Laura FX. The rack that makes Laura sound like Laura, on any track.

An infinity engine. Three voices ride one slow lap and hand off where your ear cannot hear the seam, so the motion never resets: a barber-pole phaser, a tape Doppler riser, a pulse that keeps accelerating, an inharmonic siren, or a resonant peak that climbs forever. Locks to the bar, runs in reverse.

A glitch resequencer on the grid. It keeps a rolling recording of the last couple of seconds and runs a sixteen step pattern across the bar: leave a step alone and you hear the live signal, program one and it re reads what just went past as a stutter, a reversal, a tape stop, a half or double speed splice, or a downward glide. Nothing is generated, so it always sounds like your own material folded back on itself.

A flock of starlings as a delay. Every bird is a tap drifting through delay time and stereo pan, transients spook the flock, and the echoes wheel and regroup. The rhythm is emergent, never a grid.

A spectral fluid. The spectrum of your audio becomes a simulation with drag, turbulence, and buoyancy, and energy flows through the sound like weather.

Capture and hold. Grab a slice of whatever is playing and sustain it as a drone for as long as you like, then glide back to live audio.

A Bode-style frequency shifter. Every partial moves by the same amount of Hz, so harmonic relationships melt into inharmonic shimmer and barber-pole motion.

Sprays randomized grains from the recent past, each with its own position and pitch. Enough grains and anything becomes a slowly evolving pad.

A network of coupled, tuned resonators. Feed it drums and it rings like a struck body; feed it pads and it blooms.

A character compressor with lookahead, program-dependent Pump, a Spectral mode, and Bloom and Drift sections that let it breathe like hardware.

Cut the chain into two bands, three bands, or mid and side. One band rides through the rest of the rack, the others wait and sum back in at the end.

Multi-algorithm delay, from clean digital through tape wobble to Smear, the diffuse wash the rack is known for.

Rooms, halls, and shimmering cathedrals, plus convolution with your own impulse responses.

Multiple drive characters with a built-in filter section, from warm tube push to full wavefolding.

A parametric EQ with a live analyzer, for carving space before or after the weirder devices.

Wide, dense stereo chorus that stays stable in mono.

From subtle jet swirl to metallic comb screams.

A smooth multi-stage phaser with tempo sync.