Grains on the count.
Free-running granular turns everything into a wash. GRUS fires grains on a grid locked to the host tempo — 1/4 down to 1/32 with triplets — always on the count and by probability in between.

Granular that stays in time and in key. Grains on the grid, pitched from a chord, never random.
01ClickTap the numbers 01–04 in the picture to see what each part does
Free-running granular turns everything into a wash. GRUS fires grains on a grid locked to the host tempo — 1/4 down to 1/32 with triplets — always on the count and by probability in between.

Fifths, minor, sus or octaves, across two octaves — instead of a random pitch inside a range. One knob crossfades between the chord and the scatter.

GRUS watches the input for attacks and fires a burst of grains exactly where the attack sits. That is why the source keeps its groove instead of dissolving.

SPARSE, CLOUD, CHAOS, FROZEN, BRUTAL. MORPH pushes density, grain length, spray, pitch range, reverse share, fold, filter, drive, feedback and the grid all at once.

A modulation matrix built for granular. Four LFOs, a sixteen-step sequencer, an envelope follower, TIDE — one long arc across up to thirty-two bars — and GRAIN, a source that gives every single grain its own value. Ten slots, twenty targets.
SEQ → MIXLFO 1 → FILTERTIDE → SPRAY
Running · a 120 BPM loop through itEvery control and the modulation matrix are in the manual. Manual (PDF)

Fourteen families. Every tile draws a small picture from the preset's own values — grains on the grid sit in an even row, a loose cloud scatters. 234 of the 244 come with their modulation already set.
All of it comes out of the same engine the plugin runs, driven by the same 120 BPM loop. Nothing was sweetened afterwards: no reverb, no mastering, no edit.
Switch while it plays: both versions run in sync, so it crossfades at the same spot.






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Five scenes, 244 presets and a modulation matrix with ten slots. Runs on macOS and Windows.