Here is the initial build prompt for The Sample Sprayer effect, along with a first follow-up prompt containing some of the necessary additions. The complete effect prompt became too extensive to include in one document. I hope it helps a little.
Best regards
the complete core architecture of a tempo-synchronized 36-voice sample player and Spatial Slice Sprayer for Polyend Endless.
This is PART 1.
Implement the entire sample memory, automatic recording system, timing system, playback engine, audio-quality rules, footswitch behavior and Knob 1.
Reserve:
* Knob 2 for voice/block selection, which will be defined separately in PART 2.
* Knob 3 for the 64-step sequencer system, which will be defined separately in PART 3.
Do not invent additional functions for Knob 2 or Knob 3 yet.
-–
# 1. GLOBAL STRUCTURE
Create:
* 36 independent sample voices
* fixed recording length: exactly 500 ms per sample
* 12 sample blocks with 3 voices each
* 5 internal slices per sample
* exactly 100 ms per slice
* 4/4 meter
* global master tempo
* default tempo: 80 BPM
* 1/16-note master timing grid
* future 64-step / 4-bar sequencer architecture
Keep the external dry input continuously audible and clean.
The sample recorder must capture ONLY the external audio input.
Never record:
* previously recorded sample voices
* internal playback
* Spray processing
* internal sequencer output
* LED behavior
* internal effects
back into the sample memory.
-–
# 2. SAMPLE MEMORY
Organize the 36 sample slots as:
* Block 1: Voices 1–3
* Block 2: Voices 4–6
* Block 3: Voices 7–9
* Block 4: Voices 10–12
* Block 5: Voices 13–15
* Block 6: Voices 16–18
* Block 7: Voices 19–21
* Block 8: Voices 22–24
* Block 9: Voices 25–27
* Block 10: Voices 28–30
* Block 11: Voices 31–33
* Block 12: Voices 34–36
All sample voices are independent.
Never allow one sample voice to choke, mute, restart or interrupt another already-playing sample voice.
Different voices may overlap freely.
-–
# 3. FIXED RECORDING THRESHOLD
The recording threshold is fixed permanently.
Do not assign threshold control to any knob.
Threshold:
* −30 dBFS
Use a stable input envelope detector.
Recommended behavior:
* detector attack: approximately 2–5 ms
* detector release: approximately 30–50 ms
* recording trigger: signal rises above −30 dBFS
* detector low/reset region: approximately −34 dBFS
Use hysteresis to prevent unstable chatter around the threshold.
-–
# 4. AUTOMATIC RECORDING SYSTEM
Record sequentially:
Voice 1 → Voice 2 → Voice 3 → … → Voice 36
Behavior:
1. Wait for the external audio input to exceed −30 dBFS.
2. Immediately start recording the next empty sample slot.
3. Record exactly 500 ms.
4. Automatically stop after exactly 500 ms.
5. Close and activate that sample.
6. Move to the next empty sample slot.
7. If the input remains above −30 dBFS, immediately record the next 500 ms sample.
8. Continue until the signal falls sufficiently below threshold or all 36 slots are full.
Do not require the input to fall below the threshold between consecutive recordings.
A sustained sound above −30 dBFS may therefore automatically fill several consecutive 500 ms sample slots.
Never overwrite an occupied sample slot.
During every recording:
* previously recorded voices remain playable
* future sequencer playback continues
* only the currently recording sample slot is unavailable
* LED lights solid RED for the complete 500 ms recording period
After recording finishes:
* the sample becomes immediately available for playback
Unrecorded sample slots remain completely silent.
-–
# 5. MEMORY FULL
After Voice 36 has been recorded:
* stop further recording
* never overwrite existing samples
* playback continues normally
* all control functions remain available
* LED slowly pulses VIOLET
Recording remains disabled until memory is cleared.
-–
# 6. NORMAL 500 MS SAMPLE ENVELOPE
For complete 500 ms sample playback use:
* attack: approximately 3–5 ms
* full-level body
* smooth release during approximately the final 40–60 ms
Playback must remain click-free.
Do not apply:
* pitch correction
* automatic time-stretching
* ring modulation
* unnecessary distortion
* destructive resampling
-–
# 7. INTERNAL FIVE-SLICE STRUCTURE
Internally divide every 500 ms sample into exactly:
* Slice 1: 0–100 ms
* Slice 2: 100–200 ms
* Slice 3: 200–300 ms
* Slice 4: 300–400 ms
* Slice 5: 400–500 ms
Every slice remains exactly 100 ms long.
Each slice uses:
* attack: approximately 2–4 ms
* release: approximately 8–12 ms
Slices may overlap.
One slice must never cut another slice off.
Tempo changes must never change:
* sample duration
* slice duration
* pitch
* sample playback speed
-–
# 8. KNOB 1 — OVERALL CONCEPT
Knob 1 creates a continuous musical transformation:
NORMAL FULL SAMPLE
→ FAST SLICE SPRAY
→ SLOWER / MORE SPACED SPRAY
→ PROGRESSIVELY MORE REVERSE SPRAY
→ REVERSE FULL SAMPLE
Knob 1 has three main regions:
### Fully left — DEFAULT
Normal complete 500 ms sample playback.
