Digital rot, by design.
Three operators make the tone. What comes after ruins it.
launch price until 23 October · 89€ after that
vst3 + au on macos · vst3 on windows
Only what shapes the sound.
Alien matter sits in the middle of the window, raymarched and wired to the voice. Play and it moves.
Around it, only the controls that decide what the sound is. Vortex and Helix bend the harmonic ratios, Plasma scales the modulator levels, Drive and Fold do the damage, and each effect keeps its own switch.
Everything else is behind the Advanced button.
Put an LFO on anything.
Three operator FM, six algorithms. Three LFOs you draw by hand, eight slots each, into 64 destinations. Draw a shape and put it on anything: filter cutoff, reverb size, delay time.
Assignment is a button click, then a knob click. The dirty chain runs per voice, so a chord does not smear through one shared distortion stage.
Two of the effects are materials rather than processes. Liquid and Rubber push the sound toward each. They do not land every time. When they do, the result is hard to get any other way.
A 32 step gate sits after the reverb and chops the finished mix, tails included.
Let it write the patch.
If you’d rather not do the sound design, don’t. randomize is not a dice roll per knob, it follows a recipe of its own.
mutate is that recipe with an amount knob on it. Wide open it lands where randomize would; below that your patch moves that far toward it. Knobs slide, waveforms jump.
Lock what you like first. Two single takes below, no edits. Count the duds.
153 presets. Eight kinds of sound.
Bass, lead, pluck, keys, pad, texture, drums and FX, written by sound engineers and by us. Drums and FX are 66 of the 153 between them, which tells you what this engine is good at. Filter by category, pack or favourite, or type a name.
Send a preset you made to another Parasite user in one click, from inside the plug-in. Build packs from your dashboard and they follow you onto every machine you play on.
tap a panel for sound
