Everything, written down.

The panel order is SEQ, VCO, LFO, VCF, ENV, VCA, DLY and OUT. The evaluation order is different: SEQ, LFO, ENV, VCO, VCF, VCA, DLY and OUT. A cable that runs against the evaluation order costs one sample, and the book states that rule rather than hiding it.

Modulr 1.0 adds thirty-three parameters to the thirty-one that ship: sixteen voices, a noise source, eight macros, a step division, a swing, and an oversample switch on the output. One voice today, last note wins, legato. The two output channels carry the same signal; the book calls that a mono bus and never calls it stereo.

Presets

Pentatonic Drift is the opening patch. Mono Lead (MIDI) and Glass Bells are named in the book. The parity rig names eight: default, acid, delay, filter, lfo, highpass, fm, tone.

Sources: NI Reaktor 6 product page, read 17 October 2026. FabFilter’s shared conventions, read 17 October 2026.

On a Bell or Shelf band, Gain is the target: the gain reached when the detector sits 6 dB or more over the threshold. Dyn is the dynamic share of that move, so a −6.0 dB band at Dyn 100 % rests flat at 0.0 dB, and at 60 % it rests at −2.4 dB.

Zero is the default: the bands run as minimum-phase biquad sections and report 0 samples of latency. It is not free of delay — a minimum-phase section has a group delay that peaks at a bell’s centre, 5.8 samples for a +6 dB, Q 3 bell at 6.2 kHz, and 228 samples for a +12 dB, Q 1 bell at 100 Hz. Natural follows the analogue prototype within 1.0 dB up to 20 kHz for a +12 dB, Q 1 bell at 16 kHz. Linear reports 2,048 samples.

Presets

Bus Tilt, Mud Cut, Box Cut, Air Shelf, De-Esser, Ring Tame, Master Phase, Side Lift.

Sources: FabFilter Pro-Q 4 and Slate Digital Infinity EQ 2 product and help pages, read 17 October 2026.

Six styles, each a named set of rows: Clean, Punch, Glue, Vocal, Drum and Bus. The chain is the book’s four jobs in order — a detector turns a signal into a level, a gain law turns the level into a gain, ballistics smooth the gain, and an optional look-ahead makes the gain arrive before the audio.

What Modulr 0.1.0 ships is the fixed master compressor and the tanh soft limiter at the end of the bus: −24 dB, a 30 dB knee, 12:1, 3 ms and 250 ms, fixed, with no parameter and no bypass. The book pins its make-up rule and its static points, so the fixed curve is a measured fact rather than a description.

Presets

Drum glue: 8:1, a 24 dB knee, RMS detection, −18 dB. Vocal: 3:1, −12 dB. Punch: 4:1, 0 dB, 3 ms, 80 ms, peak. Bus: 2:1, 12 dB, 20 ms, 300 ms, peak.

Sources: FabFilter Pro-C 3 and Slate Digital FG-Stress product pages, read 17 October 2026.

Three crossovers split the spectrum into four bands. The slope is 12, 24 or 48 dB per octave per side; the phase mode is minimum or linear. On the Mastering split — 120 Hz, 1.20 kHz and 6 kHz at 24 dB per octave — a linear crossover costs 919 samples, and at 20 Hz it costs 10,559.

The gain reduction published on mb.gr is the deepest of the four reductions, 0 to 1 V for 0 to 18 dB. A cable from a later slot to an earlier one costs one sample, and the book says so where the vendor pages say nothing at all.

Presets

The Mastering split is a preset of the book: 120 Hz, 1.20 kHz and 6 kHz at 24 dB per octave, four Linkwitz-Riley responses at 24 dB per octave.

Sources: FabFilter Pro-MB product and help pages, read 17 October 2026.

CLEAN, DENSE and PUNCH are three styles of one law, and the book is careful about the order: three styles until each law is measured. The ceiling is a true peak, held within 0.05 dB of the setting, and the look-ahead runs 0 to 5 ms with 1.5 ms as the default.

The loudness read-out is the same four values the leaders publish: momentary, short-term, integrated and range, with targets at −9, −14 and −23 LUFS. At the Streaming −14 preset the meter reads −14.9 LUFS integrated, −23.8 short-term, −1.0 dBTP true peak and 6.3 LU of range.

Presets

Streaming −14, EBU −23, Club −9, Mastering gentle, Spare headroom, Drum bus.