### Main range
Tempo-synchronized five-slice Spray Mode.
### Fully right
Reverse Full-Sample Playback.
There is NO Random Time Division mode on Knob 1.
-–
# 9. KNOB 1 FULLY LEFT — NORMAL FULL SAMPLE
At the fully-left stop:
* disable audible slicing
* every future sequencer trigger plays the complete 500 ms voice
* preserve original pitch
* preserve exact 500 ms duration
Direction probability per active voice:
* 90% forward
* 10% reverse
At the beginning of every bar:
* independently reroll the playback direction for each active voice
Keep that direction stable for the complete bar.
Use a clearly defined dead zone at the far-left stop.
Small knob fluctuations must not accidentally enter Spray Mode.
-–
# 10. FULL-LEFT STEREO SYSTEM
In Normal Full-Sample Mode, the three currently active voices use:
* one voice hard left
* one voice center
* one voice hard right
At the start of every bar:
* randomly redistribute these three positions
* use each position exactly once
* use equal-power panning
* use short click-free transitions
Direction and stereo position are independent.
-–
# 11. ENTERING SPRAY MODE
Moving Knob 1 clockwise away from the left default position activates the five-slice Sprayer.
A future sequencer trigger now starts one complete Spray Burst instead of one continuous 500 ms playback.
Default forward burst:
Slice 1 → Slice 2 → Slice 3 → Slice 4 → Slice 5
Slice 1 begins immediately.
The selected Time Division determines the distance between the START of successive slices.
Every slice remains exactly 100 ms.
-–
# 12. KNOB 1 TIME DIVISIONS
Use these 12 discrete synchronized divisions, from shortest to longest:
1. 1/16
2. 1/8 triplet
3. dotted 1/16
4. 1/8
5. 1/4 triplet
6. dotted 1/8
7. 1/4
8. 1/2 triplet
9. dotted 1/4
10. 1/2
11. dotted 1/2
12. 1 bar
Do not use:
* 1/32
* dotted 1/32
* 1/32 triplet
Use stable knob zones and parameter hysteresis.
The last manual Spray zone before the fully-right Reverse Full-Sample mode is:
* 1 bar
-–
# 13. TIME DIVISION EXAMPLES
At 1/16:
* Slice 1 starts immediately
* Slice 2 starts one 1/16 later
* Slice 3 another 1/16 later
* continue until Slice 5
At 1/4:
* every slice start is separated by one quarter note
At 1 bar:
* Slice 1: immediately
* Slice 2: one bar later
* Slice 3: two bars later
* Slice 4: three bars later
* Slice 5: four bars later
Long Spray Bursts are intentional.
-–
# 14. ONE ACTIVE SPRAY BURST PER VOICE
Allow only one active Spray Burst per individual sample voice.
If the same sample voice receives another sequencer trigger while its current Spray Burst is still active:
* ignore the new trigger
* do not restart
* do not cancel scheduled slices
* do not change its Time Division
* do not change its Forward/Reverse state
* do not change density
* do not change stereo movement
Different sample voices may have simultaneous Spray Bursts.
-–
# 15. PROGRESSIVE SPRAY REVERSE PROBABILITY
The probability that an entire Spray Burst plays backward depends on the selected Time Division.
Use exactly:
* 1/16 = 10% reverse / 90% forward
* 1/8 triplet = 10% reverse / 90% forward
* dotted 1/16 = 10% reverse / 90% forward
* 1/8 = 10% reverse / 90% forward
* 1/4 triplet = 10% reverse / 90% forward
* dotted 1/8 = 10% reverse / 90% forward
* 1/4 = 15% reverse / 85% forward
* 1/2 triplet = 20% reverse / 80% forward
* dotted 1/4 = 25% reverse / 75% forward
* 1/2 = 30% reverse / 70% forward
* dotted 1/2 = 35% reverse / 65% forward
* 1 bar = 40% reverse / 60% forward
Make the Forward/Reverse decision exactly once when a new Spray Burst starts.
Never independently reverse individual slices.
-–
# 16. FORWARD SPRAY
Forward burst:
1 → 2 → 3 → 4 → 5
Every audible slice plays forward.
The chosen state remains fixed for the complete burst.
-–
# 17. REVERSE SPRAY
Reverse burst:
5 → 4 → 3 → 2 → 1
Additionally:
* every individual 100 ms slice is read backward
* omitted slices remain omitted
* pitch stays unchanged
* slice duration remains 100 ms
* the spatial movement is mirrored when appropriate
A burst is either completely Forward or completely Reverse.
Never mix directions randomly inside one burst.
-–
# 18. SPATIAL SPRAY SYSTEM
When Spray Mode is active, replace the normal left/center/right voice placement with per-burst spatial movement.
