Catalog
74 Effects
Every effect runs on the four-bus chain (clip / layer / track / set) with pre-or-post placement, a per-effect dry/wet mix, and audio-bindable parameters. Layers composite through 24 blend modes — or flip any layer into a luma mask for the one below. Use effects stand-alone or stack them — the engine batches into a single per-frame draw graph.
Beat
Camera
Color
Multiply/screen/overlay a solid color.
Blend mode + color picker — tints the layer for instant mood shifts. Drive the color via Random-on-Beat for chaos.
Cycle the entire hue spectrum over time.
Time-driven hue rotation. Bind speed to a band or sweep for synced color drift, or flip on Beat Sync to reinterpret speed as cycles-per-beat locked to the live BPM.
Two sliders for the two most-used adjustments.
Linear brightness offset followed by a contrast multiplier around the 0.5 pivot. Both params are audio-bindable so the kick can pump the brightness.
Crush to grayscale or push hyper-saturated.
Mixes luminance toward / away from RGB. 0 = grayscale, 1 = no change, 2-3 = neon. Audio-bindable for beat-driven color pulses.
Black point / white point / gamma — the photo-editor classic.
Remap the input range with optional gamma curve. Use it to crush blacks for cinematic looks or lift shadows on dark footage.
Color negative — partial or full.
Inverts each RGB channel, blended with the original by an amount param. Audio-bindable for "flip on beat" effects.
Old-photo brown tones.
Standard sepia matrix with adjustable mix. Pairs nicely with Film Grain + Vignette for a vintage look.
Map luminance to a two-color gradient.
Shadows pick one color, highlights pick another, the middle interpolates. Spotify-style poster look.
Invert pixels above a threshold.
Classic photographic solarization — only pixels brighter than the threshold flip, producing surreal color tears.
One-stop exposure / contrast / saturation / hue / gamma panel.
Combined panel for the six core photo-style controls in a single effect, in the standard pre-grading order: exposure → brightness → contrast → saturation → hue → gamma. Use it when you want a single grading node instead of stacking three effects.
Channel-mixer monochrome with optional tint.
Photoshop-style B&W with adjustable red/green/blue luminance weights plus a tint color. Lets you keep red blood vivid in monochrome footage or push a cyanotype look.
Compositing
Drop a color (green/blue) to transparent.
Standard chroma key with soft-edge tolerance, despill, and edge feather. Use it on a webcam layer to composite a performer over the rest of the deck.
Drop pixels by brightness — the loop-pack staple.
Keys out pixels by luminance instead of color: darks (or lights, via invert) go transparent and the layers below show through. Made for the white-on-black loop packs the VJ world runs on. Both thresholds are audio-bindable so the key can breathe with the music, and a matte view shows the raw alpha while you dial it in.
Distort
Domain-warp distortion.
Animated 2D noise field warps the UVs. Slow + low amount = subtle melt; high = full liquefy. Speed binds to audio nicely.
Recursive frame feedback loop.
Mixes the previous output back into the current frame with adjustable decay, rotation, and zoom. Drives every classic infinite-tunnel / trail-tail effect. Set decay low for trails, high for full echo runaway.
Time-displaced rolling scan.
Each row (or column) samples a different frame in time, producing the famous "time-smear" effect. Direction + speed are tunable.
Droste-style recursive frame-in-frame fractal.
Each iteration samples the previous composite at a scaled-and-rotated UV, producing a spiraling frame-within-frame infinity-mirror look. Up to 8 iterations.
Rect ↔ polar coordinate warp.
Wraps the rectangular frame into a circle (or unwraps a circle into a strip). The basis for cylinder maps and ring distortions.
Vortex around the center, falling off with radius.
Angular displacement scaled by a falloff curve. Tight twists at center, untouched at the edges. Audio-bind the angle for slow vortex breathing.
Concentric wave displacement from a center point.
Sine wave radiating outward, amplitude / frequency / speed all tunable. Center is movable so the ripple can originate from a face or focal point.
Lens-style center distortion — fish-eye out or vortex in.
Positive amount = bulge (fish-eye), negative = pinch (vortex). Radius controls the falloff so the corners stay put.
Sine wave horizontal / vertical roll.
Animated sine displacement along one or both axes. Slow + low amplitude = drunk camera; fast + high = water surface.
Animated 2D noise warps the UVs.
Pure procedural Perlin-style noise field drives the displacement. Different from Liquid Warp — no prior-frame feedback, so abrupt amount changes are clean.
Multiple offset copies for a trailing echo.
Up to 8 echoes, each offset further and decayed. Cheap "ghost trail" without keeping prior frames — looks great with audio-bound offset.
Long-decay motion trails with a persistent history buffer.
Distinct from Feedback — Ghost keeps its own swap-pair of history RTs so the trail isn't disturbed by downstream effects. Bright-pixel maximum-of-history accumulator.
