MMR v1.6.11

MULTIBAND MODULAR RACK v1.6.11

Changes since the previous public release, v1.5.0

PARAMETER-LOCAL SYNTH MODULATION

• Add independent LFO, Envelope, Random, Macro and MIDI sources directly to a wavetable control's MODS rack. Add and reorder modulation-signal transformations without matching fixed source numbers elsewhere.
• Modulate eligible controls of the modulators themselves, including LFO rate/depth and envelope stages. Dependency validation rejects feedback cycles.
• Each wavetable now has its own dedicated AMP envelope, with Peak, independent Attack/Decay/Release curves and NOTE/LOOP timing. STRAIGHT, TRIPLET and DOTTED choices extend synced timing.
• Larger LFO/ENV editors add draggable envelope junctions, playback-position markers and LFO point tangent/smoothness controls.
• A clickable FX MAP for each wavetable groups destinations, sources and nested modulation and opens their editors.
• Cyan indicators around knobs show effective DSP modulation and differences between voices without moving the base setting. The grey base and blue predicted waveform references remain separate previews.
• Synth RANDOM generates the expanded local/nested modulation graphs, shapes and timing choices while keeping an audible foundation. Patch Undo/Clear and state recall include the new structure.

CONNECTED CUSTOM WAVE EDITING

• Edit connected periodic segments between wavetable points rather than independent deformations around the original wave.
• Choose BASE WAVE inside the editor, including a FLAT starting line. Retain four frames, phase/link controls, history, randomization and audition through the synth modulation path.
• Envelope bypass respects note gating; active AMP/local envelope releases remain audible. Envelope editing rescales continuously while dragging.

SERIAL / PATCH ROUTING FOR EACH FX RACK

• SERIAL ROUTING processes effects in rack order. PATCH ROUTING exposes manual stereo connections directly on effect fronts and in a rear-panel FX MAP. Both views edit the same graph and instances.
• Connect clean crossover BAND DI and processed FX sources, create parallel paths and set normalized source weights. PARALLEL balances the two connected input groups; MIX remains each effect's separate dry/wet blend.
• Connecting the second input group starts at 50/50. More sources in an existing group retain the chosen balance. The automatic change is included with its cable in Undo/Redo.
• Rewire by dragging cables or disconnect an existing cable on empty background. Valid targets are highlighted; feedback loops are rejected. Hover shows source/destination names with stable per-effect cable colours.
• In PATCH, rearranging cards changes only their visual position. SERIAL rearrangement changes audio order. Empty/all-muted racks retain bypass; disconnected active patches stay silent.
• BAND DI and RACK OUTPUT remain docked on the front view. Larger DI IN / FX IN sockets sit horizontally, with top-entry cables and short connections between neighbouring cards. Skipped cards use the right-hand gutter.
• Compact cable gutters and vertical gaps adapt to the graph in both views. Click unused card space to open the same FX instance at a larger size; drag that space to rearrange it.
• Presets/projects and routing Undo/Redo retain connections and arrangement. Confirmations protect PATCH replacement, removal and Clear actions.

RANDOMIZATION AND WORKFLOW

• RANDOM RACK orders its selected creative effects into a logical chain, followed by the existing protective limiter.
• Random MIX values now stay between 50% and 100%; manual adjustment remains full-range and new FX still start at 100%.
• PARALLEL randomizes only in PATCH, using 0/50/100% choices with 40/20/40% probability. RKR does not move routing controls. RANDOM FX preserves cables.
• More compact balanced FX control rows, centred displays, recessed numeric value fields and shorter closed model/wave labels improve use of space. Menus retain full names.

WINDOWS AND PROCESSING STABILITY

• Fixed FX processing and visualizations stopping after short audio callbacks, including DAW loop boundaries. Empty/short blocks no longer disable later full-size processing.
• Statically linked the Windows C/C++ runtime, removing the requirement for separately installed MSVCP140/VCRUNTIME140 DLLs.

COMPATIBILITY AND VALIDATION

• Windows 10/11 x64 VST3; plugin identity is retained. The reported Cubase 12 loading issue is not confirmed resolved, and clean-system/Cubase verification remains outstanding.
• Saved dynamic FX, committed waves/transfer curves, local modulation and patch cables are recalled. Extra dynamic instances/modulators do not automatically receive unlimited separate host-automation slots.
• SERIAL ignores PARALLEL even when automated. Older AUTO states with active Parallel are converted to explicit PATCH connections. Old automation that depended on automatic endpoint rewiring may behave differently and should be reviewed.
• Latency alignment and normalized merging remain in place; intentional filter/modulation phase response remains part of the sound. Protection applies at its position in the chain, so later gain can still raise peaks.
• Release v1.6.11 built and passed native factory/version/runtime-import checks. The preceding v1.6.10 passed the full automated FX/SYNTH/routing/oversampling regression; v1.6.11 changes display text only. These results do not replace manual DAW and listening tests.

