User manual

Start with one sound. Give it a pattern. Add another voice when you want one.

1.1 Your first loop

1. Open Ravik in a compatible instrument slot, or start the standalone application.
2. Open Lib and load a Song, or select INIT for a new setup.
3. Select channel 1 in the top row.
4. Double-click or double-tap Eng1 to open its engine picker.
5. Select Bass drum, 3x3, or another engine.
6. Set Balance toward the enabled engine.
7. Select a note algorithm. Start with Euclidean Steps.
8. Set the note STEPS, DENSE, and PROB values.
9. Start playback. Start the host transport too if the clock uses SLAVE.
10. Adjust the engine controls and SNAP or DECAY.
11. Select channel 2. Add a second sound and pattern.
12. Open Lib. Save the complete result as a Song.

Result: The two channels play independent sounds and patterns. The Song stores the full kit.

NOTE: INIT starts with Euclidean Steps in 0.9.0. It does not load the old Tight Loop preset.

1.2 A useful first experiment

1. Select two engines of the same type on one channel.
2. Change their sound parameters independently.
3. Select Morph.
4. Move the Morph control between the two sounds.
5. Change to Balance if you want to crossfade two different engine types.

Result: Morph changes the parameters of a matching pair. Balance changes the level of each layer.

1.3 Save before you explore

1. Open Lib.
2. Select Songs.
3. Select Save New.
4. Select or create a bank.
5. Enter a name. Confirm the save.

Use Undo for recent edits. Use Snapshots for deliberate checkpoints. Use History Log to restore earlier work.

Ravik can work inside a host or as a standalone instrument. The sound engine stays the same; the host controls the surrounding session.

2.1 Supported formats

On macOS, Ravik supports Apple Silicon and Intel systems with macOS 11 or later. The Windows VST3 build targets 64-bit Windows. The iOS application supports iPhone and iPad.

Some desktop hosts require a new plug-in scan after installation. The Windows installer uses Microsoft WebView2 and Visual C++ runtimes.

2.2 Use Ravik in a host

1. Install the build for your operating system.
2. Start the host application.
3. Scan plug-ins if the host does not show Ravik.
4. Add Ravik using a format your host supports. If the macOS AUv3 is missing, open RAVIK.app, then rescan or restart the host.
5. Enable audio monitoring in the host.
6. Select the MIDI source if you want external note control.

NOTE: Ravik's internal sequencers do not need incoming MIDI notes.

2.3 Use the standalone app

1. Open Ravik directly.
2. Select the required audio output in the standalone audio settings, if available.
3. Select a clock mode.
4. Start playback or send MIDI notes.

On iOS, the standalone app keeps the display awake while it is active in the foreground. AUv3 follows the host's display policy.

2.4 Clock and start settings

Open the side menu to choose Clock and Start separately. The clock mode is a local preference.

If playback does not start: Check the clock mode. Then check the host transport and monitoring.

Eight channels share one surface. You can hear the kit as a whole, then enter one channel without changing the others.

3.1 Main areas

Pages display different control groups. Changing a page does not clear its settings.

3.2 Select and isolate a channel

1. Select a channel card.
2. Select S to hear that channel alone.
3. Select M to mute the channel.
4. Clear Mute or Solo to return to the complete kit.

The activity indicators show note and modulation events. Their presence does not guarantee audible output.

3.3 Work with a control

The same control performs the same action on desktop and iOS. Only the input gesture changes.

• Select: Click on desktop or tap on iOS.
• Adjust: Drag with the mouse, trackpad, or finger.
• Context menu: Right-click on desktop or long-press on iOS.
• Double-select: Double-click on desktop or double-tap on iOS, where supported.
• Menu arrow: Select the arrow to open the control's options.
• Explain: Select Explain to read the control description.

On desktop, hold Shift for fine adjustment during a supported drag. You can also use the mouse wheel or keyboard arrow keys on supported controls. For a selected knob, Up/Down provide fine adjustment and Left/Right provide coarser adjustment.

On iOS, Ravik can show enlarged knob feedback above the surrounding interface. The overlay follows the same underlying parameter value.

3.4 Undo, Redo, Lock, and INIT

Undo reverses a completed edit. Redo reapplies it. A complete drawing gesture is one edit.

Lock protects a parameter against randomisation. You can still edit a locked parameter manually.

INIT restores the selected scope to its initial settings. Read the dialog title before you confirm.

CAUTION: Channel INIT removes the selected channel's sound, sequence, Step Mods, source assignments, and local mappings. Other channels remain unchanged.

A drum can have one voice or two. Layer different materials, or make one sound move between two related states.

4.1 Engine slots

Each channel has Engine 1 and Engine 2. You can select any of the 48 engines in either slot. OFF disables a slot.