Hazy FBM domain-warp with soft glow and chroma drift.
A flowing animated FBM noise field domain-warps the image while a gentle multi-tap glow and radial chromatic separation soften it into a dreamy, lava-lamp drift. Flow Speed sets the drift rate, Noise Scale the cell size; Warp, Glow, and Chroma are all audio-bindable, and Audio Drive pushes the whole thing harder with overall level for a breathing look.
Filter
Gaussian, directional, radial, and zoom blur in one node.
Four modes: the classic two-pass Gaussian, a directional smear with a steerable (audio-bindable) angle, a radial spin around a movable center, and a zoom blur along the ray to center. Onset-bind the amount in zoom mode for the classic beat-punch zoom.
Soft edge darkening.
Radial fade-to-black around the frame edges. Tunable falloff + offset.
Sobel-style outline extraction.
Highlights luminance gradients. Useful for line-art stylization on video sources, or as a feed into ASCII.
Single-pass fast-approximate antialiasing for soft, edge-smoothed output.
Post-process antialiasing — one fullscreen pass that smooths jagged edges left over after the effect chain. Complements the per-layer MSAA the engine already runs by 4× on source render targets. Use it on the Set bus to clean up shader/text silhouettes that survive downstream effects like RGB Shift or Pixelate.
Unsharp 3×3 detail enhancement.
Classic center-weighted sharpen kernel. Pushes high-frequency detail without amplifying compression noise as aggressively as Edge Detect would.
Geometry
Reflect across an axis or plane. Six modes including single-plane and dual-plane kaleidoscope.
Six modes: horizontal fold, vertical fold, quad fold, single-plane (any angle), dual-plane, and full radial kaleidoscope. Both plane angles are audio-bindable so slow rotation comes for free.
Radial slice fold.
Polar fold over N radial slices with adjustable rotation. Different from Mirror — this is the symmetric, multi-segment classic kaleido. Audio-bind the rotation for a slow trip.
Translate, scale, rotate.
Affine transform on the source — pre-bake a slow drift or use it as a beat-pop scale.
Repeat the frame in a grid.
NxM tiling with optional per-tile flip or rotation. Quick way to multiply density.
Split the frame into bands.
Vertical or horizontal bands with optional independent flipping. Subtle when narrow, aggressive when wide.
Per-axis non-uniform scale + warp.
Squash and stretch with rubber-band easing. Fast on the beat = beat-bounce.
Glitch
Chromatic aberration — separate the red/green/blue channels.
Offsets each channel by a small vector. Tasteful at low amounts, broken-CRT at high. Pairs nicely with Scanlines + Bad TV. 3.0.10 adds a Radial (Lens) mode where the fringing grows toward the frame edge along the radial direction — real lens-dispersion rather than a uniform shift — with edge-bias and falloff shaping the ramp. Linear mode keeps the original directional offset.
Datamosh-style horizontal slice tears.
Randomized horizontal displacement bands. Onset-bind the intensity for a "glitch only on the beat" feel that doesn’t fatigue.
Glitch-art rowwise sort — now a smooth graded ramp.
Sorts contiguous in-range runs along rows or columns to give the molten "stretched data" look. 3.0.10 swaps the old single-sample streak for a graded monotonic ramp — each run blends as a weighted gradient (nearer pixels weigh more) for smooth bands instead of harsh stripes. Sort by luma, hue, or saturation; Smear blends the graded run back toward the source, and Invert flips the threshold gate.
Pure snow / static — mono or color.
Animated random noise mixed over the input. Toggleable between mono (broadcast snow) and full-RGB (color static).
Two offset semi-transparent copies of the frame.
Simple drunk-cam doubling. Audio-bind the offset and the image wobbles in and out of focus.
Corrupted-codec smear — motion vectors over stale frames.
Fakes a broken video codec: macroblocks of the previous frame are dragged along held random motion vectors over stale data, with chroma separation and random scanline dropout on top. A persistence control sets how long the smear hangs on; beat onsets fire bursts that widen the moving-block fraction, and Recovery pulls it back between hits. Distinct from Glitch — this is the wet, melting datamosh look, not slice tears.
Glow
Soft luminous halo on bright pixels — now with anamorphic flare + lens ghosts.
Classic bloom pass — threshold the bright regions, blur them out, add them back over the original. Drives the "lit-up" feel on neon graphics and white-on-black sources. 3.0.10 adds a fifth pass: a directional anamorphic streak (with its own flare tint) plus optional lens ghosts, so highlights can throw a tinted Cinemascope flare and mirrored ghost dots. At default settings it matches the classic bloom exactly. Threshold, intensity, and the flare are audio-bindable so the whole thing can pulse on the kick.