MMR v1.5.0

MULTIBAND MODULAR RACK v1.5.0

Changes since the previous public release, v1.4.15

148 MODELS ACROSS 23 FX FAMILIES

• Each family now starts with MMR and SIMPLE, followed by hardware-inspired models: 23 original MMR processors, 23 SIMPLE profiles and 102 other models.
• MMR is the default: a dedicated original engine with an expanded, coherent control set. SIMPLE offers a smaller practical set of controls. Hardware-inspired profiles have individual controls, ranges and startup settings.
• Independent model banks retain each profile's settings. Descriptive identities such as Clean Cascade, Four-Stage Sweep and Twin Intervals replace the old FX LEGACY labels.
• The + menu exposes model submenus on hover. Click a family name to add its MMR model directly.
• MMR Saturation and Distortion include EDIT CURVE with editable transfer shapes, reference previews, audition, Apply/Cancel, presets and per-instance geometry. The former separate CUSTOM model is incorporated into MMR.

DEDICATED HARDWARE-INSPIRED APPEARANCE

• Dedicated panel and knob materials, runtime lighting and shadows, model-specific typography, palettes and analogue scales. Artwork is embedded in the plugin.
• MMR models share dark yellow/green/blue metal panels and logo teardrop knobs. SIMPLE models use light metal panels and walnut knobs.
• Redesigned FX layout: INPUT / DISPLAY / OUTPUT across the bottom, MIX directly above OUTPUT, and balanced upper control rows. Larger displays and readable labels sit within protected panel borders.
• Uppercase FX names use model-appropriate colours. Cards fit the usable rack width without horizontal scrolling.

FX AUDITION AND WORKFLOW

• Per-effect SOLO and MUTE replace the FX POWER switch. SOLO auditions an effect within its rack; MUTE takes priority, bypasses it and collapses its card to a named header.
• Inactive FX are dimmed/desaturated. Smooth, latency-aligned bypass transitions allow suppressed processing to be suspended.
• RANDOM RACK works with the expanded MMR/SIMPLE/hardware catalogue while retaining distinct effect families and the final limiter.
• Added RKR for debugging: eligible knobs cycle over their full ranges with independent phases and fresh, unique 2-10 second periods on each activation. INPUT, MIX, OUTPUT and SYNC are excluded. Stop retains current values; loading a patch leaves RKR off.
• STEPS is available in every Chop / Reverse model and controls the length of repeating patterns/direction sequences.

EXPANDED SOUND ENGINES

• More detailed behavioural saturation and magnetic colour; model-specific optical, FET, VCA, Vari-Mu, diode-bridge and RMS dynamics. Selected profiles offer detector filtering, external sidechain and additional envelope controls.
• Expanded chorus voice/colour controls, flanger polarity, delay modulation and channel feedback. Reverb uses an eight-line feedback network, spring dispersion and independent Dual Space processing.
• Additional modal-resonator, excitation-position, patterned-comb, nonlinear-feedback, tape-speed/colour and Wah controls where supported by the selected model.
• MMR Pitch Shifter offers manual Formant, two pitch voices, feedback and stereo spread. Other profiles automatically compensate formants by half the effective pitch change in the opposite direction.
• Reduced redundant coefficient, reverb, resonator and envelope work; optimized Pitch FFT/rotation and FIR processing without automatically reducing oversampling or changing its analysis rate.

CONTROL SCALES AND DEFAULTS

• Numeric FX scales are linear and shared by GUI, host and RKR. MMR frequency controls are continuous; intentional selectors, counters and whole-semitone controls remain stepped. Hardware-specific reversed FET time-knob direction is retained.
• Newly added FX start at MIX 100%, including duplicate instances. Existing saved Mix values are restored; RANDOM can still choose a different blend.
• Synth, generator and master control scales are unchanged.

PROJECT COMPATIBILITY

• VST3 product identity is retained. Expanded model banks use dynamic FX state schema 7.
• Reworked engines and model-specific controls can change the sound or mapping of older projects. Review important settings when moving from v1.4.15.
• Existing normalized FX automation follows the new linear scales. For example, the midpoint of a 0.02-10 Hz Rate range is 5.01 Hz. There is no automatic migration of DAW automation envelopes.

Windows 10/11 x64 VST3. Hardware-inspired processors are original behavioural interpretations, not certified component-exact recreations. Pitch processing and high oversampling still require CPU headroom.

MMR v1.4.15

MULTIBAND MODULAR RACK v1.4.15

Changes since v1.4.10 — cumulative release notes

MASTER EQ: DIRECT MID/SIDE CONTROL AND FILTER SHAPES

• Added always-visible SIDE BOOST and MID BOOST for each of the ten EQ points, each from -18.00 to +18.00 dB with a zero default.
• Base GAIN remains: effective Side gain = Gain + Side Boost; effective Mid gain = Gain + Mid Boost. Static combinations can reach +/-36 dB. Mid/Side processing does not generate stereo from mono or automatically match loudness.
• Added Low Shelf and High Shelf alongside Band, with matching DSP and separate Mid/Side response curves. Q controls Band width or shelf transition resonance.
• Select points directly on the graph; removed the point list. Active points are white, the selected active point yellow and muted points grey. Muted points retain their position and can be selected and enabled again. Enlarged selected points.
• Added the S / LS / B / HS / M strip: green Solo, blue shape selection and red point Mute/bypass.
• Replaced separate HP/LP switches and menus with stepped OFF / 12 / 24 / 48 dB/oct controls next to Frequency.
• Retained the full-width graph above the controls. Horizontal FX-style Power rockers preserve their artwork proportions; title strips, headings and point buttons are larger. Rounded frames separate the control groups.

