT, LP, HP, FM, MIRROR, ASYM, SALIGN. Audition live, A/B against the original, embed the table in the preset so the patch travels with you.

Up to 256 frames. Real-time edits, clickless. Built in, no extra charge.

Splitter, Resonance, Chorus, Delay, Reverb, Distortion, EQ, Flanger, Phaser, Freeze, Hetero, Grain, Fluxion, Compressor. Drag any module up or down the rack to reorder. Click the power icon on a module to bypass it without removing. Right click any knob to wire it into the modulation matrix.

Splitter tags the signal with two or three LR4-flat bands for per-band routing. The convolution reverb takes your own IRs and embeds them in the preset. The character compressor has Bloom, Drift, Pump, and Spectral character sections on the side. Chain order matters: EQ before reverb is a tone control, EQ after reverb shapes the tail. Distortion before delay sounds dirty, distortion after delay sounds like a pedalboard.