Each new Spray Burst randomly chooses one stereo gesture.
Use approximately:
* 70% structured spatial gestures
* 30% Free Random Spray
-–
# 19. SPATIAL PATTERNS
### Pattern A — Left to Right
* Slice 1 hard left
* Slice 2 mid-left
* Slice 3 center
* Slice 4 mid-right
* Slice 5 hard right
### Pattern B — Right to Left
Reverse Pattern A.
### Pattern C — Center Explosion
Example:
* Slice 1 center
* Slice 2 moderately left
* Slice 3 moderately right
* Slice 4 hard left
* Slice 5 hard right
Randomly mirror left/right.
### Pattern D — Outside Collapse
Example:
* Slice 1 hard left
* Slice 2 hard right
* Slice 3 mid-left
* Slice 4 mid-right
* Slice 5 center
Randomly mirror.
### Pattern E — Alternating Spray
Example:
* left
* right
* center
* left
* right
Randomly mirror.
### Pattern F — Free Random Spray
Give every slice a new independent random stereo position anywhere from hard left to hard right.
Prefer strong differences between consecutive slices.
Avoid placing all five slices in nearly the same position.
-–
# 20. SPRAY PANNING RULES
Use equal-power panning.
A slice receives its stereo position when it begins.
Keep that position stable during its complete 100 ms playback.
Do not continuously modulate the position of an already-playing slice.
The result should sound spatially scattered and physical, not like nervous stereo jitter.
-–
# 21. VARIABLE SPRAY DENSITY
Not every burst must play all five slices.
Default probabilities:
* 70% = all five slices
* 20% = omit one slice
* 10% = omit two slices
Never play fewer than three slices.
Normally preserve Slice 1.
If slices are omitted, their original timing positions remain empty.
Do not compress the remaining slices together.
-–
# 22. DENSITY FOR SHORT DIVISIONS
For approximately:
* 1/16
* 1/8 triplet
* dotted 1/16
* 1/8
Use:
* 80% all five
* 17% omit one
* 3% omit two
Prefer:
* wide stereo
* Center Explosion
* Alternating Spray
* energetic movement
-–
# 23. DENSITY FOR MEDIUM DIVISIONS
For approximately:
* 1/4 triplet
* dotted 1/8
* 1/4
* 1/2 triplet
* dotted 1/4
Use:
* 70% all five
* 20% omit one
* 10% omit two
Use balanced spatial behavior.
-–
# 24. DENSITY FOR LONG DIVISIONS
For:
* 1/2
* dotted 1/2
* 1 bar
Use:
* 55% all five
* 30% omit one
* 15% omit two
Always preserve Slice 1.
Prefer structured spatial movement over completely free panning.
-–
# 25. SPRAY LEVEL COMPENSATION
Several slices may overlap at short divisions.
Use transparent headroom compensation.
Suggested behavior:
* 1 active slice: 0 dB
* 2 active slices: approximately −1.5 dB
* 3–4 active slices: approximately −3 dB
* 5 or more active slices: approximately −4 to −5 dB
Smooth all gain changes.
Do not create audible compression or pumping.
Use a transparent final limiter only for unexpected peaks.
-–
# 26. KNOB 1 FULLY RIGHT — REVERSE FULL-SAMPLE MODE
At the fully-right stop:
* completely disable audible slicing
* disable Spray Mode for all new triggers
* play complete 500 ms sample voices again
Direction probability:
* 90% reverse
* 10% forward
At every new bar:
* independently reroll the direction of each active voice
* keep that decision stable for the full bar
Reverse playback:
* starts at the end of the 500 ms sample
* plays continuously to the beginning
* remains exactly 500 ms
* remains pitch-stable
* remains click-free
The 10% Forward exception plays the complete sample normally.
-–
# 27. FULL-RIGHT STEREO SYSTEM
Use the same basic stereo architecture as the fully-left Normal mode.
The three active voices occupy:
* hard left
* center
* hard right
At every bar:
* randomly redistribute these positions
* each position must be used once
* use equal-power panning
* apply smooth transitions
Stereo position is independent from playback direction.
-–
# 28. FULL-RIGHT RANDOM GAIN MOVEMENT
Add an additional dynamic behavior ONLY to the fully-right Reverse Full-Sample mode.
At the beginning of every bar:
Assign every currently active sample voice its own independent random gain offset.
Range:
* minimum: −4 dB
* maximum: +4 dB
The random value may be any value within this range.
Example:
Bar 1:
* Voice A = −2.7 dB
* Voice B = +3.1 dB
* Voice C = +0.5 dB
Bar 2:
* Voice A = +1.8 dB
* Voice B = −3.6 dB
* Voice C = +3.9 dB
Bar 3:
* new independent values again
Rules:
* reroll every voice independently
* reroll exactly once per bar
* hold the selected gain value stable for the complete bar
* do not continuously fluctuate during the bar
* smooth each gain transition over approximately 20–40 ms
* never create clicks
* never create zipper noise
* do not create tremolo
The random gain behavior applies to all active voices in the fully-right mode, including a voice that receives the 10% Forward exception.