INDEPENDENT DYNAMIC EQ

• Added DYNAMIC, THRESHOLD, RATIO, ATTACK and RELEASE independently for each point. Controls follow the selected graph point.
• Threshold: -36.00 to 0.00 dBFS; continuous Ratio: 0.50:1 to 12.00:1; Attack: 0.10 to 500.00 ms; Release: 10.00 to 3000.00 ms.
• Defaults: OFF, Threshold 0.00 dBFS, Ratio 1.00:1, Attack 30.00 ms and Release 100.00 ms. OFF/ON preserves edited settings.
• Detection follows the selected Band/Low-Shelf/High-Shelf region before its own EQ point and preserves anti-phase stereo energy. Ratios above 1 reduce that region above threshold; ratios below 1 expand it. Ratio 1 is neutral.
• Common Mid/Side dynamic correction preserves their static contrast and is limited to +/-18 dB. Combined static/dynamic gain may reach +/-54 dB; no hidden limiter was added.
• The response graph shows the actual combined filter response and the selected point's current dynamic correction. Dynamic filtering updates independently of static EQ smoothing and adds no lookahead or block latency.
• Four compact groups — HP, selected EQ point, Dynamic, LP — fit thirteen knobs in one row. Inactive dynamics are greyed. New English Tutorial Mode help explains the controls for beginners.

FULL SECTION BYPASS AND INACTIVE DISPLAYS

• EQ OFF bypasses HP/LP, point EQ, Mid/Side and Solo Band. Solo settings remain saved for reactivation.
• Limiter OFF bypasses Input gain, the detector, limiting and Gain Compensation. A dedicated aligned dry path retains the existing delay compensation instead of reusing previously amplified limiter-buffer contents.
• Short 20 ms transitions avoid abrupt switching. Master Mix and final Master Output remain independent in MASTER mode.
• Inactive EQ/Limiter panels are subtly dimmed and grayscale. Their graphs, histories, FFT/display timers and audio telemetry stop; settings remain editable and Power stays accessible.
• Master Limiter now has its Power rocker on the title strip. Removed LIMITER CONTROLS, centred the knob rows and reduced unused vertical space. Waveform remains after Gain Compensation and before final Master Output.

ROUTING VIEW

• ROUTING replaces EQ/Limiter panels with a centred explanation rather than leaving inactive Master controls on screen.
• LOW goes to 3/4, MID to 5/6 and HIGH to 7/8; main output 1/2 is silent. Master EQ, Limiter, Mix and final Output processing are bypassed.
• Enable the three stereo output buses and connect them to destination tracks in your DAW. MMR does not create tracks, sends or host connections automatically.
• Returning to MASTER restores its controls and saved settings.

STATE, AUTOMATION AND VALIDATION

• Total host parameters: 1152, up from 1022 in v1.4.10. Additions are appended; existing parameter identities are preserved.
• Earlier Linked M/S controls remain for saved-state/automation compatibility. Direct boosts adopt the effective gains when edited. Older states load with Dynamic EQ OFF; no manual preset migration is required.
• VST3 identity, existing effect/synth features, rack oversampling and saved-state formats are retained. No new image assets were needed for these changes.
• Release x64 VST3 built successfully. Automated checks covered DSP, bypass, selective dynamics, anti-phase stereo, state, per-point bindings, parameter ordering and compact layouts. Neutral Dynamic EQ matched v1.4.14 across all 1102 earlier parameter records and five audio regression cases.
• The owner confirmed v1.4.15 working in the tested DAW setup. This is not a claim of exhaustive validation across every host and configuration.

Dynamic expansion, shelf resonance and combined boosts can increase peaks. Positive post-ceiling Gain Compensation or final Master Output gain can exceed an earlier limiter ceiling.

MMR v1.4.10

MULTIBAND MODULAR RACK v1.4.10

Changes since v1.4.2 — cumulative release notes

CUSTOM SATURATION AND DISTORTION

• Added CUSTOM to Saturation and Distortion, with a separate EDIT button beside the model/type selector. Clicking the FX screen still changes its display page.
• Draw an input-to-output amplitude curve with up to ten interior points and two end points. Move points or adjust their curvature. Saturation stays monotonic; Distortion permits folding and rectification.
• Audition changes before committing. APPLY keeps the curve, CANCEL restores the previous committed curve, and Reset/local Undo/Redo help explore alternatives.
• Each FX instance saves its own committed geometry. Unaccepted draft edits are excluded from preset/project saves.
• Reference WAVE and HARMONICS run the same custom processing. Input, Drive, Mix, Output, saturation Tone and rack oversampling remain in their existing stages.
• Lookup tables are built off the audio callback and published through preallocated banks, with 20 ms transitions and automatic DC removal. No extra block latency was added by CUSTOM shaping.

