Specifications and features

At a glance


Formats	VST3, AU (macOS), standalone
Platforms	macOS (Apple silicon and Intel), Windows 64-bit
Voicing	Monophonic, last-note priority; retrig or legato, held-note memory
Unison	Up to 7 grind voices, fixed detune and spread
Glide	0 to 2000 ms, exponential; always or legato-only
Latency	72 samples at any sample rate, reported to the host
Output	Stereo mix, plus Grind and Sub stems for a host’s multi-out
Presets	Plain `.grindsub` files; factory folders and your own
Licensing	Offline, name-stamped `.license` file; 14 days of use; no account, no activation server

One phase, two paths. A single phase accumulator drives both paths, so they never drift, and nothing stereo can reach the sub, so the fundamental stays mono at a known level.
Sub path: sine or triangle, an octave switch, a soft saturator, level to +12 dB, and a release offset so the sub can ring past the grind.
Grind oscillator: its own level, and a four-frame wavetable (saw, folded saw, square, triangle) with the fundamental removed from every frame, so the two paths mix without the low end shifting.
Filter: a keytracked nonlinear state-variable filter. Cutoff is set as an interval (-12 to +60 st) above the played note; keytrack runs 0 to 200%; drive feeds its nonlinearity; at the top of resonance it self-oscillates in tune with the note.
Shaper (per voice): Clip, Tanh, Sine Fold, Linear Fold, or Cubic; drive to 36 dB, a bias for even harmonics, and a dry/wet mix. It runs on each unison voice before they sum.
Grind bus: a cleanup notch on the note with a highpass under it (or a fixed highpass), a two-voice chorus with stereo detune, and a Haas widener with a blend control. None of it touches the sub.
Loudness tilt: per-path gain (-6 to +6 dB/oct) around a pivot note, so a riff plays level across the range without an EQ.
Transients: Knock and Drop drop the sub’s and the grind’s pitch at the front of a note; together they make a kick.
Master: output trim (-24 to +6 dB) and a switchable soft-clip ceiling.

Three sources (LFO, mod envelope, mod wheel) by four targets (WT position, cutoff, resonance, shaper drive): a fixed table of twelve depths. Nothing to patch, only amounts, and each target is clamped to its own knob’s range.
LFO: Note or Free trigger; free-running Hz or tempo-synced beat divisions; triangle, saw, square, or sine. A Free LFO locks to the song position, synced or in Hz, so a bounce matches playback exactly.
Envelope: a full ADSR, the pluck, that moves the cutoff by the same musical interval on every note.

Output sample peak in dB and momentary loudness in LUFS, broadcast-weighted.
A spectrum with markers at the played fundamental and the live filter cutoff.
A correlation meter split just above the note: the sub’s band should pin at +1.000.
A per-note loudness bar per recent note, for setting the tilts.

Monophonic with held-note memory; velocity depth 0 to 100%; pitch bend 0 to 24 st.
Reads notes, pitch bend, the mod wheel (CC1), the sustain pedal (CC64), and the reset and all-notes-off messages (CC120, CC121, CC123).

Offline renders are bit-identical: nothing in the signal path depends on wall-clock time or the host’s block size, so a bounce is the same every time.

The license is a name-stamped .license file, emailed to you (and included as pasteable text). Register by dropping the file on the window, pasting the text, or the dialog’s Load file… picker.
14 days of use trial: the full version, no card, counting only the days you open the plugin.
No account, no activation server, no phone-home; it works offline indefinitely, on any machine you own.