s3g Thru 0.29.1

s3g Thru 0.29.1

This patch includes all 0.29.0 features below and fixes Linux source builds.
An explicit export list keeps the Move module entry point as the only public
symbol, including with the GCC 10 toolchain used by GitHub Actions. Instrument
DSP, controls and saved-set format are unchanged from 0.29.0.

Four new playback engines, editable stack paths, pattern crossfades, and saved
chains expand how you play and arrange the four-lane stereo instrument.

Four new engines

• Prism resynthesizes spectral frames with scanning, freeze, amplitude or
  frequency hold, accumulation, blur, tilt, smear, and keyboard transposition.
• Morph blends spectral amplitudes and frequencies with the next source
  lane. Imprint uses that lane's changing spectral envelope to articulate
  the carrier. Quad pairs lanes 1 → 2 → 3 → 4 → 1; Split stays within each pair.
• Texture generates grouped sample phrases with Spray, Grouped, Motif and
  Ornament modes, scale-aware intervals, timing scatter and a repeatable seed.
• Formant provides pitch-synchronous sampling: transpose pitch and resonant
  character independently, tune voiced material toward played notes, freeze a
  source position across notes, add formant key tracking, pulse roughness and
  an octave-below component.

There are now thirteen engines. Each retains per-part settings and the existing
voice budgets in Single, Split, Shared Dual and Quad. Source preparation runs
in the background. Wait for SPECTRAL PREPARING or PITCH PREPARING to finish;
noisy or polyphonic sources can give Formant a grainier character.

Stack paths and live performance

• Choose DRAW on Stack Path and click the main encoder to edit four to eight
  points. Time, lane position and curvature support pauses, uneven travel and
  repeated lane visits. Each voice keeps its independent phase.
• Hold Capture for temporary bottom-row controls: L1–L4, DARK, CRSH, ECHO,
  SPCE. A lane pad grabs its lane fully; multiple pads blend by pressure.
  Effects respond to pressure, and releasing restores the current settings.
• Active grains and Motion packets follow lane grabs smoothly. Available lanes
  follow the focused part; Quad has no lane rides. ECHO/SPCE use that part's
  sends in multi modes and require audible shared return levels.
• Cues remember both source position and lane blend. Recall holds that blend;
  Stack Start can adjust it, and Loop resumes the scan.
• Mix / Rec can record PT A–PT D into the selected stereo lane. The source
  is captured after private processing and before part level, mute and Blend.
  Shared returns and Tape are excluded. Each completed take is archived.
• Parameter dials respond more slowly for finer adjustments; Chain Bank has
  additional protection against skipping several selections.

Pattern fades and arrangements

• Pattern Fade crossfades complete performances, their samples, instrument
  settings and effect histories. Choose CUT or fades up to 30 seconds, with
  fixed timing or a random duration between LOW and HIGH, plus five curves.
• Touch XFADE to hold the blend; turn to move manually in either direction.
  Both performances keep playing. Releasing touch leaves Hold on; main click
  resumes. DONE commits the destination; Shift + knob 8 returns to the source.
• Store 16 chains, each with up to 64 entries. Entries choose a clip,
  repeats or WAIT, and inherited or independent fade settings. Each chain can
  end with LOOP, STAY or STOP. The existing chain becomes Chain 01.
• Browse and edit another chain while the current one plays. Queue a chosen
  entry with CUE HERE or Shift + NEXT; cancel an explicit queue without stopping.
• Chain Tools copy whole arrangements or entry references, including fade
  settings. The curved-arrow Undo key covers supported chain edits.
• Copy / Shift+Copy in clip and chain views duplicates the recorded clip.
  In Chain, paste creates an independent clip in an unused slot and assigns it
  to the destination entry. Audio files remain shared references. Hold Copy
  and press Step to choose a source; add Shift and press Step to paste.
• Performance Loop and Overdub Takes are shared across all parts. Per-part
  pressure behavior is on Pads & Scale. Overdub remains an undoable take;
  finish recording, then use Delete + Record to remove the newest pass.

