HOLD THRU — The new Thru button decides what happens to your playing while a note is held. In Always mode, your playing goes through the rack above the bed, as it always has. In Held only mode, your sound stops at Hold, and the effects continue working only on the frozen note — for when the rack is a bus mounted above the bed and the instrument reaches the PA via another route. Hold continues listening in both directions, so Auto and a re-freeze still pick up what you're playing.

- Scenes and the Macro pad now work with the plug-in window closed — a widget or an automation lane works with or without a screen. - On Hold: Play drops the held bed out and brings it back without capturing anything new, and Layer stacks the note you are playing on top of the one already held. Both are parameters, so a footswitch or a widget can drive them.

Some minor adjustments to the new Hold Effect Compatibility with iPhone Duo

HOLD — freeze the note you are playing. • Freeze holds the note you just played and keeps it going, so you can play over it. • Each scene keeps its own held note, and it travels with your project and your presets. • Freeze All catches the note and the tails — reverb, grains and delay — in one tap. • Latch or Moment: tap to hold, or hold while your finger (or footswitch) is down. • Auto re-catches on every new attack, so the bed follows your chords. • Rise and Tail are separate, and the loop can follow the song's tempo. Also: Fix on Chorus Rate in modes I, II, I+II and Ensemble, and the Reverb Mod Rate.

MULTICHANNEL INTERFACES — Interfaces with more than 2 channels are now recognised, and can be set up to suit what you need. SCENE CHANGES — A scene waits for the next attack to land, and if none comes within 200 ms it lands on its own. A note from your keyboard counts as an attack. Reverb and delay tails leave as tails, with no cut.

- Tremolo, now with a type. Smooth, Opto, Choppy and Harmonic, plus Width, which swings the sound from side to side. - A Stereo switch on the Phaser. On, the phaser opens up the stereo image; off, both sides sweep together and the sweep survives a mono PA. - Dotted notes, triplets and tap tempo. The Delay and every synced modulation gained the dotted quarter and eighth and the quarter and eighth triplets. - Scenes A–F inside your host. The scene is now a parameter: your DAW can automate it, and in AUM, Loopy Pro or Camelot it goes on a footswitch, changing the whole rack with your foot. - Knobs are easy to find. Every parameter carries its effect's name, so searching the host's list for "rotary" brings up that card and nothing else.

• HARMONY — your own voice singing along: Pick an interval and up to three extra voices sing with you — a third, a fifth, an octave above or below — each with its own place in the stereo field. Up or down, they keep the singer's own timbre; Humanize keeps them from sounding like copies, and your lead is not delayed by any of it. • GRANULAR — a cloud made of what you play: It keeps the last seconds of your sound and gives them back as grains: shorter or longer, denser or sparser, transposed, reversed, spread across the stereo field. Freeze holds the cloud so you can play over it. • SEE WHAT YOU ARE EQUALISING: The EQ-5 and the Graphic EQ-12 now draw what is coming in. A flat line means the sound is balanced, so whatever rises above it is what there is too much of. The axis is marked in notes. • NEW BANK: VOICES & CLOUDS: Ten factory presets built around the new effects, each with three ready-made scenes.

• VOICE — a whole vocal channel in one knob - A dedicated rack with everything you need at hand to give your microphone body: low cut, gate, de-esser, compressor and sheen, all set by a single knob. • DOUBLER — two or four more voices - Simulates extra voices singing along, bringing a choir effect to the sound. Nobody comes in exactly on time and nobody tunes exactly the same — that is what makes it sound like people. • NEW CONTROLS ON THE AUDIO INPUT - A mono microphone opens the whole rack in stereo, and auto gain sets your input level by listening to three seconds of your singing. • DUCK ON THE DELAY AND THE REVERB: The tail steps down while you sing and comes back in the gap between phrases — you can use more space without burying the words. • STAGE METERS: Compressor, Noise Gate, De-esser, Limiter and Voice show how much they are holding, in dB. • MIDI LEARN — the pedal's range If you use an expression pedal, you can now set the "from–to" range over which it acts — and flip it, if you want the pedal to close instead of open. IF YOU ARE UPDATING FROM 1.0: The plug-in changed component type in order to receive MIDI from the host, so projects saved with 1.0.x will not find it. Insert Tonic FX again on those tracks and your sound comes back. Projects saved with 1.2.x open normally. Various improvements and fixes

Fixes an error when used on certain types of hosts.

1.2 is about movement and character. - The Rotary cabinet is rebuilt from the geometry — four cabinets, mic in front, behind or both, near to far, deflector, brake, and a fine speed and width trim per rotor. - Four new effects: Throb, Reverse, Frequency Shifter and Call & Response. - The Macro pad gains Corners, so four characters blend under one finger. - And 75 presets in 12 banks, with eight one-tap voicings each on the Compressor and both EQs.

• 5 new effects: Pitch Shifter/Harmonizer, Trance Gate (with a draw-your-own-rhythm mode), De-esser, Lo-Fi/Vinyl, and tape Delay (Wow/Sat) • Reverb: 25% more headroom + an option to pull back the dry signal as the reverb rises • MIDI recall of scenes and presets (CC-learn + Program Change) + Scene morphing • Global Macro/XY: control any two parameters from one pad