Residual Breakdown

Input sets the level entering the dry path and fuzz circuit. Gain staging makes a difference: changing Input can move the circuit between softer breakup, hard clipping, choking, and feedback interaction.

Dry/Wet blends the gained dry signal with the post-fuzz EQ signal.

Limit sets the ceiling of the final safety limiter after Dry/Wet. Lower settings provide more containment and can add more limiter character.

Output sets the final gain after the limiter.

Tilt is placed before the fuzz. Both parametric EQ bands are placed after the fuzz in series on the wet path, so they do not alter the dry part of a partially mixed signal.

Tilt tilts the input spectrum before distortion. Turn left for morw low frequencies and right for more high frequencies. Its percentage sets both direction and depth.

Comp changes compression and the operating resistance around the later transistor stage. It can soften strong input, reduce loop gain, and alter how the fuzz recovers.

Gate raises the effective input threshold and changes the second transistor's collector resistance. Higher settings choke quieter signal and shorten or break up note tails.

Stab changes the effective supply path around the unstable stages. It has a strong effect on feedback strength, oscillation pitch, and how readily the circuit settles.

Drive changes the fuzz gain, clipping hardness, internal feedback, and regenerative loop strength. High settings can approach square-edged clipping and make self-oscillation easier to sustain.

Bias moves the circuit operating point and supply range. It changes symmetry, sustain, clipping balance, and the pitch region available to the feedback loop.

Mismatch increases the difference between the modeled transistor gains. It can add asymmetry, hardness, instability, and a less even response between positive and negative waveform halves.

Starve reduces and softens the effective power supply. It can harden edges at moderate settings, then introduce sag, sputter, pitch movement, and incomplete recovery as it rises.

For a hard, approximately square fuzz, begin with high Drive, low Comp and Gate, Bias near the middle, and enough Input level to keep the stages saturated. Add Mismatch or moderate Starve for a rougher edge.

Self Oscillation enables or disables the regenerative loop. Turn it on for a feebback fest. Turning it off fades the feedback and disables FB Delay, FB Decay, FB Input Gate, and Quantize while leaving input fuzz and sequencing active.

FB Delay adds 0 to 4 ms of delay inside the regenerative path. Small changes can shift phase, texture, and unquantized pitch for instability, it is not an echo.

FB Decay sets how long stored regenerative energy survives, from 50 ms to 10 seconds. The maximum position is infinite, allowing a viable loop to continue without decay.

FB Input Gate keeps normal input response while signal is present, then fades the complete output over roughly five seconds after sustained silence. Leave it off when continuous self-noise and free-running feedback are desirable.

The input can suppress a loop by loading the same modeled stages that generate it. Depending on the controls, self-oscillation may therefore become clearest after a played note falls away.

Drive, Gate, Comp, Stab, Bias, Mismatch, and Starve all influence the free feedback frequency. The only way to control it is to play around with the controls.

Quantize snaps the feedback target to the nearest enabled note when Self Oscillation is active.

Note dots select the pitch classes available to the quantizer. The red outline identifies the pitch class currently being used.

At least one note must be enabled for quantization to act. With all notes disabled, the feedback remains unquantized.

MTS-ESP tuning is applied automatically when a compatible tuning master is available.

When Preset Slew moves between slots, the quantized target glides continuously to the next pitch. The note display follows that glide.

Quantization stabilizes the target, but small cycle-to-cycle deviations and circuit texture is kept to keep the sound alive.

EQ 1 / EQ 2 Gain boosts or cuts the selected band from -18 to +18 dB. The center position is neutral.

EQ 1 / EQ 2 Freq sets each band's center frequency from approximately 50 Hz to 4 kHz.

EQ 1 / EQ 2 BW sets bandwidth from 0.20 to 4 octaves. Lower values are narrower; higher values affect a broader region.

Because the bands process the wet path, their effect becomes less prominent as Dry/Wet moves toward dry.

Narrow boosts can emphasize a feedback pitch or create vowel-like slot changes. Broad cuts are useful for keeping heavily driven or starved states under control. With high slew and frequency changes the distortion gets sweeping filter effects.

Amount sets bipolar modulation depth. Positive values make louder detector signals wetter; negative values make them drier.

Attack sets how quickly the detected level can move Dry/Wet upward or downward when signal arrives, from 1 to 500 ms.

Release sets how quickly the modulation returns after the detector level falls, from 10 ms to 5 seconds.

IN uses the main input as the envelope source.

SC uses the dedicated side-chain bus as the envelope source. Select and route a side-chain in the host before using this mode.

The outer red arc-line around Dry/Wet shows the effective modulated position. With Amount at zero, Dry/Wet remains at its manual setting and the modulation display is inactive.

The follower changes only the blend. The main input remains the audio source for the fuzz even when SC is selected.

1-8 select a slot for editing and auditioning. With No Clk selected, manual changes use Preset Slew.

Copy / Paste copies or pastes every slot-controlled value. Cmd/Ctrl+C and Cmd/Ctrl+V perform the same actions.

Random generates a new complete state for the selected slot.

Normal / Reverse / Pendulum / Skips / MyLife / Random sets the order in which enabled slots are visited. MyLife advances one step and then moves two steps back.

No Clk stops automatic stepping. Slots can still be selected manually or automated by the host.

Int uses the internal clock. Rate is shown in Hz.

Host follows host transport and musical divisions. Changing division rebases the clock without resetting the current step pattern.

Preset Slew sets transition time from 0 to 8 seconds with No Clk. In Int and Host modes it becomes a percentage of the current step duration.

Holding a slot-controlled knob while sequencing writes that value into every slot reached by the gesture. Other controls continue to follow their stored slot states.

Preset arrows step through available presets. Cmd/Ctrl-click Previous jumps to the first entry; Cmd/Ctrl-click Next jumps to the last.

Preset name opens the preset browser.

Name generates a new preset name.

Save writes the complete state. Saving without first generating a name creates one automatically.

Init Patch restores the initial Residual Breakdown state.

Factory / User / Starting Points / Favorites filters the preset browser.

Versioned Save writes a numbered copy when the current preset has changed.

Folder opens the preset directory for external renaming or deletion.

Refresh reloads externally renamed or deleted preset files.