Feature Requests

I received interesting feedback from a Mela user who created a complex and very interesting MIDI preset, and it got me thinking about some of the required changes that can address some shortcomings that have also been bothering me. At the moment, the On parameter is very utilitarian, but it can be optimised to be more performance-oriented. Below are some proposed changes. Add a visual indicator about an On parameter's current state when modulated Currently, an On parameter might look like it’s in an off state, but a modulation might have the state flipped. There’s no way to know this, and the UI will look disabled in that scenario. Solution : add a visual indicator showing the modulated state and don’t dim/disable the module UI. Turning off a module should no longer completely bypass its engine At the moment, when a lane or a module is turned off, the UI is dimmed, the parameters can no longer be changed via UI, and modulations no longer update. Solution : No longer bypass the engine (specific details below) and don’t dim/disable the module UI. Small downside is the module will continue to use some CPU because even when bypassed, it still updates UI and runs some DSP. But that's ok because most likely the user has the module around, so they can unbypass it as needed. MIDI Processors should no longer auto-release notes Currently, if an Arpeggiator or Euclid module receives a C3 note-on, and then the user bypasses the module before receiving the corresponding note-off message, the module will automatically send out a C3 note-off message to prevent stuck notes. Now, the issue with this is, the user might still be holding down the C3 key. Solution: On bypass, Arpeggiator and Euclid simply finish playing their last note(s) and don’t start another note, and they will send out note-on messages for the currently held notes. i.e. in the example above, on bypass C3, note-on will be sent out. That way, when the user finally releases C3, that’s when C3 will stop playing. MIDI Processors update output on parameter change without changing input Currently, some MIDI Processor modules don’t change output if parameters are updated and the input hasn’t changed. For example, if the Chord module settings are adjusted, the output won’t change for the currently held notes. The change will happen only after the input is changed. Solution Part 1: The Chord module should update its output as soon as the note On parameters change. This will allow chord building in real time. Solution Part 2 (unlikely a good idea): The Chord module should update its output as soon as the Pitch value changes. I’m less sure about this. (Vel parameter changes causing the output to the Chord module output to change don’t seem useful at all. Retriggering notes in this case seems like a bad idea.) Continuing on the Solution Part 2, if we go ahead with that, maybe it means things like Note Range and Transposer should also update their outputs as the range or transposition amount changes. Again, I'm not certain this is a good idea. Audio/Pitch Processors crossfade their outputs when the On parameter is toggled Currently, when turning an Audio Processor on or off, there’s an audible click, e.g. VA Filter, this is because audio switches instantly. It’s not a big deal if it’s just trying things out and isn’t automating or modulating the On parameter as part of a song or performance. But if you do want to automate and modulate or even tap on the On toggle during performance would be great if it didn’t click. Also, there’s another issue related to the DSP being turned off for oscillator and LFO modules. The phasor no longer updates. This means if you turn the oscillator off, next time you turn it on, its relative phase would have changed against other modules. The resync will happen on the next note-on event. Solution: Turn the On parameter from a simple on/off 2-state list into a continuous one with [0%, 100%] range and make it crossfade like a wet/dry mix. This means the parameter can be modulated and automated, and will change its value between on and off continuously. It will also be clickless when tapping on it, as there will be a quick 20ms crossfade. For simplicity, it will continue to be a Mono target, meaning it won’t support Poly modulation.

This is a popular request so I'm adding it. (I thought it was already listed here, but I must have forgotten to post it here.)