1. Select the channel.
2. Select Eng1 or Eng2 to edit that layer.
3. Double-click, double-tap, or touch and hold the button to open its engine picker. On desktop, right-click also opens it.
4. Select an engine.
5. Adjust the controls for that engine layer.

Each layer has independent sound parameters, bank selection where applicable, and tuning. Both layers use the channel's shared processing.

4.2 Balance

Use Balance to mix two engine layers. The engines can be different types.

1. Enable both engines.
2. Select Balance.
3. Move the control toward the layer you want to hear.

NOTE: When one engine is OFF, the remaining enabled engine provides the sound.

4.3 Morph

Use Morph when both engines have the same engine type. Morph interpolates their sound controls and tuning.

1. Select the same engine type in both slots.
2. Give the layers different sound settings.
3. Select Morph explicitly.
4. Move the control between -100 and +100.

Result: The engine parameters move between the two authored sounds.

NOTE: Morph does not interpolate between unrelated synthesis models. Use Balance for different engine types.

Matching six-operator FM engine types can also interpolate their selected sound banks in Morph mode.

Older patches can keep their legacy Balance/Morph behaviour until you select the current mode.

4.4 Layer tuning

Each engine has independent tuning controls:

• Coarse: -48 to +48 semitones.
• Fine: -100 to +100 cents.

1. Select the engine layer.
2. Open its tuning context.
3. Adjust Coarse or Fine.

The engine tuning affects generated notes and incoming MIDI notes. Use Fine for small differences between layers.

4.5 The 3x3 engine

The 3x3 is a new synthesis engine. It has a variable main waveform and a sub-oscillator.

To use Slide: Open the engine's tuning context. Set the Slide time. Zero makes the pitch change immediately.

NOTE: The 3x3 engine and the 3x3 filter are separate features. You can select either one independently.

A synthesis engine provides the material. The channel filter and envelope decide how that material reaches the listener.

5.1 Filter models

Each channel has one selectable filter model. The filter processes both engine layers.

1. Select FILTER.
2. Open the filter Type/Drive context.
3. Select Smooth, Voks, or 3x3.
4. Adjust Cutoff and Resonance.

Result: Both engine layers pass through the selected channel filter.

In Smooth mode, Type changes the response. In 3x3 mode, the Type control becomes Drive.

The 3x3 ladder filter does not provide the Smooth filter's multimode Type morph.

5.2 Envelope and impact

To shape a dry hit:

1. Lower the local effect WET controls.
2. Select the engine sound.
3. Adjust SNAP.
4. Adjust DECAY.
5. Adjust Cutoff and Resonance.
6. Add effects after the dry sound is correct.

The channel EQ has low and high shelf controls. Each shelf can change level by approximately 12 dB.

You do not have to start with a blank grid. Choose a method of making events, then keep the part that interests you.

Each channel has its own sequence. The sequence can have 1–32 steps. Each channel can use a different generator and timing.

6.1 Algorithm reference

The same algorithm family is available for generated MOD lanes. Its output is used as modulation movement there.

6.2 Create a generated pattern

1. Select a channel.
2. Select its algorithm menu.
3. Select an algorithm.
4. Adjust the four algorithm controls.
5. Set STEPS, division, DENSE, and PROB.
6. Start playback.

Result: The channel generates notes using the selected settings.

6.3 Timing and direction

Set note division independently for each channel. Divisions include straight, dotted, and triplet values.

Extended divisions can reach four, eight, and sixteen bars. Note and MOD divisions are separate settings.

Direction choices include forward, reverse, ping-pong, random, and Random Walk. Change the direction without changing the engine sound.

6.4 Pitch modes

MONO uses the channel's current pitch. CHROM uses pitched notes across the selected pitch range.

Use NOTE to set the root note, scale, octave limits, and note map. A generated note can follow these settings.

To make pitched percussion:

1. Select a channel with a pitched engine.
2. Select CHROM.
3. Set a root note and scale.
4. Set the octave range.
5. Play the pattern.
6. Adjust the engine tuning if necessary.

Generation suggests a pattern. Editing lets you tell it what to keep.

You can add or change notes without disabling the selected algorithm. Ravik stores manual edits separately from generated values.

7.1 Add, mute, and restore a note

1. Select a channel and its note grid.
2. Click or tap an empty step to add a note.
3. Click or tap an existing active note to mute it.
4. Click or tap the muted insertion again to restore it.

The grid shows indicators for manual notes, pitch locks, and actual note activity.

7.2 Edit pitch

1. Select CHROM.
2. Select the note you want to edit.
3. Drag the note vertically to change pitch.
4. Play the sequence and check the result.

Newly added MONO notes use the channel's current pitch.

