Manual

Three engines run at once on one signal. Here is what to do first.

  1. IN
  2. FRACTURE
  3. BLOOM
  4. TIDE
  5. OUT

The download holds four things: the standalone app, the VST3, the Audio Unit, and a read-me. All three formats are the same DSP — the app is the quickest way to hear it, the plug-ins are how you use it on a session.

← Back to MIRÓ 1

Install

Two folders, and one warning that matters.

App
Drag MIRÓ 1.app wherever you keep applications.
VST3
~/Library/Audio/Plug-Ins/VST3
Audio Unit
~/Library/Audio/Plug-Ins/Components

macOS asks for permission the first time it opens something it has not seen before. It asks once.

  1. Right-click MIRÓ 1 and choose Open, then confirm.
  2. On macOS 15 and later that confirmation moved: open it once, then go to System Settings → Privacy & Security and choose Open Anyway.
  3. If a host does not list the plug-ins, clear the flag the download put on them: xattr -dr com.apple.quarantine ~/Library/Audio/Plug-Ins/VST3 ~/Library/Audio/Plug-Ins/Components
  4. If the Audio Unit is still missing, force a rescan: killall -9 AudioComponentRegistrar.

The two views

The instrument, or everything at once.

Panel
The pedal, on screen. Click RATE, DIVISION or DECAY to move focus between the engines — changing focus mutes nothing, and each engine keeps its own settings. The controls hand over softly: when you switch focus a mark appears, and the knob only takes hold when it crosses it.
Full
All 27 parameters, a bypass per engine, and LOAD MIRÓ CINEMATIC. Click the granular display to open it; PANEL goes back.

CAPTURE and LATCH only answer with FRACTURE in focus, exactly as on the pedal.

Five things worth knowing first

  1. Everything new arrives at zero. Out of the box this is the pedal, sample for sample. If it sounds like it did before, that is because it is.
  2. SCATTER is where the character is. It is in FULL. Without it every grain is read from the same point at a regular interval, which is what sounds like a machine rather than a cloud.
  3. CAPTURE is retroactive. It claims what you have already played. You never have to decide in advance that something is worth keeping.
  4. Divisions come from the end of the capture, not the start — so a shorter division keeps the tail you just heard.
  5. FEEDBACK is a decay time, not an amount. Half travel is about eleven seconds, all the way up is about four minutes. It can never reach unity, so it always decays.

Three things to try

A bed from a piece you already have Focus FRACTURE, LENGTH to the top. Play the piece, and hit CAPTURE after the part you wanted — the last thirty seconds stay. LATCH to keep it turning, then leave it: BLOOM and TIDE go on working on it.

A cloud out of one note Focus BLOOM, grain size up, mix up, and hold a note. Drop the size to 40 ms and the rate to 0.50× and the same note becomes slow, coarse debris.

A tail that moves Focus TIDE, space around 425 ms, decay in the middle position. The tail widens and darkens as it goes instead of repeating. Motion at 100 % keeps it from ever sitting still.

If you hear nothing

  1. In the app, open Options → Audio/MIDI Settings and pick your input and output.
  2. Grant the microphone permission the first time you are asked, or the input stays silent.
  3. Check Master Bypass, and the per-engine bypasses in FULL.
  4. Check the Mix of each engine. They ship part-wet, not at 100 %.

Not done yet

What this build has not been through.

Code signing and notarisation are still to come. It has not been opened in Logic or Ableton, it has not been through pluginval, it has not been profiled for CPU, and it is not a universal binary. The tests say it is correct and stable — they do not say it sounds good, and nobody has sat with it for a week yet.

No release date. It ships when it is right.