Help, sound continuity and timing

• 24 on-device help topics cover playing, recording, engines, modes, loops
  and shortcuts. After leaving takeover, open Schwung Global Settings with
  Shift + volume touch + Step 2. Shift + main click opens the section picker;
  choose System → Help → Modules → s3g Thru.
• Shift + Menu inside Thru retains System Report and Shortcuts. The new
  Render Timing 3/4 page shows CPU PEAK, WALL PEAK, WAIT PEAK and CPU MISSES.
  Shift + Delete resets peaks and counters while a report view is open.
• Prism, Morph, Imprint and Formant avoid repeated rendering work without
  reducing spectral resolution or voice limits. Work-miss counting now uses
  full-resolution timing rather than rounded display values.
• Rotary delay readers now wrap safely at fractional buffer boundaries in both
  Single and per-part effects, preventing a rare invalid sample read.
• A starved outgoing pattern-fade buffer no longer holds the destination silent
  or prevents a transition from completing. FADE BUF MISSES records its history.
• All engines, voices and effects share Move's processor. CPU headroom depends
  on the combination played; use fresh timing counters when testing dense sounds.

Upgrading

• Export a set backup before upgrading if you may need to return to 0.28.0.
  This release reads earlier set formats and saves format 23. Older releases
  cannot read sets saved by 0.29.0. Sample WAV archives remain available.
• Existing engine and parameter IDs remain stable. Older sets receive defaults
  for new controls. The source-voice total remains eight.
• Schwung 1.7.3 or newer remains the declared minimum. Install or update in
  Schwung Manager using https://github.com/s3g/s3g-thru.
• Shift + Capture remains Schwung Skipback. Open FX Sends through
  Capture + Menu → FX SENDS.

See the illustrated s3g Thru manual for all
thirteen engine guides, arrangement controls, effects, recording and shortcuts.

s3g Thru 0.29.0

s3g Thru 0.29.0

For new installations and source builds, use 0.29.1. It retains this release's instrument DSP and adds a Linux build compatibility fix.

Four new playback engines, editable stack paths, pattern crossfades, and saved
chains expand how you play and arrange the four-lane stereo instrument.

Four new engines

• Prism resynthesizes spectral frames with scanning, freeze, amplitude or
  frequency hold, accumulation, blur, tilt, smear, and keyboard transposition.
• Morph blends spectral amplitudes and frequencies with the next source
  lane. Imprint uses that lane's changing spectral envelope to articulate
  the carrier. Quad pairs lanes 1 → 2 → 3 → 4 → 1; Split stays within each pair.
• Texture generates grouped sample phrases with Spray, Grouped, Motif and
  Ornament modes, scale-aware intervals, timing scatter and a repeatable seed.
• Formant provides pitch-synchronous sampling: transpose pitch and resonant
  character independently, tune voiced material toward played notes, freeze a
  source position across notes, add formant key tracking, pulse roughness and
  an octave-below component.

There are now thirteen engines. Each retains per-part settings and the existing
voice budgets in Single, Split, Shared Dual and Quad. Source preparation runs
in the background. Wait for SPECTRAL PREPARING or PITCH PREPARING to finish;
noisy or polyphonic sources can give Formant a grainier character.

Stack paths and live performance

• Choose DRAW on Stack Path and click the main encoder to edit four to eight
  points. Time, lane position and curvature support pauses, uneven travel and
  repeated lane visits. Each voice keeps its independent phase.
• Hold Capture for temporary bottom-row controls: L1–L4, DARK, CRSH, ECHO,
  SPCE. A lane pad grabs its lane fully; multiple pads blend by pressure.
  Effects respond to pressure, and releasing restores the current settings.
• Active grains and Motion packets follow lane grabs smoothly. Available lanes
  follow the focused part; Quad has no lane rides. ECHO/SPCE use that part's
  sends in multi modes and require audible shared return levels.
• Cues remember both source position and lane blend. Recall holds that blend;
  Stack Start can adjust it, and Loop resumes the scan.
• Mix / Rec can record PT A–PT D into the selected stereo lane. The source
  is captured after private processing and before part level, mute and Blend.
  Shared returns and Tape are excluded. Each completed take is archived.
• Parameter dials respond more slowly for finer adjustments; Chain Bank has
  additional protection against skipping several selections.