EDITABLE CURVE STARTING POINTS

• Saturation: NEUTRAL, TUBE, TAPE, CONSOLE, GERMANIUM.
• Distortion: NEUTRAL, SOFT DIODE, HARD DIODE, ASYMMETRIC FUZZ, RECTIFIER, FOLDBACK.
• CURVE PRESET loads editable points and participates in auditioning, Undo/Redo and APPLY/CANCEL. These are circuit-inspired static transfer shapes, not complete hardware emulations.
• Manual editing, history operations and reopening show CUSTOM. Geometry is saved; the starting-preset name is not stored separately.
• Preserved unique point IDs across preset loading/history and corrected the small CUSTOM placeholder lettering.

ANALOGUE METERS AND EFFECT-SPECIFIC DISPLAYS

• Replaced the compressor dial interior with aged cream paper, dark markings, a shaded needle and a red positive reference sector, preserving the original display frame. Zero sits near the right and reduction moves left.
• Enlarged scale lettering and ticks, aligned numbers along the dial arc and improved clearance and visible-glyph centring. The positive GR sector is a visual reference, not a clipping or output-gain measurement.
• Added analogue drive, clipping/overdrive, gate attenuation, stereo correlation, transient Attack/Sustain and tape-speed-deviation views alongside compressor/limiter gain reduction. UP/DOWN retains its digital boost/reduction presentation.
• Removed the universal three-page cycle and duplicate WAVE views. Clipper, Saturation and Distortion retain WAVE/HARMONICS; other FX use displays relevant to their function.
• Preserved moving stereo modulation views, stereo echoes, reverb tails, sideband/resonance displays and creative-FX status views. Reference plots remain separate from actual audio measurements.
• Kept existing audio algorithms while adding bounded telemetry and UI smoothing; no new image assets were required for the dials.

TUTORIAL AND KEYBOARD WORKFLOW

• Reviewed Tutorial Mode across the main interface, synth, modulation, custom editing, all FX families, racks, EQ, limiter, presets and routing.
• Reworked 100 descriptions for beginners: explain the control and its result rather than version history or implementation details. New CUSTOM controls have their own English help.
• Space no longer changes FX display pages after clicking them and no longer opens the wavetable bank list. Mouse clicks and Enter remain available; Left/Right bank selection and spaces in text fields are preserved.
• This removes those plugin Space actions; DAW transport behaviour still depends on host keyboard handling.

WIDTH-BASED SCALE, INDEPENDENT HEIGHT

• Window width now controls interface scale. Increasing height reveals more FX cards and synth modules without enlarging them.
• Retained the 25-200% width-scale range, scale readout and percentage shortcuts, compact minimum layout, FX proportions and two-row Master EQ layout.
• Kept the crossover at the top and synth Output Guard docked at the bottom, with hardware side rails, screws and handles preserved.
• Scale selection preserves the vertical workspace proportionally. Window height is remembered alongside width, with fallback for older interface preferences.

PRESETS AND AUTOMATION

• Six host parameters were appended for CUSTOM selection in the original Saturation/Distortion slots across LOW/MID/HIGH: 1016 -> 1022 parameters.
• Existing IDs, indices, types and ranges remain unchanged. Duplicate instances store independent local CUSTOM selections; curve geometry is saved state, not host-automatable point parameters.
• Added CustomShapers format 1 as an additive child of the existing state. Older states without it load with CUSTOM disabled and a neutral curve; no manual preset migration is required.
• Preserved product/manufacturer metadata, VST3 class IDs, dynamic FX ordering and all existing routing/Pitch behaviour from v1.4.2.

VALIDATION

Release x64 VST3 v1.4.10 built successfully. Tests cover all 11 curve-list entries, finite/range checks, monotonic Saturation, preview-table agreement, history, APPLY/CANCEL and geometry round-trips. Further checks cover independent instances, older states, all 1022 parameters and full-processor oversampling at 1x/2x/4x/8x.

Core custom-shaper tests covered five sample rates and four block sizes, coherent publication to four readers and no detected C++ allocation in the tested Runtime. Earlier comparison across 155 native FX/model configurations produced identical sample hashes after the custom-shaper integration. Display-specific tests distinguish reference previews from actual telemetry.

These are development checks, not a claim that every signal, host or configuration has completed listening acceptance. CUSTOM transfer curves clamp outside their -1...+1 input domain and are not true-peak limiters. Existing protection applies at its place in the chain; later gain may exceed an earlier ceiling.

Windows 10/11 x64 VST3. Freeware binaries; development sources remain private. Earlier publication notes are preserved separately. Per-build details are available in the technical reports and UPDATENOTE files.

