The interface of State Machine BitFlip is made up of four pages:
Scroll down below for more information on each of these pages.
Control the output volume of the selected preset.
Apply a limiter at the end of the signal chain with this button to prevent your output signal from clipping. Equally, you can achieve creative textures in the more aggressive & overdriven end of the spectrum by pushing your signal hard with this activated.
Resize the plug-in window to suit your screen resolution.
The preset library shows the name of the active preset, which is
noisy swell in this case. Here you have the option to view 1 of the 7 preset categories, as well as your own
user creations and favorite sounds in the
Click the preset name to open up an expanded browser view of all presets in your selected category.
Each preset is composed of two separate layers of sound, which are
square swell and
long throw in the preset pictured above. You can adjust the blend of these two using the dial in the middle, as well as cycle through sounds by using the arrow buttons.
Click the sound name to view all available sounds in a browser view. Clicking on the
edit button takes you to the
synth page for faster access to more controls for editing the selected sounds.
These 2 rows show a handy overview of the 2 sets of available MIDI & audio FX options, allowing you to tweak simple parameters on the fly and quickly engage or disable effects.
More granular controls for the
midi fx and
audio fx are available by selecting the options on the left side, or by simply clicking the module name in the case of the
Layers - A & B
As well as providing the options presented on the home screen, here you have the option to edit each layer individually using the
select button as well as the option to
unlink the layers. When linked, any changes made to the
leader layer parameter will be applied to both layers, and unlinking allows you to control each layer independently.
The setting per layer for each parameter is color coded: green for A and purple for B.
Tweak these to create different forms of movement to your sound, including to the filter, volume and panning. Choose from triangle, saw, square or randomized waveforms.
These parameters affect the source of your sound, such as the tuning of each layer or adding a smooth pitch glide between notes. You can also choose whether the sound is
mono (plays one note at a time)
legato (plays one note at a time but allows glide between two notes) or
poly (able to play eight notes simultaneously).
keyboard parameter determines whether the layer responds to keyboard tracking from incoming MIDI notes or not. When disabled, the layer will only play back at middle C but can still be tuned using the
detune controls. This is particularly useful for percussive/FX sounds and creative arps.
Use this to cut out or isolate certain frequency ranges using either a low-pass or high-pass filter. Alongside the classic
A/D/S/R envelope controls, you can change the envelope amount and velocity sensitivity of the filter being applied to the signal.
This section contains an envelope that controls the behavior of the volume using
A/D/S/Rparameters, as well as a panning dial. The
velocity parameters control how sensitive the amp is to MIDI velocity input using the
This determines the musical scale of your MIDI input. Select from the 15 options in the dropdown menu, and adjust where the scale begins using the
root note dial.
When activated, any notes that fall outside of the scale are shifted to the nearest semitone within the selected scale - keeping your performance in key at all times.
chord function allows you to play multiple MIDI notes from one triggered note, with 13 shapes to choose from. The 3 dials below provide various functions:
voice count: select the amount of notes which compose the chord.
position: adjust the lowest note of the chord voicing. For example, in the
1-3-5chord shown above a
positionsetting of -1 changes the chord voicing to
5-1-3with the 5th played in the octave below.
spread: spread the chord voicing across a wider range on your keyboard.
Note that the available
chord options change depending on whether the
scale option is engaged or not.
A 16 step arpeggiator, with adjustable
legato options for each step. The top dial determines the rate of the arpeggiator, with the following dials on the left:
direction: determines whether the arpeggiator moves up or down an octave, in both directions or entirely at random.
one shot: Triggers the full step sequence once, start to end, independent of how long the incoming note is. Try turning on the
chordeffect along with super fast rates (e.g. 1/64) and different step count settings for characteristic chiptune effects.
octaves: the number of octaves included in the arpeggiator sequence.
steps: select the number of steps in the arpeggiator sequence, from 1 to 16.
swing: delays the timing of even-numbered steps, giving the pattern a more swung feel as the dial is engaged.
gate: controls the note length per arpeggiator step.
treble dials to boost or reduce the presence of elements in those frequency ranges. The
tilt dial controls a series of filters, allowing you to shape your sound to make it darker or brighter.
Chorus is a form of phase modulation intended to mimic a human 'chorus' by applying subtle pitch and time differences to a signal.
DIY chorus is our own rugged interpretation of this principle, chaining together a BBD chorus and circuit-bent filter for a heavily distorted sound.
Adjust the spread of the signal using
stereo width and the cutoff frequency of the circuit-bent filter with the
frequency dial. Resonance boosts the signal at which the
frequency dial is set, and
tone serves as a low-pass filter to control how dark or bright the signal sounds.
Resonance work in tandem to provide unique sounding filtered and distorted effects depending on the signal you're feeding into it, rather than functioning as you'd expect traditional filter controls to. We recommend a bit of experimentation with this one.
Bitcrushing is a type of distortion which alters a signal by processing it at a reduced resolution. You can select from a
bit depth of 1-16 and add randomized movement using the
jitter dial, as well as determining the upper frequency threshold of the effect using the
There's also the option for pre/post routing, which determines whether the
filter is applied before or after the
A classic delay module. Control the tempo of the effect with
time and align it with your project BPM with
Feedback allows you to determine the amount of repetitions, while
high cut lets you roll the top-end off to get a darker sounding delay.
Inspired by classic gaming devices, our lofi take on reverb comes with 4 different settings under
type as well as dials for adjusting the
decay time and
tone of the reverb applied.