Pattern fades and arrangements

• Pattern Fade crossfades complete performances, their samples, instrument
  settings and effect histories. Choose CUT or fades up to 30 seconds, with
  fixed timing or a random duration between LOW and HIGH, plus five curves.
• Touch XFADE to hold the blend; turn to move manually in either direction.
  Both performances keep playing. Releasing touch leaves Hold on; main click
  resumes. DONE commits the destination; Shift + knob 8 returns to the source.
• Store 16 chains, each with up to 64 entries. Entries choose a clip,
  repeats or WAIT, and inherited or independent fade settings. Each chain can
  end with LOOP, STAY or STOP. The existing chain becomes Chain 01.
• Browse and edit another chain while the current one plays. Queue a chosen
  entry with CUE HERE or Shift + NEXT; cancel an explicit queue without stopping.
• Chain Tools copy whole arrangements or entry references, including fade
  settings. The curved-arrow Undo key covers supported chain edits.
• Copy / Shift+Copy in clip and chain views duplicates the recorded clip.
  In Chain, paste creates an independent clip in an unused slot and assigns it
  to the destination entry. Audio files remain shared references. Hold Copy
  and press Step to choose a source; add Shift and press Step to paste.
• Performance Loop and Overdub Takes are shared across all parts. Per-part
  pressure behavior is on Pads & Scale. Overdub remains an undoable take;
  finish recording, then use Delete + Record to remove the newest pass.

Help, sound continuity and timing

• 24 on-device help topics cover playing, recording, engines, modes, loops
  and shortcuts. After leaving takeover, open Schwung Global Settings with
  Shift + volume touch + Step 2. Shift + main click opens the section picker;
  choose System → Help → Modules → s3g Thru.
• Shift + Menu inside Thru retains System Report and Shortcuts. The new
  Render Timing 3/4 page shows CPU PEAK, WALL PEAK, WAIT PEAK and CPU MISSES.
  Shift + Delete resets peaks and counters while a report view is open.
• Prism, Morph, Imprint and Formant avoid repeated rendering work without
  reducing spectral resolution or voice limits. Work-miss counting now uses
  full-resolution timing rather than rounded display values.
• Rotary delay readers now wrap safely at fractional buffer boundaries in both
  Single and per-part effects, preventing a rare invalid sample read.
• A starved outgoing pattern-fade buffer no longer holds the destination silent
  or prevents a transition from completing. FADE BUF MISSES records its history.
• All engines, voices and effects share Move's processor. CPU headroom depends
  on the combination played; use fresh timing counters when testing dense sounds.

Upgrading

• Export a set backup before upgrading if you may need to return to 0.28.0.
  This release reads earlier set formats and saves format 23. Older releases
  cannot read sets saved by 0.29.0. Sample WAV archives remain available.
• Existing engine and parameter IDs remain stable. Older sets receive defaults
  for new controls. The source-voice total remains eight.
• Schwung 1.7.3 or newer remains the declared minimum. Install or update in
  Schwung Manager using https://github.com/s3g/s3g-thru.
• Shift + Capture remains Schwung Skipback. Open FX Sends through
  Capture + Menu → FX SENDS.

See the illustrated s3g Thru manual for all
thirteen engine guides, arrangement controls, effects, recording and shortcuts.

s3g Thru 0.28.0

s3g Thru 0.28.0

This release adds two- and four-instrument layouts, stereo reverb, configurable
effect order, and clearer controls for live playing and recording.

