Introducing "Pluto" – where the power of the cosmos meets the majesty of sound! Unleash the sonic universe with our revolutionary synthesizer plugin, a celestial marvel that defies the boundaries of space and time. Feel the warmth of a thousand suns as Pluto envelops your ears with its rich, velvety tones, transporting you to a dimension where music reigns supreme. Dive into the depths of its analog circuitry, meticulously crafted to emulate the ethereal essence of the legendary Jupiter-8 and Juno-60 synthesizers, while simultaneously paying homage to the unfairly demoted and oft-misunderstood planet that inspired its name. Much like its celestial namesake, Pluto has been unjustly stripped of its rightful status, relegated to the outer fringes of the solar system. But fear not, for Pluto rises from the ashes, reclaiming its place among the stars as the epitome of sonic innovation. With Pluto, every note becomes a celestial symphony, every chord a cosmic revelation. Immerse yourself in its otherworldly textures, from shimmering pads that echo across the galaxies to pulsating basslines that resonate with the heartbeat of the universe itself. But beware, for Pluto is not just another plugin – it's a paradigm shift in the realm of audio production. Say goodbye to mundane sounds and embrace a new era of sonic exploration. Whether you're a seasoned virtuoso or an aspiring space cadet, Pluto will elevate your music to astronomical heights. Join the ranks of the cosmic elite and experience the wonders of Pluto – the plugin that boldly goes where no synth has gone before. Prepare for liftoff, because the universe of sound awaits! Okay... I may have used ChatGPT to satirize the plague of hyperbolic plugin marketing blurbs. There is some real information that is good to know. Starting with the fact (my opinion...) that it is a pretty good Jupiter/Juno style polyphonic synthesizer. The layout is more on the Jupiter-extended end (not unlike a Super-6) where I've added features, and tweaked things to try to fit what I'd conciser to be the most important parameters in the width of the screen (my screen, hopefully yours as well). Here are some key features: -Both LPF and HPF are resonant and keytrackable. -Filters use Juno-style OTA zero-delay-feedback (ZdF) model. This required more custom externals. The Drive parameter overdrives both filters. -Both filters have continuously variable slope. The Poles parameter crossfades the outputs of each filter stage to get anything between a 1-pole response and a 4 pole response. Resonant feedback still comes from strictly the 4th stage output. -Bucket Brigade Device (BBD) chorus. The ECO algorithm closely mimics the TAL chorus and is lively and lush. The Realistic algorithm is more transparent and dirty. It models the BBD stages, including aliasing, and also the compander and nonlinearities. -Shapable LFO. X-axis controls the skew, and the Y-axis controls the roundness. Triangle is bottom-center. Bottom-left and bottom-right give you forward/reverse sawtooth. Center gives you sine, and top gives you square(ish). -Drift applies slow random modulation to the pitch, but also a static offset to the timing of the envelope curves. -Spread pans the voices somewhere between an equidistant distribution and a psuedo-random offset. -Extended modulation sources and destinations. There is the usual Roland stuff like Cross-mod, PWM and hard sync, but also a number of drop boxes on the bottom that offer additional modulation sources for some parameters. Generally, they apply to the filter above/beside the dropbox. The exception is the dropbox below the LFO Fade, which applies modulation to the LFO depth itself. -Polyphonic Unison voice mode. This divides the number of voices available between the number of notes held, and allocates the remainder with last-note priority. For example, if you press a single note, all 8 voices will be allocated. If you press a second note, four voices will be stolen from the first note and allocated to the new note. This gives an equal-power distribution regardless of how many notes are played. The caveat is that releasing a note does not reallocate the voices to already held notes (it would retrigger the envelope and sound weird) so the voice density will thin as voices are released. This required another custom external and a was a ton of work to figure out :/ (arguably the most time consuming part of this synth... which has now taken about 8 weeks to develop). Known faults: -Filter can squeal when using high cutoff frequencies and high resonance. Be careful! -High CPU usage. Max doesn't give me a lot of ability to optimize, and there is a lot going on here. -Knobs/Sliders don't reset to default on double click, nor do the automated values represent the actual units. This is the result of using regular Max GUI objects in order to apply the graphics, rather than the M4L GUI objects. The LCD display still shows the correct value when moving a parameter. Some references: www.music.mcgill.ca/~gary/courses/projects/307_2022/MGM_MUMT307_FinalProjectReport.pdf dafx10.iem.at/proceedings/papers/RaffelSmith_DAFx10_P42.pdf github.com/Nexbit/tal-noisemaker/tree/master/src/Effects/Chorus github.com/SpotlightKid/ykchorus/tree/master/plugins/YKChorus github.com/pendragon-andyh/Juno60/blob/master/Chorus/README.md