A synth, seven effects, the rack that holds them and the hub that installs them. All on sale.
Every product shares the same sockets and knobs, so sound from one can steer another — patch them together like hardware. Everything you do can be undone, one step at a time. Roadie, the command palette, sits beside them at the foot of the page. Scroll, or pick a plate above.
Eight modules, twenty-three jacks, and a patch bay that takes any cable you give it.
A modular synthesiser you patch with cables: eight modules, ten cables in its opening patch, and eight factory patches to start from.
A cable from any jack to any jack across products
How it compares:other plug-ins keep to themselves: none of them patches into another Exceed
Every gesture, cable and patch load is one reversible journal row
How it compares:others offer undo and A/B; none show a readable log of every change Exceed
Smooth sawtooth and square waves, with optional oversampling for extra purity
How it compares:Reaktor 6: smooth oscillators and tight filters Match
Eight bands, any shape, and a latency figure you can read off the panel.
Eight bands of eight shapes, dynamic bells and shelves, and a processing mode whose linear path reports its own latency exactly.
a plug drag is two rows in the per-instance journal
How it compares:others offer undo, redo and A/B Exceed
one JSON file per preset, with a schema stamp and a migration chain
How it compares:FabFilter: presets in a folder you can find, with a searchable browser Exceed
two control inputs, each a jack, a target and an amount
How it compares:other plug-ins keep to themselves: none of them patches into another Exceed
Gain reduction is a signal here. Patch it into anything.
A compressor for a bus, a drum room or a voice, whose gain reduction is a signal you can patch.
comp.gr, 0 to 1 V = 0 to 18 dB, into a band gain or a threshold
How it compares:other plug-ins keep to themselves: none of them patches into another Exceed
versioned JSON, tags, user presets and A/B
How it compares:Pro-C 3: a preset browser with search and tags Exceed
threshold, ratio, knee, attack, release, make-up, mix, topology, detection
How it compares:Pro-C 3: every control a compressor usually has, in clean ranges Match
Four compressors, three crossovers, one display that shows all of them moving.
Four of those compressors between three crossover frequencies, 20 Hz to 20 kHz.
mb.gr, 0 to 1 V = 0 to 18 dB; mb.cv1 and mb.cv2 move a threshold
How it compares:other plug-ins keep to themselves: none of them patches into another Exceed
minimum phase, linear; 12, 24 or 48 dB per octave; Off to 8×
How it compares:Pro-MB: precise splits and optional extra-clean processing Match
per band: threshold, ratio, knee, attack, release, gain; mix 0–200%
How it compares:Pro-MB: full per-band control, with linking Match
A ceiling that holds, and the four loudness numbers under it.
One law in three styles, a true-peak ceiling, and the four loudness numbers the field meters.
lim.gr in the Rack; A/B on the journal; JSON presets
How it compares:other plug-ins keep to themselves: none of them patches into another Exceed
0 to 5 ms, default 1.5 ms; true peak within 0.05 dB of the ceiling
How it compares:Pro-L 2: very fast look-ahead, true-peak limiting and meters Match
the same four values, three EBU targets
How it compares:Pro-L 2: the broadcast loudness standards, four values at once Match
Three curves, each written down to the decibel.
Three modes, each a specified curve, and a spec sheet because no page read publishes one.
sat.cv1 takes a control signal; sat.noise carries the tape hiss
How it compares:no other plug-in drives another product’s controls Exceed
drive, band and mode changes are three rows in the journal
How it compares:none of them shows a log of every change Exceed
a spec sheet per mode: THD, aliasing, noise floor
How it compares:not published by the maker Exceed
Plate, Room and Hall from one network, with six bands on the decay.
Plate, Room and Hall — three settings of one network — with a continuous size and six bands that shape the decay.
verb.env publishes the wet tail’s level; verb.sc and verb.cv1 take any cable
How it compares:no other reverb lets another product reach inside it Exceed
T60 measured against the knob in a committed sheet
How it compares:not stated by the maker Exceed
Plate, Room and Hall, three settings of one network; a continuous size
How it compares:Pro-R 2 and Raum: several rooms and spaces, all stepless Match
Six taps, a drive, two filters, and a time knob that moves like tape or like nothing at all.
Six taps, a drive and two filters in the loop, and a time change that is either tape-like or free of pitch.
delay.fb.snd and delay.fb.rtn, normalled: any Rack module in the loop
How it compares:no other delay lets another product into its loop Exceed
loop gain at most 95 % by construction; the tail reported
How it compares:not stated by the maker Exceed
Tape, a bounded slew, or Digi, a 20 ms crossfade
How it compares:Timeless 3: tape-style or time-stretching Match
Sixteen slots. Any output to any input. One latency figure for the chain.
Up to sixteen slots, any output jack cabled to any input jack, and one reported latency for the whole chain.
any output to any input; inputs sum; a split is a cable
How it compares:Guitar Rig and VMR: splits and parallel chains, with limits Exceed
comp.gr, eq.gr, lim.gr and rack.gr as CV jacks
How it compares:other plug-ins keep to themselves: none of them patches into another Exceed
up to 16 slots, A to P; each edit one reversible command
How it compares:Virtual Mix Rack: up to eight slots Match
Install the suite once. Keep it verified, current and in step.
One list of the suite: install it, verify it, update it, hold the licences, sync the presets.
one JSON file per preset, no account
How it compares:FabFilter: presets in a folder you can find Exceed
One list: install, verify, update
How it compares:Native Access 2 installs and updates NI’s software Match
only download, sign-in, trial and the update check need it
How it compares:Native Access needs you signed in; FabFilter works offline from a stick Match
One hotkey over the DAW, a grammar that resolves the same way every time, and a plan you read before anything destructive runs.
Not a plug-in: a desktop application with a global hotkey that sits beside the DAW and drives it through its control API. Specified in its own book, with its own page here, and on sale.
A typed command resolves the same way every time: exact and alias first, then a fuzzy layer with a published threshold and frecency, then the object by name. The AI layer is only asked when those decline, or when you prefix the request with >.
The limit:Layers 1 to 3 must run offline, and the fuzzy threshold and weights are constants in the grammar, not tunable per user (GR-001, GR-002). Proposed
Every action carries a risk tier from 0 to 3. Tier 2 shows a preview and runs on Enter. Tier 3 needs ⌘↩, a chord no other confirmation uses, shows the undo prediction in red, and is never batched, even inside an AI plan.
The limit:A tier 3 confirm within 300 ms of the preview appearing is ignored, to defeat key repeat and a double press (KB-031). Proposed
Roadie keeps no undo stack of its own. It drives the host’s undo and redo, records the host’s undo depth before and after every plan, and so can say how many steps “undo last plan” will take before it takes them.
The limit:The Live script does not report undo depth, so the adapter keeps a shadow counter and warns when the user has edited in the DAW since the plan ran (UX-072). Proposed
Every figure on this site is from “Modulr — the audio suite: design and architecture specification”, October 2026, and carries that book’s tag: Measured, Proposed, Estimate, Reported or Open question. The one exception is the prices: they are the owner’s, set on 24 October 2026, and neither book names one.