This is not a reference document that walks through every parameter of every device end to end. It is short on purpose. With instruments built this way, an hour spent turning knobs and listening will almost always take you further than an hour spent reading about them.
Treat everything below as a starting point, not an instruction to follow. Open a device, move a few controls at random, and listen to what changes. The parameter explanations are here so you know roughly what you are reaching for, not to tell you where to set them. There is no correct setting. There is only what you want to hear right now.
Nothing in this bundle synchronizes its LFOs to Live's tempo. This is by design. Every device in the series runs on its own internal clock: random timers, drifting cycles, processes that never lock to a grid.
That refusal to quantize is exactly what gives the instruments the quality of a living organism rather than a programmed sequence. Tying the LFOs to the project's BPM would have introduced one mechanical, predictable note in the middle of a bundle built specifically not to have one. it would have broken the coherence of everything around it.
In practice: don't expect any of these devices to lock to your grid, your metronome, or each other. Let them drift. The drift is the instrument.
Every device in this bundle ships at full output gain. This is not an oversight.
Only a basic limiter was applied — no loudness normalization, no inter-sample peak control, no dynamic shaping. The decision was deliberate: noise music and death-ambient have never operated under the assumption that a signal needs to be contained. Clipping, saturation, and inter-sample excess are not problems to correct here — they are part of the timbral vocabulary the bundle was built around.
Pull the output controls down to wherever they need to be for your setup. There is no target level to hit. Trust your ears, not a meter.
Minimum requirements: Ableton Live 12.4 (latest version) with Max for Live.
Every device is a standard Max for Live instrument or audio effect. Drop it on a track like anything else from Live's own library. Every parameter is automatable and mapped for Ableton Push out of the box. there is nothing to configure before you can reach a control with your hands.
A practical way to work: load the device, hit play on whatever is feeding it (or just let it run if it's self-generating), and start moving controls slowly, one at a time. Stop and listen for a few seconds after each move before changing anything else. Most of these instruments respond on a slow timescale. judging a parameter after one second tells you very little.
When something interesting happens, record it. These are not the kind of instruments that return to the same place twice. A configuration you like now is worth capturing now, not "later, once it sounds right." It may never produce that exact moment again, and that's the point, not a flaw to work around.
The smallest instrument in the bundle, reduced to six controls. There is no melody here and nothing to play in the conventional sense: Atrax produces a slow, oppressive low-end mass that you shape rather than perform.
Feedback is the engine: raise it slowly and the drone starts to feed on itself. Rust adds corrosion and electrical instability on top of that. Drift keeps the whole thing from settling into a static tone.
A deep root tone, shaped by a slow rhythmic pulse and run through tape-style degradation until it sits somewhere between a frozen drone and a distant bell.
Pulse_rate sets the speed of the internal throb (remember, it is never tied to Live's tempo). Glacier is the freeze control: pushed up, it stretches the material until it stops moving entirely. Metal adds inharmonic shimmer on top of the root tone.
Two independent tape decks (A and B) that can capture and loop whatever live signal passes through them, then degrade and mangle it. Around the decks sit a growling voice, an unstable feedback network, a detuned chorus layer, and an echo.
Each deck can print a short loop from whatever is currently playing, reverse it, and play it back at a different speed. wow and flutter introduce the instability of a worn tape transport.
Takes a sound source and breaks it into grains, scattering and re-reading them until the original material becomes texture instead of a recognizable sound.
Scatter and readJitter control how far the grains stray from the original timeline. low values keep things close to the source; high values turn it into a cloud with no clear point of origin.
Of all the modules in the bundle, this one rewards a closer look. The underlying process goes beyond traditional grain-based synthesis: instead of simply slicing audio into grains, it searches for the smallest energy fluctuations in the signal, picking out hidden transients, micro-events, and barely perceptible spikes that a conventional granular engine would average over. The effect is a kind of sonic magnification, bringing forward detail that normally stays buried in the background. It performs especially well on low-level or near-static material, surfacing subtle content in a way closer to spectral upward compression than to grain manipulation, emphasizing not what is already obvious, but what would otherwise go unnoticed.
Getting this behaviour right took months of benchmarking against the limitations of more conventional granular tools. A short explanation of what sets it apart: youtube.com/shorts/_hxX1hkWhjM.
Two detuned oscillators and a noise layer carved into a pulsing rhythm by a second internal gain stage, then smeared through a dark, feedback-heavy echo.
RhythmRate and rhythmShape are what carve the sustained tone into a pulse. as with everything in the bundle, that pulse runs on its own clock, not on Live's. tune it by ear against what's happening elsewhere in the track, not by the numbers.
Independent voice clusters fade in and out on their own schedule, occasionally surfacing a buried melodic fragment. Fully self-generating: it doesn't need an input signal to run.
New clusters of voices appear at irregular intervals. that interval is intentionally long and unpredictable, so judging this device in the first thirty seconds will give you the wrong impression of it.
What makes this one behave differently from the rest of the bundle is how it builds: every 18 to 44 seconds (controlled by density) a fresh wave of 10 to 44 voices enters, each with its own multi-second fade-in, sustain and fade-out. New waves arrive before old ones finish, so the layers genuinely accumulate rather than alternate — over 3 to 5 minutes the texture settles into a dynamic plateau. Lowering density does not undo this quickly: voices already alive keep living out their full span, so a crescendo started a few minutes ago takes roughly as long to recede as it took to build.
Because of that same accumulation, loudness here is not fixed by where you set output at the start — it keeps building underneath you if density is high. Start with output low (roughly the first tenth of the dial's range) and bring it up gradually once you can hear where the texture is heading, rather than setting a level in the first few seconds and walking away.
A fragile melodic cell resurfaces irregularly, repeating and decaying over a slow independent drone layer, as if being recalled from a damaged recording rather than played.
Memory controls how intact the melodic cell stays each time it returns. low values fragment it further with each repetition. Transpose shifts the whole register down, useful for moving the instrument out of the way of other material.
Built from layered noise beds rather than tonal material: mist, swarm, and electricity textures sit under sparse pressure tones and occasional call phrases. Closer to a field recording instrument than a synthesizer.
Swarm and electricity add dense, high-frequency noise events. Distance pushes everything further back and adds grain, useful when you want the texture to sit behind other elements rather than in front.
Slow, melancholic harmonic clusters wrapped in tape character, stretched by reverb into a cavernous, mournful space.
Out of a long list of parameters, two are worth living with longer than the rest: chaos and darkness. between them they cover most of the emotional range of the device, from solemn and clear to grainy and unstable.
The most complete voice in the bundle. dual oscillators with sub and noise layers, ring modulation, two LFOs, a resonant filter with envelope and formant shaping, drive, bit-crush, tape delay, a three-band EQ, and full ADSR — 39 continuous parameters in total, played live from a 13-key on-screen keyboard (or MIDI) rather than sequenced.
It's monophonic, last note has priority, and includes a hold/latch mode for sustaining a note indefinitely without holding a key, plus a panic trigger that cuts to silence in a fixed 30ms regardless of the release setting — useful since notes here don't pass through Live's native MIDI engine, so a missed note-off can otherwise hang. Six presets are included as starting points, alongside full randomization across all 39 parameters.
The timbral reference point is the cold, clinical electronics of Close To A Corpse by Atrax Morgue (originally on Slaughter Productions) — not an emulation, but the territory Tanatoprassi's drive/bitcrush/tape-delay chain was built to sit in. One of the factory presets, Corpse-Synthesizer, takes its name directly from a track on that record.