Gain variation and playback direction are independent random processes.
Gain variation and stereo position are also independent.
This creates constantly shifting foreground/background relationships between the reverse-oriented voices.
Use adequate headroom because several voices may simultaneously receive positive gain values.
The final safety limiter must prevent overload without audible pumping.
-–
# 29. TRANSITIONS BETWEEN KNOB 1 STATES
When Knob 1 changes state:
Never abruptly terminate already-playing audio.
### Normal → Spray
Complete samples already playing finish naturally.
Only new triggers start Spray Bursts.
### Spray division change
Active bursts retain their original division.
Only new bursts use the new division.
### Spray → Fully-right Reverse
Existing Spray Bursts finish naturally.
Only new triggers use complete Reverse Full-Sample playback.
### Fully-right Reverse → Spray
Complete samples already playing finish naturally.
Only new triggers use the selected Spray division.
### Fully-right Reverse → Fully-left Normal
Already-playing samples finish naturally.
New triggers use Normal Full-Sample behavior.
-–
# 30. FOOTSWITCH — TAP TEMPO
Double short press:
Set global Tap Tempo.
Interpret the interval between two short presses as one quarter note.
Tempo range:
* approximately 40–200 BPM
Default:
* 80 BPM
Tempo controls:
* master 1/16 grid
* future 64-step sequencer
* Spray Time Divisions
* bar boundaries
* future Knob 2 random timing
* future Knob 3 preset timing
Tempo never changes:
* 500 ms sample duration
* 100 ms slice duration
* pitch
* playback speed
A single isolated short press has no function.
-–
# 31. FOOTSWITCH — LONG PRESS / CLEAR MEMORY
Long press approximately 1 second:
1. smoothly fade all currently playing sample audio over approximately 200–300 ms
2. cancel all active Spray Bursts
3. stop sample sequencer playback
4. clear all 36 sample slots
5. reset recording pointer to Voice 1
6. reset sequence position to Step 1
7. reset all random states
8. LED returns to solid WHITE
9. re-arm the −30 dBFS recording detector
Do not interpret a long press as Tap Tempo.
-–
# 32. GLOBAL AUDIO QUALITY
Prioritize high-quality clean playback.
Avoid:
* clicks
* zipper noise
* uncontrolled clipping
* unintended ring modulation
* metallic resampling artifacts
* accidental pitch shifting
* internal feedback
* recorded internal playback
* recorded sequencer output
* unnecessary heavy compression
Use suitable interpolation for reverse and normal playback.
Maintain sufficient internal headroom.
The creative character should come from:
* sequencing
* sample fragmentation
* Time Division
* progressive reverse probability
* spatial redistribution
* variable density
* dynamic voice interaction
not from low-quality DSP artifacts.
-–
# 33. PART 1 CONTROL SUMMARY
## Knob 1
Fully left:
* complete 500 ms playback
* 90% forward / 10% reverse
* normal three-position stereo system
Main range:
* five-slice Spray
* Time Division from 1/16 to 1 bar
* increasing Reverse Probability from 10% up to 40%
* dynamic stereo gestures
* variable density
Fully right:
* complete 500 ms playback
* 90% reverse / 10% forward
* normal three-position stereo system
* every active voice receives a new independent random gain between −4 and +4 dB every bar
## Footswitch
* Double short press = Tap Tempo
* Long press = clear all 36 samples
* Single short press = no function
Do not define Knob 2 or Knob 3 beyond reserving them for PART 2 and PART 3.
Spray36 Recorder is ready: dry-through input with an automatic 36-slot input recorder and a trigger-ready full/spray playback engine scaffold.
Includes continuous clean external input passthrough, an input-only 36-slot recorder (500 ms per slot, split into 5×100 ms slices), independent full/spray playback engine scaffolding, tempo-clocked bar/16th/64-step timing state, headroom compensation, and final safety limiting. Footswitch: single short press = no function; double short press = tap tempo (clamped ~40–200 BPM); long press (~1 s) = clear memory routine with sample-engine fade-out, burst cancel, state reset, and detector re-arm.
- SprayMorph (0.0–1.0): Left = full mode, center = spray divisions, right = reverse full mode for new triggers.
- BlockSel (0–11, integer): Reserved block/voice selector for a future sequencer part.
- SeqReserve (0.0–1.0): Reserved sequencer control for a future part.
- Short press: Tap tempo (double short press).
- Long press: Clear memory routine (~1 s long press): fade-out, cancel burst, reset state, re-arm detector.
Download effectShare
Add the following features only.
Do not change, remove, overwrite, or reinterpret any other existing settings or behaviors from the previous prompt: PART 2 — KNOB 2 VOICE SELECTION
Modify the existing 36-Voice Spatial Sample Sprayer created in PART 1.
Add ONLY the Knob 2 voice-selection system described below.
