Changelog

Newest first. From the first release on, each version gets its own entry, with the firmware for the Versio and the plugin for macOS. The first release gathers the story so far, in a few steps.

When a player suggests a change, I credit them in its entry. If you have an idea, suggest a sound.

The first release

v1.0.68, 3 November 2026

Almost every sound change below was made by ear: each option went onto a listening page next to the version before it, and I picked.

3 November: a plate that changes size cleanly, and more worn tape

• PLATE’s SIZE crossfades to its new size, like HALL and CANYON, so turning it no longer bends the pitch.
• A more worn cassette on MOTION’s left: deeper wow and flutter, and crinkle and dropouts from about 9:30, more often and deeper further left.
• WEAR without the chip’s clock. The delay chip’s clock, which folded the top end back, is gone; WEAR is tape, the chip’s breathing and grain.
• A lighter radio. Only the loudest peaks flatten on MOTION’s right, so fully right no longer sounds overdriven.
• A centred onset. The first reflections in HALL and CANYON no longer pull against each other, so they hold up in mono.
• Sturdier controls. A short pulse at the FREEZE jack is never missed, and brushing the SPACE switch no longer restarts the tail.
• CANYON is the new name for MASSIVE, SPACE’s third position. Sets saved with MASSIVE open on it.

2 November: endless follows your playing

• Smooth into and out of endless. While you play, an endless tail sits at the level of the longest tail before it, so turning DECAY across 3 o’clock no longer jumps, quiet or hot. When you stop, it holds where it is. It no longer steps back while you play.
• The radio stays the radio. MOTION’s right side keeps its full narrow band in endless too.

1 November: an old radio on MOTION’s right

• MOTION’s right side is an old AM radio: the tail narrows to the radio’s band and a slow notch wanders through it, so it phases. It replaces the wander, which stayed too subtle.
• WEAR is tape, bucket-brigade and bit wear over the warm desk colour; the radio’s band moved to MOTION, so the two can be set apart.

28–29 October: longer tails, and an endless hold that keeps its notes

• Longer tails. DECAY reaches about 30 seconds in PLATE, a minute in HALL and two in CANYON before it turns endless, and the knob spends more of its travel on long, lush tails.
• Still notes. Leave an endless PLATE or HALL alone and its movement settles, so held notes stay notes instead of smearing into haze. A bright wash also mellows slowly. Play again and it all comes back.
• A long HALL keeps its upper mids ringing nearer the body, so it stays open instead of going dull.
• Even levels. HALL and CANYON sit at the same loudness, endless tails sit a little higher, and turning DECAY no longer swells the level on the way.
• Gentler ducking. An endless tail steps back about 3 dB while you play, and held chords move it less than stabs.
• Tape dropouts on MOTION’s left side come in earlier, from about 7:30.

25–27 October: the knobs find their jobs

• WEAR replaced a knob that ran through five eras of old gear in turn. It’s one amount of tape, bucket-brigade, bit and radio wear over a warm desk colour, and it starts clean.
• MOTION’s left side is a tape transport: the whole tail bends together, with wow, flutter, crinkle and dropouts. Its right side wanders wider.
• TONE got a soft, warm swell turned left and a sheen turned right.
• The small room. What you play over a freeze in HALL and CANYON now rings in a small, light room on top of the pad, about 8 dB under it.
• SIZE moves in HALL and CANYON crossfade instead of bending the pitch.
• SHIMMER replaced a reverse reverb on the ONSET switch: one steady octave, in tune.
• CANYON’s highs ring as long as its body, and its shortest tail lasts longer.
• New names. The project became Sublustris Versio, and the controls got their panel names: BLEND, WEAR, MOTION, DEPTH and ONSET were MIX, ERA, DRIFT, TIME and ATTACK. Saved sets in the plugin still load.

21–24 October: the first sounds

• The three spaces, PLATE, HALL and CANYON, and the endless hold that settles instead of running away.
• Freeze and paint, with the button and the gate.
• Still lows: in HALL and CANYON the bass stays still while everything above it moves.
• HALL starts right behind the note, and DECAY keeps the loudness at any setting.