MMR v1.4.2

MULTIBAND MODULAR RACK v1.4.2
Changes since v1.4.x — incremental update

GUITAR PITCH SHIFTING

• Rebuilt the Pitch Shifter's GUITAR engine to address phasing instead of usable transposition, reported at -2 semitones and 100% wet on guitar DI.
• Added whole-semitone PITCH (-12 to +12) and an adjacent CENTS control (-100 to +100, 0.1-cent steps). CENTS adds to PITCH, allowing +/-13 semitones at the combined extremes.
• Replaced the visible SNAP control with CENTS in GUITAR. Kept independent FORMANT and the existing INPUT, MIX, OUTPUT and POWER controls.
• GUITAR is the default for new instances. LEGACY retains the earlier continuous Pitch/Formant/Snap behaviour for older projects and automation.
• At zero FORMANT, GUITAR naturally transposes the spectrum. MIX remains a dry/wet blend: 100% selects the shifted signal for that rack band; smaller values can blend in a lower octave while retaining the original attack.

PROCESSING AND MONITORING

• New MMR phase-locked spectral-region processing with longer analysis and asymmetric, normalised synthesis.
• Host-rate spectral processing under rack oversampling, with FIR filtering before decimation and after interpolation.
• Formant-envelope work is skipped when FORMANT is zero. Processing storage is prepared outside the audio callback.
• Maintained alignment across effect dry/wet, POWER OFF, serial instances, parallel racks, master dry and separate band outputs. Extended the reserved delay-compensation storage.
• Existing GUITAR instances receive the corrected v1.4.2 DSP with their saved settings. The faulty v1.4.1 sound is intentionally not preserved.

LATENCY OF ONE PITCH INSTANCE
Sample rate 1x OS 2x / 4x / 8x OS
44.1 kHz 29.025 ms 29.751 ms
48 kHz 26.667 ms 27.333 ms
96 kHz 26.667 ms 27.000 ms

These are module delays, not complete monitoring round-trip figures. Crossovers, master stages, the host and interface add further delay. Both engines are aligned to the same instance delay; LEGACY therefore has more monitoring latency than in v1.4.0. The earlier 12/13.06 ms figures do not describe v1.4.2. No zero-latency or sub-15 ms claim is made.

PRESETS AND AUTOMATION

• Appended nine host parameters in v1.4.1, increasing the total from 1007 to 1016. V1.4.2 adds no further parameters.
• Preserved all pre-existing parameter IDs, indices, types and ranges, including historical Pitch and Snap. New controls use separate parameters.
• Retained per-instance state, schema-v4 support, the product/manufacturer names and VST3 class IDs.
• First-instance controls notify the host; duplicate FX retain independent saved values. No manual conversion of existing presets is required. Older plugin versions cannot reproduce features they do not contain.
• Pitch FX RANDOM selects GUITAR with whole-semitone Pitch and neutral Cents/Formant; Input, Output and Power remain unchanged.

VALIDATION AND USER ACCEPTANCE
Release x64 VST3 built successfully. Native checks passed for transposition, harmonic multi-note input, variable blocks from 1 to 2048 samples, saved state, parameter indices, wet/dry and power behaviour, measured delay, serial/parallel alignment, filtered sample-rate conversion and ROUTING.

The full isolated-MID test used LOW/HIGH muted, crossovers at the extremes, -2 semitones, FX MIX 100% and MASTER MIX 100%. It produced 220 -> 195.998 Hz and the expected shifted components of a three-note harmonic input. The owner subsequently confirmed the v1.4.2 fix after listening to the guitar-DI setup.

V1.4.1 was an intermediate implementation: it introduced the new controls and first GUITAR engine, but the guitar-DI result was rejected. V1.4.2 contains the corrected implementation described here; these local builds are not presented as separate previously published releases.

PRACTICAL LIMITS
Processing can change individual-note levels. At 96 kHz and 32-sample host buffers, measured callback peaks can still exceed the available budget. Acceptance in the tested setup is not a guarantee of transparent processing or safe real-time operation for every signal, chain length or buffer setting.

Pitch instances still process their own rack bands. Other bands and MASTER MIX can retain an unshifted component. Extreme crossover positions do not bypass the finite FIR filters; their transition regions can affect the low end even with LOW/HIGH muted. This update does not change crossover routing or add a full-band pre-crossover insert.

All other product functions remain part of the v1.4.0 baseline. The full v1.4.0 notes are preserved in GITHUB_REALESE_V1.4.0.txt. Windows x64 VST3; freeware binaries, private development sources.

MMR v1.3.4

MULTIBAND MODULAR RACK v1.3.4
Changes since v1.2.10

A hardware-inspired workspace for the same modular sound-design engine. This update brings compact rack panels, effect-specific displays, clearer interaction and a more helpful Tutorial Mode across INPUT, FX RACKS and MASTER OUTPUT.

