The tape isn't tracking. LOCK destabilises pitch and timing the way a transport losing servo lock does — slow wow, sudden slips, and a recovery that chases the speed back into place.

• · WARP — depth of the pitch/time instability. Low is a gentle drift; high is seasick.
• · SLIP — sudden sync slips on top of the warp — the moment the tape lets go.
• · RECOVER — how aggressively it re-locks after a slip. Fast snaps back; slow leaves the pitch sagging.
• · MIX — blend against dry.

A playback head that's seen too many passes. HEAD rolls off the top end and lets the level and tone drift the way a dirty, magnetised head does.

• · WEAR — head-wear amount: progressive high-frequency dulling and a softer, rounder top.
• · DRIFT — slow tonal/level drift, like azimuth wandering over a long take.
• · MIX — blend against dry.

The broadcast stage. A receiver fighting to hold onto a weak signal: automatic gain control that pumps and breathes, plus intermittent dropouts when the signal cuts out.

• · AGC › PUMP — how hard the automatic gain control rides the level — the classic broadcast "breathing."
• · AGC › SPEED — how fast the AGC reacts. Slow is a gentle swell; fast is audible pumping.
• · DROP › RATE — how often the signal drops out.
• · DROP › DEPTH — how far it drops — a dip, or a full momentary cut.
• · MIX — blend against dry.

The most aggressive module, and the most fun. Bursts of RF interference, a bed of drifting static, and — the centrepiece — TAKEOVER, where a loaded audio file bleeds in and momentarily hijacks the signal, like a second station fighting onto the same frequency. It has its own built-in LFO to modulate the whole thing rhythmically.

• · BURST › RATE / LENGTH — frequency and duration of interference bursts.
• · TAKEOVER › FILE / DEPTH — load any audio file with LOAD; FILE sets its level, DEPTH sets how hard it overtakes the host signal. (CLEAR removes it.)
• · NOISE › FREQ / STATIC / TUNE — the character, level, and pitch of the noise bed.
• · STATIC › DRIFT / SMOOTH — movement and smoothing of the static over time.
• · LFO — opens INTERFERENCE's own modulator, routable to rate, length, freq, and takeover for evolving, rhythmic interference.
• · MIX — blend against dry.

The display end of the chain. Phosphor that's been dulled by years of the same image, cable loss bleeding off the highs, and a touch of mains hum sitting under everything.

• · AGE › DULL — phosphor dulling: the slow loss of brightness and high-end sparkle.
• · AGE › LOSS — cable loss: high-frequency roll-off and softening, as if down a long, cheap run.
• · HEAT › WARM — phosphor warmth — a glowing low-mid lift.
• · HEAT › BUMP — a low-frequency bump for weight and body.
• · MIX — blend against dry.

Where the analog chain hits a failing digital converter. Bit reduction, sample-rate crushing, aliasing, clock jitter, drive and wavefolding — plus a dedicated filter and an internal modulator. CRUSH has an ADVANCED panel with a live CRUSH SCOPE that draws the damaged waveform as crisp vectors so you can see exactly what the converter is doing to your signal.

• · BITS / RATE — bit-depth reduction and sample-rate decimation thresholds.
• · ALIAS / JITTER — aliasing signatures combined with raw clock timing instability grit.
• · DRIVE / FOLD / DITHER — clipping threshold pushes, wavefolding mix balances, and noise metrics.
• · Filter / Mod Mechanics — variable cutoff parameters routed to assignable modulation curves.
• · MIX — blend against dry.

The final stage, and the deepest. LFO TOOLS is two tools in one: a fully-featured LFO that can modulate five aspects of the output, and a three-band transient designer with live metering. It's where you turn static damage into something that breathes, pulses, and hits.

A single LFO with nine shapes — sine, triangle, saw, square, random sample-and-hold, ramp-down, drift, exponential, and stairs — that you can run free or sync to host tempo.

• · SHAPE / SYNC / RATE — pick the waveform, free-vs-host timing structures, and divisions.
• · PHASE / SMOOTH — offset the LFO's start point and smooth its motion from instant to heavily slewed.
• · Five Destinations — depth is the switch. VOL (tremolo), PAN (auto-pan), WIDTH (field breathing), TONE (swept ±15 dB tilt EQ shelf), and WARBLE (pitch tape wow).

Hit the TRANS button and LFO TOOLS becomes a three-band transient shaper with a live "gain applied over time" meter across the top — you watch exactly how much the processor is boosting or cutting, moment to moment, scrolling left to right with now at the right edge.

• · ATTACK / SUSTAIN / DECAY — bipolar parameters governing transient onset, frame body, and tail tighteners.
• · Routing toggle — place the transient shaping either at the LFO INPUT (feeding the modulation) or at the CHAIN END (the very last thing before output).
• · AUTO LEVEL — a soft output ceiling that catches the level when heavy modulation or transient boosting pushes things hot.