Do not alter:
* recording
* −30 dBFS threshold
* sample lengths
* Knob 1
* Slice Sprayer
* progressive Reverse Probability
* fully-right Knob 1 Reverse mode
* random −4 to +4 dB gain behavior
* Tap Tempo
* footswitch
* audio-quality rules
Knob 3 will be defined separately in PART 3.
-–
# 1. KNOB 2 STRUCTURE
Knob 2 has three functional areas:
### Fully left
FREE VOICE RANDOM MODE
### Main range
MANUAL BLOCK SELECTION
### Fully right
RANDOM BLOCK MODE
-–
# 2. SAMPLE BLOCKS
The existing 36 voices are grouped into:
1. Block 1 = Voices 1–3
2. Block 2 = Voices 4–6
3. Block 3 = Voices 7–9
4. Block 4 = Voices 10–12
5. Block 5 = Voices 13–15
6. Block 6 = Voices 16–18
7. Block 7 = Voices 19–21
8. Block 8 = Voices 22–24
9. Block 9 = Voices 25–27
10. Block 10 = Voices 28–30
11. Block 11 = Voices 31–33
12. Block 12 = Voices 34–36
Only three sample voices are selected for new sequencer triggers at one time.
Existing audio may continue even if its voice is no longer selected.
-–
# 3. MANUAL BLOCK SELECTION
Use the main Knob 2 range to select one complete block.
Divide the range into 12 stable zones.
Each zone selects one of Blocks 1–12.
A manual block change becomes active at the next bar boundary.
Do not restart:
* master clock
* sequencer position
* active complete samples
* active Spray Bursts
Existing audio finishes naturally.
Only new sequencer triggers use the newly selected block.
-–
# 4. MANUAL BLOCK PLAYBACK
When a block is selected, the future sequencer lanes A, B and C correspond to its three voices.
Example:
Block 4:
* Lane A = Voice 10
* Lane B = Voice 11
* Lane C = Voice 12
All three may be triggered simultaneously.
No voice may choke another voice.
-–
# 5. KNOB 2 FULLY RIGHT — RANDOM BLOCK MODE
At the fully-right stop:
Activate Random Block Mode.
Every 2 bars:
* randomly choose one complete predefined block
* quantize selection exactly to the 2-bar boundary
Examples:
* Block 2 → Voices 4–6
* Block 8 → Voices 22–24
* Block 11 → Voices 31–33
Keep the three neighboring voices of a block together.
Rules:
* always select one complete block
* choose a new block every 2 bars
* avoid immediately repeating the same block whenever possible
* skip completely empty blocks if recorded blocks are available
* never restart the sequencer
* never cancel existing audio
* never cancel active Spray Bursts
Only new triggers use the new block.
-–
# 6. KNOB 2 FULLY LEFT — FREE VOICE RANDOM MODE
At the fully-left stop:
Temporarily ignore the fixed block grouping.
Select exactly three independent sample voices freely from the entire pool of Voices 1–36.
The voices may come from completely unrelated blocks.
Examples:
* Voice 2 + Voice 17 + Voice 35
* Voice 5 + Voice 19 + Voice 24
* Voice 1 + Voice 16 + Voice 23
* Voice 8 + Voice 10 + Voice 32
These examples are not fixed combinations.
Any valid three-voice combination is allowed.
-–
# 7. FREE VOICE RANDOM TIMING
Select a new free three-voice combination every 2 bars.
Quantize the change exactly to a 2-bar boundary.
Do not change voices halfway through a bar.
Do not restart the master sequencer.
-–
# 8. FREE VOICE RANDOM RULES
Every new selection must:
* contain exactly three different voices
* never select the same sample voice twice within the group
* allow several voices from the same original block
* allow voices from completely unrelated blocks
* avoid repeating exactly the same three-voice combination twice in succession
* prefer recorded voices
* skip empty sample slots whenever possible
If fewer than three sample voices currently exist:
* use every available recorded voice
* leave unused lanes silent
Never generate noise from an empty sample slot.
-–
# 9. LANE ASSIGNMENT
For a Free Voice Random selection:
* first selected voice = Lane A
* second selected voice = Lane B
* third selected voice = Lane C
These lanes are then controlled by the sequencer architecture added in PART 3.
-–
# 10. INTERACTION WITH KNOB 1
Knob 2 only determines WHICH three voices receive new triggers.
Knob 1 determines HOW those selected voices play.
Therefore:
### Knob 1 fully left
Selected voices use complete Normal Full-Sample Playback.
### Knob 1 Spray range
Selected voices use the current five-slice Spray behavior.
### Knob 1 fully right
Selected voices use complete Reverse Full-Sample Playback with:
* 90% reverse
* 10% forward
* random −4 to +4 dB gain per voice every bar
Knob 2 must never alter Knob 1 behavior.