Single, Split, Shared Dual, and Quad

• Single keeps the original four-lane instrument with eight source voices.
  Split divides the pads into A/B instruments with two stereo lanes and four
  voices each. Shared Dual gives both programs access to all four source lanes.
• Quad provides four eight-pad instruments, each with one stereo lane and two
  voices. A/B occupy the upper half of the grid; C/D occupy the lower half.
• Each part has its own engine, parameters, keyboard, envelope, lane gains,
  and private Color and Stereo / Rotary effects. Use different engines, or
  several versions of the same engine with different settings.
• Choose a layout with Capture + Menu → Instrument Mode. Capture changes
  editing focus; Copy returns to Single and back to the last selected layout.
  Track buttons select the source lane and, in Split or Quad, its owning part.
• Dual modes use A/B Blend. Quad uses independent part levels. Both offer
  Delay/Reverb sends, shared Tape, performance recording, and per-clip recall.
  MIDI channels 1–2 address A/B in dual modes; channels 1–4 address A–D in Quad.

Reverb and effect order

• Plate and Room reverbs provide decay, predelay, damping, diffusion,
  modulation, width, and mix controls.
• FX Order uses a readable list: turn to select an effect, click to lift,
  turn to move, and click to apply. Back cancels an unapplied move. Changes
  crossfade while retaining effect tails.
• Single can reorder the complete chain. Multi-instrument layouts keep private
  inserts and shared parallel Delay/Reverb sends; Tape’s position determines
  which returns receive its processing.
• Shift + Capture opens FX Sends; main click opens FX Pages. Dual-mode return
  levels are on FX Sends. In Quad, all eight positions are sends, with DRTN/RRTN
  at knob 8 on Delay Return/Reverb.

Cutups and waveform editing

• Cutups gains direct Lane and Advance controls. Choose Hold or 1, 2, 3, 4,
  8, or 16 cuts per lane, independently of region repeats. Loop pauses automatic
  advancement and remembers the pad’s lane. Advance is also available on CC 19.
• At full Gate, Join overlaps consecutive cuts; shorter gates keep their gaps.
  Solid and dashed readers show incoming and outgoing positions, including
  release tails.
• Waveforms enlarge the Position/Field window. Split zooms its lane pairs
  independently; Shared Dual follows the focused program across four rows;
  Quad gives every row its own live window. Shared Dual and Quad stay responsive
  to POS/FLD edits while notes or performance data play.
• Focus, source selection, lane contribution, voice counts, and audio activity
  have separate indicators. Muted teal, plum, and amber pad backgrounds help
  identify the multi-instrument zones.

Playing, audition, and recovery

• Capture + Menu opens the contextual Pages picker. Used icon keys illuminate
  from startup and show their current availability.
• Delete + Play provides Panic: stop the performance loop, finish a data take,
  and release notes, latches, Rolls, and audition. Audio recording continues;
  existing effect tails decay naturally.
• The curved-arrow Undo key restores the latest supported destructive edit,
  source replacement, lane clear, or clip operation. It lights when a one-level
  safety undo is available. Back remains navigation; Delete + Record still
  removes the latest completed overdub take while protecting the base take.
• The sample browser offers Part and Direct audition. Part follows the relevant
  instrument mixer; Direct bypasses it and the effects, while retaining shared
  mastering. Preview level remains independent of recording gain.
• Mix Status explains activity, muted parts, zero levels, faded-out parts,
  missing audio, and idle voices. Live dual/Quad mixer corrections override
  recorded mixing until playback restarts or another clip launches.
• Saving/Saved feedback tracks archive and metadata completion. Save errors
  remain visible while retrying. Part mute and source loading/preview behavior
  remain consistent across focus changes and recall.

Upgrading

• Existing sets load forward with defaults for new controls. The expanded bank
  format stores four programs and C/D performance data; files saved by this
  release require s3g Thru 0.28.0 or newer. Export a set backup before upgrading
  if you may need to return to an older version.
• The source-voice total remains eight; all programs and effects share Move’s
  processor. Use Shift + Menu to check demanding engine/effect combinations.
• Schwung 1.7.3 or newer remains the declared minimum host version. Install
  through Schwung Manager’s GitHub URL option
  using https://github.com/s3g/s3g-thru.