Anamorphic / Cinemascope-style streaks on bright pixels.
Horizontal (or angled) light bars off the highlights. The "lens flare" without the chromatic ghost.
Edge-detected colored glow around shapes.
Sobel edge mask blurred and tinted, added back over the input. Use it to make logos and shapes pop against busy backgrounds.
Warm film glow that bleeds around highlights.
Analogue film halation — a warm, reddish glow that blooms around bright highlights. Red-biased bright-extract, a two-axis Gaussian blur, then a tinted screen-blend back over the original. Unlike Bloom's additive pass, the screen blend keeps highlights from clipping hard, so it reads as soft, filmic light rather than a digital blowout.
Volumetric light shafts radiating from a light source.
Crepuscular light shafts streaming from a configurable light position. A bright-pixel occlusion pass feeds a radial scatter that marches samples toward the light, summing them with exponential decay and adding the result over the frame. Density sets how far the rays reach, decay falls them off, exposure scales the glow; bass drives the shafts harder on every kick.
Retro
CRT line texture overlay.
Adds horizontal scanlines with adjustable thickness, opacity, and curvature. Beat Sync locks the roll speed to the live BPM so the lines scroll in time. Works great over RGB Shift + Bad TV for an arcade-cabinet stack.
Vertical roll + noise distortion.
Vertical jitter, horizontal tear, and TV-static noise. Drop the audio on the kick for a "signal lost" punch.
Animated film grain noise.
Temporal random grain with controllable density and luminance response.
Curved tube simulation — phosphor + bloom + scanlines stacked.
A pre-built CRT stack: barrel distort, RGB phosphor mask, scanlines, screen glow. One toggle for a console-era arcade look without compositing a six-effect chain.
4-color palette quantization.
Quantizes the frame to a CGA-era 4-color palette. Multiple historic palettes selectable.
4-color console palette quantization.
Three picks: DMG green, GB Pocket grey, sepia tones. Different vibe from CGA — this is the 4-shade brightness ramp.
Tape damage — tracking, chroma bleed, dropouts.
Distinct from Bad TV — focuses on the VHS failure modes: row tracking jitter, chroma-to-the-right bleed, periodic bright dropout flecks.
Stylize
Block-down to chunky pixels.
Lo-fi tile downscaling. Audio-bind the size param for beat-driven block size.
Reduce the color palette to N levels.
Quantizes each channel to a fixed step count. Hard-edged retro look. Great in front of Hue Cycle.
Hard black-and-white cut.
Maps anything brighter than the threshold to white, anything below to black. Two-stop digital silkscreen.
LED display grid.
Render the source as a regular dot grid where dot size tracks pixel brightness. Tunable spacing + smoothing.
Render the frame as monospace characters.
Brightness-to-character mapping with a per-effect editable character set + font picker. Drives the demo-scene aesthetic; sub-pixel sampling keeps it readable at small sizes.
Newsprint dot-screen.
CMYK halftone pattern with rotation-per-channel. Drop on a clean source for a 1960s pop-art read.
Ordered (Bayer) or error-diffusion dithering.
Dither down to 1–4 bit channels with a Bayer matrix or Floyd-Steinberg. Pairs with Posterize for low-bit aesthetics.
Quantize the time axis — frame-skipping effect.
Hold the current frame for N audio beats / time slices before sampling again. Cheap stop-motion look.
Multi-pass painterly stylization.
Bilateral filter + edge re-injection + paper-grain noise. Looks expensive; runs at full frame rate.
Multi-direction hatching lines stylize the frame.
Pen-and-ink crosshatching with four levels of darkness. Tunable line spacing, ink + paper colors.
Kuwahara-style painterly bucket sort.
Per-pixel bucket sort over the local neighbourhood picks the dominant intensity band. Gives a brushstroked oil-paint look at low cost.
Random dot stippling, density driven by darkness.
Each grid cell either prints a dot (if dark enough) or stays paper-white. Classic engraving / etching look.
Cel-shaded posterize + dark outline.
Posterizes colors to N levels then re-injects a Sobel-derived ink line. Classic cel-shade / comic-book stylization.
Voronoi-cell color averaging — stained-glass look.
Pixels within a Voronoi cell share the cell-center color. Tunable cell size + jitter; gives a shattered-crystal aesthetic.
Colored line wrapping bright shapes.
Sobel edge detect drives an ink overlay in your chosen color. Optional inside-darken for poster-art separation.
Rebuild the frame as a field of soft, drifting Gaussian blobs.
Reconstructs the live image as a cloud of overlapping Gaussian blobs for a 3D-splat / point-cloud bokeh aesthetic. A neighbourhood of jittered, slowly-drifting sample centres accumulates colour with exponential falloff so the blobs bleed into one another. Audio Scatter kicks the cloud apart on louder moments so it breathes with the track.