-–
# 11. CHANGE PROTECTION
When Knob 2 changes the selected voices:
* already-playing full samples finish naturally
* active Spray Bursts finish naturally
* already-scheduled slices remain valid
* only future sequencer triggers use the new voices
Never abruptly mute old voices because Knob 2 selects a new group.
-–
# 12. KNOB 2 SUMMARY
### Fully left
Free Voice Random Mode.
* select three independent voices from anywhere among Voices 1–36
* new combination every 2 bars
### Main range
Manual Blocks 1–12.
* each block contains three neighboring voices
### Fully right
Random Block Mode.
* choose one complete predefined block every 2 bars
The musical distinction must remain very clear:
FULLY LEFT = freely combine any three voices
FULLY RIGHT = keep one predefined three-voice block together
Spray36 Recorder adds Knob 2 lane routing for sequencer-ready triggering.
Lane A/B/C map to laneVoice[3] with boundary-quantized commits only: manual changes apply at the next bar, while free/random changes update on 2-bar boundaries. Existing recording and playback behavior (spray/reverse/full), tempo and footswitch logic, and the set of active playing voices are unchanged. Short press behavior remains the same (double-short = tap tempo), and long press behavior remains the same (memory clear with the fade/reset routine).
- SprayMorph (0.0–1.0): Unchanged; left = full, center = spray divisions, right = reverse full for new triggers.
- BlockSel (0.0–1.0): ≤0.05 free 3-voice random every 2 bars; 0.05–0.95 manual 12-block zones with hysteresis (committed at next bar); ≥0.95 random block every 2 bars.
- SeqReserve (0.0–1.0): Reserved for future sequencer control.
- Short press: Unchanged (double-short press = tap tempo).
- Long press: Unchanged (memory clear with fade/reset routine).
Download effectShare
Add the following features only.
Do not change, remove, overwrite, or reinterpret any other existing settings or behaviors from the previous prompt:# PART 3 — KNOB 3 / 64-STEP SEQUENCER
Modify the existing 36-Voice Spatial Sample Sprayer created in PART 1 and PART 2.
Add ONLY the Knob 3 sequencer system described below.
Do not alter:
* recording architecture
* −30 dBFS threshold
* sample memory
* Knob 1
* Spray behavior
* Reverse probabilities
* fully-right Reverse Full-Sample mode
* random −4 to +4 dB gain system
* Knob 2
* Tap Tempo
* memory clearing
* audio routing
-–
# 1. GLOBAL SEQUENCER ARCHITECTURE
Create a tempo-synchronized four-bar step sequencer.
Structure:
* meter: 4/4
* 16 steps per bar
* 64 steps total
* resolution: 1/16 note
* exact synchronization to the global Tap Tempo master clock
Every one of the 36 sample voices has its own independent 64-step trigger lane.
Only the three voices currently selected by Knob 2 receive audible new triggers.
The corresponding active voices become:
* Lane A
* Lane B
* Lane C
All three lanes may trigger simultaneously.
-–
# 2. INTERACTION WITH KNOB 1
A sequencer trigger activates different playback according to Knob 1:
### Knob 1 fully left
Trigger the complete 500 ms sample.
### Knob 1 Spray range
Trigger one complete five-slice Spray Burst.
### Knob 1 fully right
Trigger the complete 500 ms Reverse-oriented sample mode.
Do not choke existing audio.
-–
# 3. KNOB 3 STRUCTURE
Knob 3 has three functional areas:
### Fully left
AUTOMATIC RANDOM PRESET SELECTION
### Main range
MANUAL PRESET SELECTION — Presets 1–20
### Fully right
GENERATIVE SEQUENCE MODE
-–
# 4. MANUAL PRESET RANGE
Divide the normal Knob 3 range into 20 stable zones.
Each zone selects one of Presets 1–20.
Preset changes must remain synchronized.
Do not:
* restart master tempo
* abruptly stop samples
* cancel active Spray Bursts
A new preset controls future triggers.
-–
# 5. PRESET 1 — ELECTRO FOUNDATION
Stable mechanical electro structure.
Lane A:
* strong quarter-note foundation
Lane B:
* offbeat eighth-note responses
Lane C:
* sparse syncopated accents
Bar 4:
* add a short controlled 1/16 fill
Keep the rhythm simple and recognizable.
-–
# 6. PRESET 2 — ELECTRO ALTERNATOR
Call-and-response electro.
* Lane A dominates Bars 1 and 3
* Lane B dominates Bars 2 and 4
* Lane C inserts sparse answers
* final section of Bar 4 rapidly alternates A → B → C
-–
# 7. PRESET 3 — MOTORIK CIRCUIT
Create continuous electronic forward motion.
* Lane A = repeating eighth-note pulse
* Lane B = displaced eighth-note pulse
* Lane C = selected 1/16 accents
* Bar 4 becomes moderately denser
-–
# 8. PRESET 4 — BROKEN ELECTRO
Mechanical but incomplete rhythm.
* Lane A emphasizes downbeats
* Lane B uses syncopated 1/16 triggers
* Lane C creates irregular short bursts
* every bar contains a related variation
Avoid uncontrolled random triggering.