See the illustrated s3g Thru manual for the
mode overview, all nine engine guides, effects, recording, and shortcuts.

s3g Thru 0.27.0

s3g Thru 0.27.0

Released October 24, 2026.

This release adds Wavesets and a complete tape stage, and improves playback
across all nine engines. Automatic saving and sample analysis now run in the
background, preventing storage work from interrupting live control changes.

Wavesets engine

• Adds a ninth playback engine based on the s3g-dsp Wavesets instrument.
  Rising zero-crossing cycles become pitched groups that can repeat, stride,
  stretch, preserve time, or hold their source position.
• Adds Forward, Reverse, Pendulum, and repeatable Shuffle ordering, plus 10
  real-time processes: Repeat, Omit, Replace, Envelope, Multiply,
  Interpolate, Fractal, Harmonic, Group Reverse, and Cycle Reverse.
  Average and Telescope are excluded to reduce the worst processing costs
  during polyphonic playback. Earlier testing clips using either process
  load as Repeat; surviving saved process selections retain their identities.
• Adds selectable crossing Detail from Raw through 250 Hz. Analysis uses the
  filtered timing reference while playback retains the original recording.
• Keeps every note's group, pitch, order, and lane-stack path independent.
  Prepared per-lane cycle maps are shared by all eight notes. Background
  analysis uses bounded source snapshots; the audio callback never scans for
  crossings. Quiet or unanalyzed material retains a temporary playable fragment.
• Separates Wavesets keyboard pitch from the Speed control ceiling. Keys
  transpose cycles across octaves even at Speed 4×; extremely high cycle rates
  remain bounded below Nyquist. Near-ultrasonic added copies taper to reduce
  foldback.
• Adds a Wavesets-specific group rail and source-accurate cursor telemetry.
  Reverse, Pendulum, and Shuffle are visible as slot movement; backward
  processes, multi-source processes, pending Order changes, and overlap-add
  transitions no longer masquerade as one generic forward cursor.

Tape effect

• Adds a clip-local Tape page after Stereo / Rotary, shared by every engine.
• Tape Format moves from 2-inch mastering tape through 1/8-inch cassette
  character. Record level, Age, Crinkle, Mechanics, Hiss, and Mix shape the
  medium without adding phonograph-style clicks or surface noise.
• Transport Inertia turns the Loop button's Stack Hold into a tape stop and
  restart gesture. At partial Mix, the dry path continues underneath it.
• Every Tape control can be captured in a performance loop and stored per
  clip. Parameter changes are smoothed to avoid read-head jumps and zippering.

Background saving and analysis

• Saves settings and clip banks on a background worker so turning controls
  does not interrupt audio with file writing or checksums. Newer edits remain
  pending until their own complete generation is saved.
• Archives recordings and analyzes waveforms/transients from bounded audio
  snapshots. Display queries read cached waveforms. Playback continues while
  this work finishes, and a new audio take can wait for the previous archive.
• Preserves immutable take archives, checks for filename collisions, and
  stages matching settings/clip files before replacing a saved generation.