HARDWARE-INSPIRED INTERFACE

• Compact FX cards retain the three-column LOW / MID / HIGH layout, with metal faceplates, recessed displays, screws, shading and warm, subtly tinted lettering.
• FX POWER uses an I/O rocker switch. Compact dice and remove controls share the same hardware styling. Powered-off FX collapse to their header while retaining their settings.
• Saturation has distinct Tube, Tape, Transistor and Transformer artwork. Tube illumination follows the measured input level after this instance's Input gain.
• Compressor panels and knobs have their own visual identities: FET Fast, light-faced Opto Leveler, VCA Bus, Legacy and a modern digital UP/DOWN design. FET ratio and Opto Compress/Limit switches control the existing model parameters.
• Extended the shared style to the outer enclosure, tabs, controls and analyzers, with side rails, handles, screws and separate fronts for internal devices.
• Synth sources, processing cards and modulation blocks have individual rack panels. Master EQ and Master Limiter occupy separate rack sections.
• OUTPUT GUARD has its own compact rack and is visible only in INPUT with SYNTHESIZER selected. It no longer occupies space in AUDIO, GENERATOR or other tabs.
• Added amber/gold scrollbars, improved crossover handles and frequency readouts, and inset plot labels to keep them clear of their frames.
• Model selectors retain their recessed 3D frame without an extra black rectangle behind the selected text. Corrected text sizing, icon alignment and unwanted edge lines.
• Standard knobs now use neutral reflections while preserving shading and the white pointer. Dedicated compressor knob designs remain distinct.

EFFECT DISPLAYS THAT EXPLAIN THE SOUND

• Clipper and Distortion preview a reference waveform through the actual shaping function, following the selected mode and controls.
• Compression, Limiter and Gate show measured gain reduction. UP/DOWN has separate measured upward-gain and downward-reduction indicators.
• Stereo Width has a live stereo goniometer; Transient Shaper compares measured input and processed peak envelopes.
• Frequency Shifter, Ring Modulator and Exciter display live input and processed spectra.
• Phaser, Flanger, Wah and Comb / Resonator show response previews driven by their settings and, where applicable, actual modulation or cutoff values.
• Chorus shows moving delay positions. Stereo Delay and Reverb explain repeat timing and decay settings.
• Tutorial descriptions distinguish live measurements from explanatory previews. A response graph is not presented as an output-level meter.
• Enlarged display captions, model names, meter values and scales for the compact cards.

DRAG, DROP AND RESET

• Dragging FX or movable synth cards shows a translucent image of the held card and a moving gap at the proposed destination.
• Neighbouring cards move during the preview, with edge autoscrolling. Audio order changes only on a valid drop; cancelling keeps the previous order.
• Reordering stays within the current rack or synth lane.
• Double-click reset now also covers independent FX instances and model-specific compressor knobs, restoring their factory defaults.

MUTE SAVES PROCESSING

• Muting a band fades it out over 5 ms, then suspends that band's FX and oversampling work.
• Unmuting restarts the band with fresh effect history and a short fade-in. Old delay and reverb tails are deliberately discarded.
• Non-solo bands use the same suspension behaviour. The crossover and latency alignment continue running; other bands, the synth and Master processing are unaffected.
• No fixed CPU-saving percentage is claimed. MASTER MIX can still include the parallel dry signal.

PRESET WORKFLOW

• Removed the permanent preset-name field from the toolbar and gave the preset list more room.
• SAVE AS opens a name-entry window. Existing names require overwrite confirmation, including names that collide after filename normalization or differ only in letter case.
• SAVE asks before overwriting the preset selected in the list. With an empty list, it opens SAVE AS.
• DELETE asks before removing the selected preset file; the current sound stays unchanged.
• SAVE AS closes after Save, Cancel or Escape. Cancelling keeps saved files unchanged.

SYNTH AND TUTORIAL REFINEMENTS

• Clicking the same MOD button again closes its inline editor; another MOD switches the edited target. Removing CLOSE makes the panel simpler without disabling modulation.
• Dragging a modulation source onto a supported knob still adds the connection and opens its editor.
• Fixed the tiny DEPTH value in the actual hardware theme. The numeric field now uses its intended readable font and scales correctly.
• Inset the Wavetable preview so its trace stays inside the frame. Synth lane buttons use ON/OFF, with adjusted header spacing.
• Tutorial Mode starts enabled for new instances and remembers the choice when reopening the same instance. Illumination indicates its state without an ON/OFF suffix.
• Reviewed English explanations for beginners, including modulation sources and depth, effect controls, randomizers, routing and limiter measurements. Removed obsolete MATRIX references and corrected descriptions such as Transient Shaper Attack and manual/automatic Wah.
• Hover bubbles fit wrapped text at a fixed readable font size.

COMPATIBILITY AND VALIDATION

• Retained the existing DSP algorithms, VST3 identity, 752 host parameters and preset schema 4. No preset migration is required.
• Existing synth functions, dynamic FX instances, routing, EQ, limiter measurement points and proportional resizing remain available.
• Release x64 VST3 v1.3.4 built successfully. Native checks passed for preset dialogs, actual Save/Cancel actions and Escape, hardware-theme DEPTH text at 100/200%, state, all 18 FX, five compressor models, MUTE, oversampling and reorder previews.
• Tested FX DSP matched the stored reference for the regression signals at 44.1, 48, 96 and 384 kHz. These checks do not cover every possible signal or host interaction; manual REAPER validation remains separate.