-–
# 9. PRESET 5 — ELECTRO CASCADE
Create cascading movement between the three voices.
Typical structure:
A → B → C
with one or two steps between successive triggers.
Bar 4:
* use faster cascading sequences
-–
# 10. PRESET 6 — IDM FRACTURE
Create an irregular mathematical structure.
* Lane A uses approximately five-step spacing
* Lane B uses approximately seven-step spacing
* Lane C adds occasional simultaneous accents
The structures naturally realign when the four-bar / 64-step cycle restarts.
-–
# 11. PRESET 7 — IDM MICRO-CUT
Detailed fragmented rhythm.
Use:
* short two-trigger clusters
* isolated displaced triggers
* occasional three-trigger bursts
* substantial silence between clusters
Do not create continuous 1/16 activity.
-–
# 12. PRESET 8 — IDM ASYMMETRY
Use uneven grouping concepts such as:
* groups of 3
* groups of 5
* groups of 7
Each lane follows a different grouping.
Avoid conventional drum-machine symmetry.
Bar 4 briefly allows the three patterns to converge.
-–
# 13. PRESET 9 — IDM GLITCH ORBIT
Triggers circulate between voices.
Typical motion:
A → B → C → A → B → C
Usually one voice at a time.
Occasionally allow:
* A+B
* B+C
* A+C
Bar 4 becomes more fragmented.
-–
# 14. PRESET 10 — IDM COLLAPSE
Progressively increase complexity across four bars.
Bar 1:
* sparse
Bar 2:
* medium density
Bar 3:
* irregular overlapping activity
Bar 4:
* dense fragmented pattern
Finish with a short silence before the next cycle.
-–
# 15. PRESET 11 — DUBSTEP HALF-TIME
Slow, heavy, spacious half-time behavior.
* Lane A emphasizes major downbeats
* Lane B responds around Beats 2 and 4
* Lane C creates sparse pickup events
Leave substantial empty space.
-–
# 16. PRESET 12 — DUBSTEP DROP
Four-bar build and drop.
Bar 1:
* sparse
Bar 2:
* increased syncopation
Bar 3:
* build tension
Bar 4:
* dense three-voice drop
-–
# 17. PRESET 13 — DUBSTEP STAGGER
Offset rhythm with long gaps.
* Lane A contains widely spaced strong triggers
* Lane B answers slightly around those positions
* Lane C creates short staggered fills
Avoid continuous triggering.
-–
# 18. PRESET 14 — DUBSTEP PRESSURE
Progressive tension structure.
Bars 1–3:
* gradually add triggers
* progressively increase Lane C activity
Bar 4:
* stronger synchronized release
End with a small silent gap.
-–
# 19. PRESET 15 — DUBSTEP SHUFFLE GRID
Remain locked to the straight 1/16 master grid.
Create the perception of shuffle only through trigger placement.
* Lane A = sparse and heavy
* Lane B = displaced offbeats
* Lane C = short double-trigger accents
Do not introduce unsynchronized timing offsets.
-–
# 20. PRESET 16 — SHOEGAZE PULSE
Slow floating repetitive structure.
* Lane A approximately one trigger every half bar
* Lane B sparse offbeat triggers
* Lane C one or two triggers per bar
Allow overlap between samples and Spray Bursts.
This preset should work especially well with long Knob 1 divisions.
-–
# 21. PRESET 17 — SHOEGAZE SWELL
Gradual density increase.
Bar 1:
* mainly Lane A
Bar 2:
* introduce Lane B
Bar 3:
* all three lanes
Bar 4:
* broad overlapping texture
-–
# 22. PRESET 18 — SHOEGAZE WAVES
Alternate activity and silence.
Within each bar:
* first region = clustered triggers
* later region = reduced or silent
Change the dominant lane from bar to bar.
Bar 4 combines the wave structures.
-–
# 23. PRESET 19 — SHOEGAZE WALL
Create dense overlapping texture.
* frequent simultaneous triggers
* different repetition spacing for each lane
* retain occasional empty spaces
Avoid permanent full-grid triggering.
The sound should feel dense but still breathe.
-–
# 24. PRESET 20 — SHOEGAZE DISSOLVE
Gradually reduce density.
Bar 1:
* high density
Bar 2:
* medium density
Bar 3:
* fragmented
Bar 4:
* only isolated triggers
Keep the final quarter note silent before the cycle restarts.
-–
# 25. KNOB 3 FULLY LEFT — AUTOMATIC RANDOM PRESET MODE
At the fully-left stop:
Randomly select only from the existing Presets 1–20.
Do not generate new patterns in this mode.
The timing of preset changes depends on BPM.