Playback quality and gain staging

• Adds a stereo-linked program compressor with gentle 2:1 control and 3 dB of
  makeup at normal Level, followed by a stereo-linked −1 dBFS lookahead safety
  limiter. Output is fuller without hard-clipping stacked voices or effects.
• Prevents a stronger peak from compressing the output limiter’s remaining
  attack into a one-sample gain jump. Each peak schedules a full 1.5 ms
  lookahead ramp, retaining linked stereo control and the −1 dBFS ceiling.
• Improves polyphony compensation, capture limiting, sample-rate conversion,
  and transposed playback interpolation. Imported and recorded samples retain
  more detail while dense stacks remain controlled.
• Makes cue storage and recall click-safe by snapping new cues to a nearby
  stereo zero crossing and fading an active reader around a cue jump.
• Smooths Sample loops, same-note retriggers, and voice stealing during long
  releases. A replacement note now waits for the stolen tail's short fade
  instead of hard-resetting an audible reader.
• Extends seam, transition, and live-parameter safeguards throughout the
  playback engines and Effects, Stereo / Rotary, and Tape stages.
• Adds 4× oversampled DRIVE to reduce non-harmonic aliasing on bright sources
  and high notes, retaining the full clean signal at zero Drive and fixed timing.
• Crossfades live BITS and RATE edits on the Effects page over 10 ms. Their
  lo-fi sound remains intact while rapid edits retain the newest setting.
• Keeps Sample/Slices and engine-selection fades continuous when controls
  return to an earlier value or select another destination mid-transition.
  Lanes direction changes also finish their current crossfade before retargeting.
• Makes Cutups attack and release fit the actual Gate duration, preventing
  short cuts from ending abruptly at high Join settings. Motion envelope-shape
  edits now morph sounding events over 10 ms.
• Replaces library previews without duplicating the held performance voices.
  Tape Inertia retains its duration through a stop-and-return gesture, applying
  duration edits after normal transport resumes to avoid read-head jumps.
• Holds limiter gain through the final delayed peak, preventing its safety
  clamp from catching a peak during an early release.
• Adds coherent audio-block control snapshots, 10 ms Join smoothing, longer
  effect and wet/dry glides, and queued transitions that cannot restart midway
  through rapid encoder or recorded-automation changes.
• Makes Motion Travel and Jitter continuous by keeping Zigzag's three temporal
  sections stable while their targets move. Seed changes now fade before the
  active path is re-hashed instead of moving its reader in one sample.
• Glides Wavesets Join and Depth without restarting the current cycle or
  repeat. Multiply morphs between neighboring integer copies, Harmonic fades
  added copies, and Omit smooths its level changes during live edits.
• Queues Wavesets Group, Repeat, Stride, Advance, Order, Process, and Detail
  changes until a quiet point or cycle boundary, with a bounded wait for long
  cycles. Adaptive 15–30 ms crossfades finish before the next structural edit;
  outgoing readers keep advancing and rapid edits retain the latest target.
• Makes short-cycle and narrow-Field protection continuous as Speed or Field
  changes, fixing an abrupt waveform change when protection switched on/off.
• Fixes skipped source cycles and fractional timing errors across groups of
  different lengths. Natural contiguous playback no longer starts unnecessary
  overlap readers. Independent neighboring-lane readers crossfade their stereo
  outputs while retaining stable crossing maps and per-note stack paths.
• Fixes reverse-cycle endpoint spikes and internal repeated-copy seams at low
  Join. Outgoing parameter-transition readers keep their own stereo boundary
  protection. Very short rearranged cycles automatically match endpoints to
  prevent correction buildup; contiguous raw stereo playback stays intact.
• Makes Wavesets cycle joins adapt to the size of the discontinuity and the
  available cycle time. Cached boundary slopes support gentler level-and-slope
  matching, with fractional crossing timing and short-cycle safeguards.
• Retains a 1 ms amplitude decay ramp when a zero/very short Decay would jump
  directly from the attack peak to a lower Sustain level.
• Adds regression sweeps for shared Sample controls, Motion, Lanes, engine
  switching, Wavesets process/order combinations, effects, retriggering, and
  voice stealing. Intentional Bits, Rate-reduction, and Glitch edges remain
  part of those effects rather than being filtered from the final output.

Interface and manual

• Uses one consistent waveform-page encoder layout for all engines: Position,
  Field, Speed, Stack, Scan Rate, Join, engine Mode, and Level.
• Slows continuous encoder adjustment by 50% for finer control while keeping
  one-shot actions responsive to the first turn.
• Updates the illustrated manual for all nine engines, the Tape signal path,
  gain staging, waveform controls, page numbering, and click-safe behavior.
  Wavesets has its own complete parameter and process reference.
• Provides three readable Shift+Menu pages: System Report, Callback Work,
  and Shortcuts. Callback Work adds control/query peaks, combined work peak,
  and work misses. The render-only count is labelled Render Misses. The
  System Report gives render peak, render misses, current limiter reduction,
  and maximum limiter reduction separate rows. Left/Right, Up/Down, or the
  main encoder changes page.