Windows 10/11 x64 VST3. Freeware binaries; development sources remain private.
These notes summarize the final changes since the documented v1.2.10 baseline, without treating intermediate development builds as separate public releases.

MMR v1.2.10

MULTIBAND MODULAR RACK v1.2.10
All changes since the initial public release, v1.0.0

MMR grows from a fixed multiband effects rack into a configurable sound-design workspace: dynamic FX chains, a built-in wavetable synthesizer, test signals, creative randomization and separate band outputs.

DYNAMIC MULTIBAND FX RACKS

• Replaced the fixed effect-slot workflow with dynamic LOW, MID and HIGH chains. Add only the effects you need, including multiple independent instances of the same type.
• Each instance has independent settings and POWER, INPUT, MIX and OUTPUT controls, with input/output meters.
• Remove effects and drag their headers to change the actual processing order.
• Manual chain length has no fixed limit; practical capacity depends on system resources.
• The + button sits at the top of an empty rack and directly below the last FX card in a populated rack, centered horizontally.
• Larger effect-menu text and an ordering based on a typical processing workflow make adding effects easier.
• Corrected display of the new effect cards so their controls appear when the effects are added.
• The rack workspace is labelled FX RACKS.

NEW EFFECTS AND COMPRESSOR CHARACTERS

• Added Frequency Shifter, Ring Modulator, Comb / Resonator and a separate Exciter.
• The current rack offers 18 effect types: Clipper, Saturation, Distortion, Compression, Phaser, Chorus, Stereo Width, Limiter, Gate, Transient Shaper, Flanger, Stereo Delay, Reverb, Wah, Frequency Shifter, Ring Modulator, Comb / Resonator and Exciter.
• Expanded Compression with FET Fast, Opto Leveler, VCA Bus and UP/DOWN alongside Legacy.
• Compressor controls adapt to the selected character, with one shared INPUT/MIX/OUTPUT set rather than duplicate gain controls.
• UP/DOWN combines upward and downward compression within the rack's existing frequency band. Use it in all three racks for independent three-band dynamics without adding another crossover inside each effect.
• Character processors are independent implementations, not claims of exact hardware emulation or identical recreation of another plugin.

NEW INPUT TAB

• Added INPUT with three mutually exclusive sources: AUDIO, SYNTHESIZER and GENERATOR.
• AUDIO is the default and uses the audio arriving from the DAW track.
• SYNTHESIZER generates sound from incoming MIDI notes and sends it through the same crossover, FX racks and selected output mode.
• GENERATOR provides white noise, pink noise and a frequency-adjustable sine signal for testing the processing chain.
• Only the selected source feeds the rack input.

THREE-LANE WAVETABLE SYNTHESIZER

• Three side-by-side wavetable lanes follow a single top-down workflow, with independent scrolling for each lane.
• Built-in CLASSIC, HARMONIC and FORMANT banks with position scanning, source level, tuning, fine tuning, pan, phase and random phase.
• Independent UNISON VOICES from 1 to 8 per lane, with detune and stereo spread.
• Warp modes OFF, SYNC, BEND and PULSE.
• Optional Wave Shaper, Filter, Amp Envelope and Level/Pan cards can be added, removed, powered and reordered. Their order changes the DSP order, not just the display.
• Each synth card type occurs at most once per lane; dynamic FX racks still allow repeated effect types.
• Six ADSR envelopes with curvature and editable graphs.
• NOTE triggering for one-shot envelopes or tempo-synced LOOP for repeating envelopes while a note is held, including repeating plucks with zero sustain.
• Envelope rates: 2/1, 1/1, 1/2, 1/4, 1/8, 1/16, 1/32 and 1/64. Attack/decay/release are proportionally fitted when they exceed the loop period.
• MIDI note-off and sustain-pedal handling release loops correctly; the pedal alone does not start or resurrect a completed note.
• Eight LFOs with basic shapes, tempo synchronization, retrigger options and editable eight-point drawn curves.
• Four smooth random sources, four macros and MIDI modulation sources, including velocity, modulation wheel, channel aftertouch and note pitch.
• A 16-route modulation matrix with signed depths targets lane position, pitch, pan, cutoff, level, drive and warp.
• Drag-and-drop modulation assignment and inline MOD editors directly below the relevant control row. Each route exposes SOURCE, DEPTH and REMOVE; closing the editor leaves modulation active.
• POLY supports 1-16 simultaneous notes. MONO and LEGATO provide last-note priority and return to an earlier held note when the current note is released.
• MONO retriggers envelopes; LEGATO preserves envelopes and phases across overlapping notes.
• GLIDE from 0 to 2000 ms provides logarithmic pitch transitions between overlapping MONO/LEGATO notes. Polyphony and per-lane unison remain separate controls.
• An additional Legacy synth engine is available for earlier development patches.
• This is an independent instrument, not a complete Vital clone, a Vital preset player or a claim of external wavetable-import support.