-–
# 26. RANDOM PRESET RATE BELOW 100 BPM
When tempo is below 100 BPM:
* choose a new random preset every 1 bar
Examples:
* 60 BPM = every bar
* 80 BPM = every bar
* 99 BPM = every bar
-–
# 27. RANDOM PRESET RATE AT 100 BPM OR ABOVE
When tempo is 100 BPM or higher:
* choose a new random preset every 2 bars
Examples:
* 100 BPM = every 2 bars
* 120 BPM = every 2 bars
* 160 BPM = every 2 bars
The transition point is exactly 100 BPM.
-–
# 28. RANDOM PRESET CHANGE RULES
At each random preset change:
* choose Preset 1–20
* avoid immediately selecting the same preset again
* remain exactly on the 1/16 master grid
* do not restart the global 64-step position
* do not stop currently sounding audio
* do not cancel active Spray Bursts
The new preset enters at the corresponding current position of the four-bar master cycle.
Example:
If the change happens at the beginning of Bar 3:
Use Bar 3 of the newly selected preset.
Do not restart it from Bar 1.
This allows different presets to splice together continuously.
-–
# 29. KNOB 3 FULLY RIGHT — GENERATIVE SEQUENCE MODE
At the fully-right stop:
Activate Generative Sequence Mode.
This must be clearly different from the fully-left Random Preset Mode.
Fully left:
* selects an existing preset unchanged
Fully right:
* creates a newly generated variation
-–
# 30. GENERATIVE PATTERN CREATION
At the beginning of every new four-bar cycle:
1. randomly choose one of the 20 preset families as the structural basis
2. create a new four-bar variation
3. generate exactly 64 steps
4. maintain independent trigger behavior for the 36 voice lanes
5. preserve the recognizable musical character of the selected family
6. vary:
* trigger positions
* density
* rests
* fills
* simultaneous events
Play that generated pattern for one complete four-bar cycle.
At the next four-bar boundary:
Generate another variation.
Avoid generating exactly the same variation twice in succession.
-–
# 31. GENERATIVE MODE LIMITS
Every generated sequence must be:
* exactly 4 bars
* exactly 64 steps
* 1/16-note resolution
* synchronized to global tempo
* free from arbitrary off-grid timing
* free from audio-rate retriggering
Suggested density per active voice over four bars:
* minimum approximately 4 triggers
* maximum approximately 32 triggers
Allow:
* sparse patterns
* silence
* simultaneous voices
* dense fills
Do not permanently activate every 1/16 step unless the chosen musical family specifically calls for extreme density.
-–
# 32. INDEPENDENT 36-VOICE LANES
Although only three voices are selected by Knob 2 at a time, maintain independent sequencer information for all 36 sample voices.
This is especially important in Generative Mode.
When Knob 2 changes voices:
* newly selected voices immediately use their corresponding sequencer information
* existing playback from previous voices finishes naturally
-–
# 33. INTERACTION WITH KNOB 2 RANDOM MODES
Knob 3 must work identically with:
* manually selected Knob 2 blocks
* Knob 2 Free Voice Random Mode
* Knob 2 Random Block Mode
Knob 3 only determines WHEN the selected voices trigger.
Knob 2 determines WHICH voices are active.
Knob 1 determines HOW the triggered voices play.
Keep these three responsibilities independent.
-–
# 34. FINAL THREE-KNOB LOGIC
## KNOB 1 = PLAYBACK CHARACTER
Controls:
NORMAL
→ SLICE SPRAY
→ progressively more Reverse Spray
→ REVERSE FULL SAMPLE
-–
## KNOB 2 = SAMPLE SELECTION
Controls:
FREE RANDOM VOICES
→ MANUAL BLOCKS 1–12
→ RANDOM COMPLETE BLOCKS
-–
## KNOB 3 = RHYTHMIC STRUCTURE
Controls:
RANDOM EXISTING PRESETS
→ MANUAL PRESETS 1–20
→ GENERATIVE 64-STEP VARIATIONS
-–
# 35. FINAL MUSICAL INTENTION
The three controls must behave independently but interact musically:
Knob 2 chooses the source material.
Knob 3 decides when that source material is activated.
Knob 1 decides whether the triggered material remains intact, becomes spatially fragmented, becomes increasingly reverse-oriented, or returns as a complete reverse sample.
The result should remain:
* synchronized
* playable
* spatial
* unpredictable within controlled boundaries
* suitable for Electro
* IDM
* Dubstep
* Shoegaze
* Ambient
* experimental electronic music
Do not allow randomization to destroy the underlying rhythmic structure.
Spray36 Recorder now includes a tempo-synced 4/4, 64-step (4-bar) sequencer running on the master 1/16 clock, triggering Lanes A/B/C via the existing Knob 2 lane-voice mapping.
Sequencer position is preserved across mode/preset changes. Knob 1 playback behavior is unchanged (full/spray/reverse, burst lockout, reverse gain randomization). SeqReserve adds random/manual/generative preset selection with bar-quantized commits; long-press reset now also resets sequencer step and its random/generative state before resuming.
This is very helpful. And interestingly, it looks a lot like how I’ve structured many of my failed attempts to create something interesting.