Compatibility and installation

• Existing 0.26.x settings, clips, lane assignments, recordings, and
  performance data load forward with defaults for the new controls. Data saved
  by 0.27.0 uses the expanded state and clip-bank formats and should be opened
  with s3g Thru 0.27.0 or newer.
• The release remains compatible with Schwung 1.7.3 or newer and Ableton Move's
  system libraries.
• In Schwung Manager, choose Modules → Install Custom Module → GitHub URL
  and enter https://github.com/s3g/s3g-thru. The manager resolves this
  version through release.json and downloads s3g-thru-module.tar.gz from
  the v0.27.0 GitHub release.

v0.26.0

s3g Thru 0.26.0

This release expands s3g Thru as a playable instrument and live-performance
recorder, with predictable pitched pads, scale layouts, shaped note envelopes,
grouped stutter rolls, and a new stereo rotary effect.

Playable pads and scales

• Grains and Weave now follow pad pitch in semitone steps, so higher notes play
  higher and lower notes play lower while retaining each engine's character.
• Adds Chromatic and 24 named scale layouts, with Root and Octave controls and
  a folded isomorphic pad layout. Available scales follow the collection used
  by Ableton Live and Push.
• Gives scale notes neutral grey LEDs and tonics bright white LEDs, clearly
  separating the scale map from the colored polyphonic playheads. The recalled
  scale is shown immediately when takeover opens.
• Adds Shift+pad note latching. Held notes can remain on until toggled off, or
  use the global Hold Off time for a scheduled release.
• Latched pads remain bright on their original octave, root, and scale mapping;
  they dim when the current pad map changes and brighten again when it returns.

Note shaping and grouped rolls

• Adds a per-voice ADSR amplitude envelope with a graphical breakpoint page.
  Attack, Decay, Sustain, and Release can shape both short percussive playback
  and longer sustained material.
• Reworks Roll as a stereo stutter effect that captures the combined output of
  every active playhead instead of only one voice. Six pad divisions range from
  quarter notes through thirty-second notes, including triplet values.
• Up to eight grouped rolls can run without stealing source voices. Roll
  presses, lane position, and roll position are captured by performance-data
  recording and can be latched for hands-free playback.

Stereo and rotary effects

• Adds a clip-local Stereo / Rotary page. X-PAN moves from the original stereo
  image through a centered mono sum to exchanged left and right channels.
• Adds a two-part rotary speaker with independent horn and drum motion. Rate,
  Depth, Spread, Ramp, Balance, Crossover, and Mix cover stopped rotors, gradual
  acceleration, frequency-dependent movement, and narrow or wide wet images.
• Places Mix at the lower-right control position used by the main Effects page.
• All Stereo / Rotary controls can be captured as performance-loop gestures
  and are saved with the clip.

Compatibility and installation

• Existing 0.25.x recordings, clips, and banks continue to load with safe
  defaults for the new controls. Banks saved by 0.26.0 use the expanded format
  and require s3g Thru 0.26.0 or newer.
• The release remains compatible with Schwung 1.7.3 or newer and Ableton Move's
  system libraries.
• In Schwung Manager, choose Modules → Install Custom Module → GitHub URL
  and enter https://github.com/s3g/s3g-thru. The manager resolves this version
  through release.json and downloads s3g-thru-module.tar.gz from the
  v0.26.0 GitHub release.

v0.25.1

s3g Thru 0.25.1

Move compatibility fix

• Rebuilds the native module with a toolchain whose glibc requirements are
  compatible with Ableton Move. The 0.25.0 GitHub release accidentally linked
  against symbols newer than Move's glibc, so its DSP could not load even
  though the interface appeared.
• Restores sample loading, live stereo recording, capture recall, and playback
  for installations made from the GitHub URL.
• Adds a release gate that rejects any future dsp.so requiring a glibc
  version newer than Move's glibc 2.34.

The instrument format and saved data are unchanged from 0.25.0. Existing
recordings and clip assignments remain compatible.