The Phase Distortion module uses the classic phase distortion technique to reshape any waveform. It splits the waveform cycle into two parts, stretching the first while compressing the second. As it is not an oscillator, it relies on the Pitch signal and note-on events (Note Info in Poly mode and MIDI in Mono mode) to determine the waveform's start point and cycle length. This enables many creative possibilities. The Pitch signal can be transposed down an octave to distort a waveform an octave higher. An unrelated Pitch signal can be used to apply phase distortion to a drum loop for unique rhythmic textures. The Phase Graph visualises the waveform's phase after distortion. Dragging it horizontally or vertically adjusts the Skew or Tilt parameter correspondingly. The Curve parameter smooths the phase rate change at the cycle split point, with higher values producing a mellower sound and reducing aliasing. Demos https://x.com/Nikolozi/status/1955128398939885998 https://x.com/Nikolozi/status/1955925587068964883

Gain Computer Gain Computer is a modulator module for creating custom dynamics processors. Depending on its settings and placement in a preset, it can be used to build effects such as a feedback compressor, upward expander, look-ahead limiter, side-chain gate, or de-esser. It computes gain reduction or expansion from the input audio signal, similar to the gain computer in traditional dynamics processors. Instead of applying the gain change directly, it generates a modulation signal. This signal can be used to modulate a Gain module or any other parameter to produce dynamic effects. The Gain module pairs well with the Gain Computer module, but the modulator supports a wide range of other use cases. The module includes all the standard dynamics processor controls. Type Parameter: Selects between Compressor and Expander modes. Downward: When the Range parameter is set to a negative value, the modulation signal is in the range [-100 %, 0 %], ideal for downward processing. Upward: When the Range is positive, the signal is in the range [0 %, 100 %], ideal for upward processing. To learn how to create processors with features found in traditional dynamics tools, check the module help. Transfer Curve: Shows how parameters affect the transfer function. A horizontal pan gesture adjusts Threshold, a vertical gesture adjusts Ratio. Oscilloscope: Displays the modulation signal in real time. A horizontal gesture adjusts Attack, a vertical gesture adjusts Release. Gain Computer is a Mela Lab module and part of Collection 4. Gain Module The Gain module applies gain to the audio signal. While designed to pair with the Gain Computer module, it can also be used independently in many other ways. It has three parameters: Down, Up, and Range. Although Down and Up use percentage units, gain is applied in decibels. For example, with Range set to 24 dB, Down at 50 % applies -12 dB gain, and Up at 25 % applies +6 dB. Gain is a Mela Lab module and part of Collection 4.

Audio-to-Mod Module: It's a Mela Lab module. It's a modulator module whose modulation signal is the average of the left and right channels of the input audio. As all modulations happen at sample rates in Mela, feel free to modulate any parameter to create interesting sounds. For example, modulating a level of another oscillator will result in Amplitude Modulation (AM) synthesis. Modulating the cutoff frequency of a filter will result in FM synthesis. The module supports polyphonic modulation. Read more about Mela Lab here

The Crossover module splits the audio signal into frequency bands using second-order crossover low- and high-pass filters. This makes it ideal for building custom multi-band processors, such as multi-band compressors or distortion effects. The module's crossover filters are designed to ensure a flat frequency response. To create a 2-band processor, route the same audio into two parallel instances, set one instance's Band parameter to Low and the other to High, and ensure both have the same cutoff frequency by entering identical numeric values. To create a 3-band processor, take the output of one of the instances and apply another crossover split, following the same approach. Crossover is a Mela Lab module and part of Collection 4.

It would be great to be able to view only presets that use a specific module. This is especially useful for users to understand how modules work and see use cases. Referencing a related request .

My apologies if my explaining is off, but lately, I've been doing more with the Random module, and it felt a little limiting that it only outputed a single random value for all of the parameters linked to it. The only way I would subvert this is by creating several single-cycle Random modules and assigning them to different parameters to imitate dynamic randomness. I wanted to suggest a kind of Random module/extension which outputs a uniquely different random value for each linked parameter. For example, assuming you can modulate up to 8 parameters, each of the 8 parameters would receive a different random value from the modulator.

A module that can record incoming audio and play it back on demand. Some features: Overdubbing, with optional feedback (0-100%) amount Playback options would include looping and 1-shot Variable playback speed, including reverse Optional polyphonic playback Predefined buffer length or undefined and set when first recording Option to save buffer contents with the patch Ability to set start, end and loop point after recording

The module will take an Audio signal as input, most likely from an external source. It will analyse audio, assume the signal is monophonic, and generate a Pitch signal. The output Pitch signal can be used to set the pitch of the oscillator modules (as expected).