SYNTH RANDOM, UNDO AND CLEAR

• Synth RANDOM explores sources, cards, their order, modulation, envelopes, LFOs, macros and play modes with constrained settings designed to keep patches audible.
• Added sources/cards remain ON. Restricted gains, modulation depths and silence-prone settings reduce empty or inaudible results.
• A stable NOTE-based lane provides a foundation; another connected lane supplies a LOOP envelope. Foundation POSITION receives 2-3 active modulation sources.
• UNDO RANDOM restores the previous synth snapshot.
• CLEAR beside synth RANDOM requires confirmation before removing optional cards and modulation routes, resetting fixed controls and silencing the sources. It releases notes and clears the earlier random-undo snapshot.
• RANDOM can rebuild a playable patch after CLEAR.

RACK RANDOM AND CLEAR

• RANDOM RACK creates 3-7 different creative effect types with randomized settings, followed by an additional powered limiter: 4-8 instances in total.
• Pool: Saturation, Distortion, Exciter, Phaser, Chorus, Flanger, Comb / Resonator, Wah, Stereo Delay and Reverb.
• A generated chain never repeats a selected effect type. Manual addition of duplicates remains available.
• Frequency Shifter and Ring Modulator remain available manually and are excluded from RANDOM RACK.
• The added limiter starts at -6 dB ceiling and 80 ms release, with full wet mix and unity input/output gains. Its protective settings are excluded from randomization.
• Rack RANDOM does not randomize INPUT/OUTPUT gains and leaves generated effects ON. It unmutes the selected rack.
• Per-effect RANDOM retains INPUT, OUTPUT, POWER and chain position while exploring the effect's other settings.
• Rack CLEAR requires confirmation before emptying and muting only the selected band, including removal of its protective limiter. Other racks and Master settings are retained.
• RANDOM and CLEAR sit on each rack's SOLO/MUTE toolbar.
• Smooth chain-replacement transitions and reuse of inactive DSP instances reduce disruption when rebuilding chains.

DOCKED SYNTH OUTPUT GUARD

• Added synth-source dynamics control and sample-peak limiting to -1 dBFS, with PROTECTED/HOT status, output level, gain reduction and ceiling information.
• Docked the Guard at the bottom so it stays visible across tabs and scrolling.
• Combined status information into one line and placed all shared voice/output controls in its compact control row: VOICES, PLAY MODE, GLIDE, SYNTH LEVEL, SUB, VELOCITY, LFO1 TARGET/DEPTH, ENV2 FILTER and GLOBAL filter controls.
• Synth controls are inactive when AUDIO or GENERATOR is selected. Modular-only performance controls do not replace Legacy's original voice settings.
• Guard acts before the crossover and FX racks. Later processing, gain and summing can still raise final output; it is not a final true-peak limiter for the entire plugin.

MASTER PROCESSING AND METERS

• Added Master Limiter INPUT and GAIN COMPENSATION, both -12.00 to +12.00 dB with 0.00 dB defaults.
• Processing order: INPUT GAIN -> limiter/CEILING -> GAIN COMPENSATION -> final MASTER OUTPUT.
• Post-ceiling compensation changes output level without moving the limiter's internal threshold. Positive compensation can raise the signal above the original ceiling; no hidden extra limiter is added.
• Waveform displays the actual compensated limiter signal before final MASTER OUTPUT. Red ceiling references follow the compensated level, using ceiling dB plus compensation dB.
• Added a peak meter after final MASTER OUTPUT.
• Smoothed gain changes and consistent two-decimal formatting for the new gain controls.
• Aligned EQ POWER and SOLO BAND beside each other above the band selector.
• Preserved the two-row Master EQ workflow, ten EQ points, HP/LP controls and SOLO BAND monitoring on both audio and the relevant analyzer.

SEPARATE BAND OUTPUTS

• Added a mutually exclusive MASTER / ROUTING selector.
• MASTER uses the normal stereo output on 1/2.
• ROUTING bypasses the Master section, silences 1/2 and sends LOW to 3/4, MID to 5/6 and HIGH to 7/8 after their racks and SOLO/MUTE controls.
• Enable and route the extra output buses in the host. MMR does not create DAW tracks or configure sends automatically.
• Processing latency remains compensated between modes.

TEST GENERATOR AND ANALYZER

• White noise, pink noise and sine testing are available inside INPUT/GENERATOR.
• LEVEL ranges from -60 to 0 dB; sine FREQUENCY ranges from 20 to 20000 Hz, subject to the sample-rate limit. A source meter shows generated level.
• A dedicated spectrum analyzer displays the processed test output after MASTER OUTPUT, allowing sine sweeps and effect changes to be observed without leaving the input workspace.
• Analysis runs only for the active generator while its panel is visible. Switching the generator off stops and clears its analyzer; it does not become a background analyzer for DAW audio.
• In ROUTING, the display uses a labelled visualization-only sum of the enabled band outputs...

MMR v1.0.0.

README.md