Highlights
- Boundary lock. A new Bound control on the fractal oscillators pins the sound to the set's edge, where all the detail lives. Lock rides a chosen point on the edge; Trace reads the waveform along the edge itself. The position along the edge is modulatable, so the timbre can walk the coastline while you hold a note.
- A chaos attractor in the top row. Three never repeating channels, X, Y, and Z, from a Lorenz, Rossler, or Thomas system, with a small window drawing the orbit live. Drag a badge onto any knob, exactly like an LFO.
- Drift, a new LFO shape. Random like sample and hold, but it glides between values instead of stepping. Made for slow, organic movement.
- LFOs can modulate each other. Every LFO's rate and depth are matrix targets now, and routing two LFOs into each other's rate is stable, allowed, and a lot of fun.
- CLAP. Laura installs as a CLAP plugin alongside AU, VST3, and the Standalone on both platforms, for Bitwig, Reaper, FL Studio, and everything else that speaks it.
- Ten psytrance presets: three cutting kicks, a rolling sub, a screaming 303, a hypnotic bubble pluck, an anthem supersaw, a deep pad, and a riser. The library is at 293, all loudness matched.
Details
The headline is boundary lock. Almost everything interesting in an escape time fractal happens at the boundary of the set, and until now Laura's sampling circle mostly passed through it on the way to somewhere flat. The new Bound control on each fractal oscillator has two ways of staying on the edge instead. Lock keeps the familiar circle but anchors it to a point on the boundary, with a Position knob that slides the anchor along the edge and a Width knob for how tightly it hugs. Trace goes further: the waveform stops being a slice near the edge and becomes the edge itself, read along an arc of the boundary. Position is a modulation target, so a slow LFO or the new attractor can walk the timbre along the coastline while a note rings. It works on Mandelbrot, Julia, and Multibrot, and every old patch is untouched with Bound off.
The rest of the modulation section grew around it. At the right end of the LFO row there is now a chaos attractor: a small physics system whose orbit never settles, never repeats, and never jumps, shown live in its own little window. Its X, Y, and Z channels drag onto any knob like an LFO does, and a click on the window picks between Lorenz, Rossler, and Thomas and sets the speed. The LFO shape list gained Drift, a random that glides between its values instead of stepping, and every LFO's rate and depth became matrix targets, so modulators can finally drive each other. Cross route two LFOs into each other's rates and the pair warps itself into a rhythm that never quite closes.
And Laura speaks CLAP now. The installer puts a CLAP build alongside the AU, VST3, and Standalone on both macOS and Windows, so Bitwig, Reaper, and FL Studio users can run their preferred format with per note automation where the host offers it. The preset library grew by ten psytrance patches, kicks with real cut, a rolling sub, acid, and a supersaw anthem, all loudness matched like the rest. Underneath: typed values in host automation lanes read their units correctly now, preset switches hold the effect chain steadier while the old sound fades out, sessions using the sequencer's ball modulation restore exactly, and clicking the version number in the footer copies a one paste support report with your setup details, which makes bug reports much easier for both of us. Your patches, packs, and license carry over exactly as before.