Nineteen VCV Rack modules, seven instruments in beta you can buy now at half price, and six more being built.
The commercial instruments are at 0.9.1. They are complete and tested; what they have not had is a full listening pass, which is why they are priced at half and not called 1.0. Buying now includes every later version at no extra cost. The terms set that out.
Nineteen VCV Rack 2 modules for massed tone, harmonic density, microtonal beating and feedback structures. The research line — the DSP that ends up in the commercial instruments is worked out here first.
Pillar: Damage. Tape saturation with transport error that never quite repeats. A modulated delay line gives it real wow and flutter: Wobble is the periodic half, a capstan slightly out of round; Drift is the aperiodic half, a random target held and glided between. It reports its latency so the host compensates.
Pillar: Pressure. Cadenced bass bursts with recoil, pause and rumble completion. Bass as an event with a rhythm of its own rather than a sustained tone. One MIDI note fires a burst of up to eight synthesised hits, a rumble tail, then a pause.
Pillar: Pressure. A bass architecture plug-in for separating, reinforcing and ratio-controlling low-end weight and subsonic pressure. It extracts the bass layer, generates a reinforced sub layer, applies soft saturation and shapes the stereo field, while preserving the original signal at mix. The point is direct control over the relationship between bass and sub — not a bass boost.
Pillar: Damage. A turntable you play with a pattern rather than a hand. A gesture pattern drives a playhead through a loaded sample, read through a mipmap so a fast pass sounds fast rather than broken — the artefact of a cheap sample-rate change is exactly what this avoids.
Pillar: Density. A prime-sequenced wall synthesizer. Three voices sit in a cross-feedback loop driven by the first eight primes above three. Their combined orbit is 9,699,690 steps, so the pattern never audibly repeats — it is a drone that keeps moving without ever arriving.
Pillar: Damage. One note puts up to sixteen oscillators on a tuning lattice and lets each of them drift. What you hear is the beating between them, the difference tones that beating throws off, and - as the loop gain approaches unity - the point where a feedback path stops decaying and starts sustaining. The mass is the instrument rather than an effect applied to one. SPREAD is measured in cents and its travel is weighted towards the small end, because the distance between two members decides what you hear rather than how much of it: under twenty cents they fuse into one thick tone, through sixty they shimmer, past two hundred they come apart into separate pitches. The display names the region you are in and reads the sounding members from the audio rather than from the knob positions, so drift moves the marks while every control stays still. Its oscillator mass and feedback wall are the same engines as the free Branca Series Rack modules - consumed rather than forked, so the two are one instrument rather than two that resemble each other. This is a 0.9.1 pre-release. All fifty-three controls are implemented and measurably reach the DSP, and all four of its display pages are drawn from measurements made on the audio thread. Every later version, including 1.0, is included.
Pillar: Density. Six lanes, each holding an insect species recorded in the field, each running its own clock and listening to its neighbours. Weak coupling drifts; strong coupling locks into synchrony or alternation, set by the phase-response slope measured in Mecopoda. Lanes compete to be heard first, and the leader is boosted by the 8 dB the precedence-effect literature measures. Lane position is pan and distance at once, so moving a lane away both moves it in the stereo field and stops it hearing the others. The chorus display is measured, not derived: lane positions, one coupling link per direction drawn as thick as the coupling the lanes actually feel, who leads and by how many milliseconds, and the regime - which can disagree with the REGIME control while the chorus is still converging. The factory library is InsectSet32 - 32 species, 335 field recordings, CC BY 4.0, credited on the panel and in the installer. This is a 0.9.1 pre-release. All sixty controls are implemented and measurably reach the DSP, with the parameter-liveness sweep in the core's test suite. Every later version, including 1.0, is included.
Nothing here has a release date, and none is invented. The notify form is the answer to 'when' - it is the only channel that will say so.
Pillar: Ghost Patterns. Pattern generation from musical negative space — building parts from what is not played. Ghost notes, rhythmic fills, melodic shadows and harmonic echoes, generated as MIDI.
No release date. When there is one, the only place it will be announced is to the people who asked.
Pillar: Pressure. Bass and instrument archaeology. Drop in a mixed track, run stem separation, and work the results through a six-slot stem mixer with analysis, post-processing and export.
No release date. When there is one, the only place it will be announced is to the people who asked.
Pillar: Damage. Dragged clocks and low-pass haze — the chopped-and-screwed end of the Dusted Series.
No release date. When there is one, the only place it will be announced is to the people who asked.
Pillar: Damage. Chopped rhythmic decay and degraded loop surgery. The third instrument in the Dusted Series.
No release date. When there is one, the only place it will be announced is to the people who asked.
Pillar: Production intelligence. A producer-engineer outside the DAW, with revision memory. It watches render folders, remembers what changed, and returns actionable feedback against a project's goals.
No release date. When there is one, the only place it will be announced is to the people who asked.
Pillar: Damage. Turntablism as executable notation. Draw scratch motion and fader cuts; the engine performs them on a sample.
No release date. When there is one, the only place it will be announced is to the people who asked.
Research and experimental work. These are NOT pre-release products - they are earlier than that, and none is ready even for alpha. They are listed because the direction is worth being legible, and they share ONE waitlist rather than carrying a form each: a per-product signup implies a product, and there is not one yet.
Pillar: Damage. A compositional system for turntablism, built in Rust. It records motion as well as sound, treats gesture and interruption as formal objects, and makes improvisation into editable form. Not a DJ player, not a beatmatching tool, not an instrument emulator.
There is nothing to try yet, no date, and no promise that any of this becomes a product. One waitlist covers all of it, and you will hear from it rarely.
One email when something is released, and nothing else.