Sources: FabFilter Pro-L 2 product and help pages, read 17 October 2026.

Tape, Console and Tube. The console curve sits at +6.0 dB of drive beside a 220 Hz sine at −6.0 dBFS before it, and after it. The tube mode has its second harmonic at −23.0 dB with the bias at +30 %. The noise floor is below −140 dBFS and the aliasing is below −100 dB at 4×.

The tape tier carries the four knobs a tape machine actually has: 15 to 30 ips at 23, a bias at ±100 %, a hiss at 0 %, and a wow at 0 %. The seeded noise is −58 dBFS at 100 % and the wow depth is 0.20 ms at 100 %.

Presets

Console 06, Console 12, Console 18, Tape A, Tape B, Tube A, Band High.

Sources: FabFilter Saturn 2 and the Slate Virtual Tape Machines, Virtual Console Collection and Fresh Air pages, read 17 October 2026.

The six decay-rate bands each hold a change of ±6.0 dB, scaled by a factor between ×0.25 and ×4.00. At the defaults the bands sit at 100 Hz, 250 Hz, 630 Hz, 1.60 kHz, 4.00 kHz and 10.00 kHz, with +1.0, +0.5, 0.0, −1.0, −2.5 and −4.0 dB of change.

The T60 runs from 2.75 s at the bottom of the band to 1.04 s at 16 kHz. The tail is the pre-delay plus the longest T60 — 2.78 s at the defaults, 133,251 samples at 48 kHz — and 48.25 s at the most. The latency is 0 samples, and the size slews at 0.01 samples a sample.

Presets

Medium hall is factory preset 02 and the default state: DECAY 2.20 s, six decay-rate bands, a 24 ms pre-delay.

Sources: FabFilter Pro-R 2 and Native Instruments Raum product pages, read 17 October 2026.

The stereo line is 2.00 s. Each of the six taps is a ratio of TIME, from ×0.125 to ×4.00, and each has a level. The default is 375.0 ms — an eighth note dotted at 120 BPM — with the feedback at 50 %, a 120 Hz high-pass and a 5.20 kHz low-pass in the loop.

Tape glides at most 0.25 s a second and bends the pitch by −498 to +386 cents; Digi crosses over in 20 ms and leaves the pitch alone. The tail is 4.875 s at the defaults and 272 s at 95 % feedback with the time at 2.0 s. The latency is 0 samples.

Presets

Dotted eighth is factory preset 01: 375.0 ms at an eighth note dotted and 120 BPM, feedback 50 %, six taps, loop filters at 120 Hz and 5.20 kHz.

Sources: FabFilter Timeless 3 and Native Instruments Replika XT product pages, read 17 October 2026.

A module’s keys are the product’s keys led by its slot id — s2.eq.band1.gain — and a cable endpoint is a module and a jack, s1:comp.gr. The plan compiles into a flat list sorted by destination, six bytes a cable, 512 at most, 3,072 bytes.

The master ends every cable path with a guard, not a limiter: rack.gain as a 20 ms ramp, then a soft limiter scaled to rack.ceiling. It holds a sample peak, and it adds no latency. The Rack reports one latency, the longest path, in whole samples. On the Vocal bus preset that is 117, because the limiter is in the chain.

Presets

Four factory racks: Vocal bus, Synth bus, Parallel crush, and Loop through the equaliser.

Sources: Slate Digital Virtual Mix Rack 3.0 and Native Instruments Guitar Rig 7 Pro product pages, read 17 October 2026.

A library row is in one of four states, each one LED and one action: installed, update available, updating, and available. The check for updates runs at launch and at most once in 24 hours, never from a plug-in, and Auto-update is off, so an update installs on a click.

A licence is a signed JSON file read at load, capped at 4 KiB and verified with a key built into the plug-in. A lapse never alters a saved project, a preset or audio that is playing; it changes only the next DSP object. An unlicensed instrument renders silence and an unlicensed effect passes its input through.

This product has no parameter rows of its own. It is an application: it installs, verifies, updates, holds the licences, syncs the presets and carries the controller profiles.

Presets

The sync panel mirrors the preset folder with a folder the user chooses. A file changed on both sides is kept twice, the second with a .conflict suffix, and a deleted file moves to .trash for 30 days. Nothing is overwritten.

Sources: Native Instruments Native Access 2 and Slate Digital Complete Access product pages, read 17 October 2026.