7.3 Scale On and Scale Off

Use Scale On for melodic edits that must stay in key. Use Scale Off to preserve an exact note.

7.4 Remove a manual note override

1. Double-click the edited note on desktop, or double-tap it on iOS.
2. Check the note in playback.

Result: Ravik removes that note's authored gate and pitch overrides. Other Step Mod values remain stored.

NOTE: Removing an override does not necessarily make the note silent. The generator can produce a note at that step.

A pattern is more than its notes. You can change how many events survive, where they appear, and how their pitches move.

8.1 Density

DENSE controls the number of generated or selected notes in the sequence window.

In the current mode, 0 requests no generated notes. 100 requests a fully populated window. Intermediate values select a rounded target count.

Ravik gives manual notes priority when it removes generated notes. The Remove manual steps option controls whether Density can also exclude manual notes.

To protect manual notes:

1. Open the DENSE context menu.
2. Disable Remove manual steps.
3. Reduce DENSE.

Result: Protected manual notes can remain audible even when DENSE is zero.

NOTE: Probability, muted notes, retained Cycle windows, and older preset behaviour can change the number of sounding hits.

8.2 Probability

PROB controls the chance that an eligible note will sound. It does not delete the stored note.

Use PROB to introduce variation without changing the generated or manually authored sequence.

8.3 Horizontal Cycle

Horizontal Cycle moves the pattern's read position. It does not rewrite the original generated note data.

1. Open the Cycle context menu.
2. Select Horizontal.
3. Set the movement amount.
4. Enable Auto Cycle if the pattern must move on successive passes.

8.4 Vertical Cycle

Vertical Cycle changes note pitch. Movement can follow the selected scale or use chromatic semitones.

1. Open the Cycle context menu.
2. Select Vertical.
3. Set Pitch to Scale or Chromatic.
4. Select Wrap or Bounce.
5. Set the movement amount.

8.5 Cycle Step Mods with notes or independently

The default Locked to Notes mode moves Step Mods together with their notes.

Select Independent to move the selected Step Mod lane without moving its notes.

ALL means Cycle affects the combined pattern. THIS means it affects the selected Step Mod lane.

8.6 Resize a cycled pattern

Reducing STEPS trims the visible sequence from the right. Ravik retains the captured source window and hidden edits.

Changing Cycle can establish a new reference. The new sequence length does not necessarily erase stored edits outside the visible window.

Repeat moves through time. Ratchet divides an event. Both can work together.

9.1 The difference

Repeat and Ratchet remain active together. Changing the visible control does not disable the other one.

9.2 Count the extra repeats

The Repeat control counts 0–15 extra repeats after the base note. Zero adds no repeats. At the maximum, the base note and 15 repeats can play for 16 hits in total.

The 16-dot display reserves its first dot for the base note. Later dots show the configured repeats. A muted note still shows its stored count for editing and takes one step to pass.

9.3 Repeat probability and cycle mode

Set Probability and Cycle in the Repeat context menu. The base note still follows its own note probability and mute state.

Example: With nine extra repeats at 60%, Full cycle can stop at any missed repeat. Chance cycle keeps all ten slots and spreads five sounding repeats across the nine repeat positions.

At 0% Repeat probability, only the eligible base note sounds. At 100%, all configured repeats sound. Off steps advance in one step, even when they have an authored Repeat count. Ratchet remains independent.

NOTE: Older presets can retain their saved Repeat rules. Editing Repeat can adopt the current behaviour.

9.4 Add exact or random counts to one step

1. Select the channel's Step Mod menu.
2. Select Repeat, Ratchet, Random Repeat, or Random Ratchet.
3. Select a step.
4. Set its count.
5. Start playback and check the activity display.

Zero on Repeat leaves the base note eligible. A zero per-note Ratchet count can silence its note. The activity display shows actual playback events. A configured maximum does not guarantee that every possible hit sounds.

Change one step without changing the whole instrument. A single value can make a generated pattern feel authored.

Step Mod stores manual values for individual steps. It has 32 selectable targets in the current interface.

10.1 Target reference

10.2 Write a Step Mod value

1. Select the channel.
2. Open Step Mod.
3. Select a target.
4. Select or drag a value on the step grid.
5. Play the sequence.

Result: The stored value affects that destination at the selected step.

An authored value takes precedence over matching generated MOD contributions for that destination and step. Other destinations continue moving.

10.3 Clear, mute, or remove values

• Mute bypasses a target without deleting its stored values.
• Delete removes that target's authored edits, including hidden steps.
• Mute All bypasses all Step Mod targets.
• INIT removes all authored Step Mod edits in the selected channel.

To clear one edit: Double-click the selected step value on desktop, or double-tap it on iOS.

Result: The generated or externally modulated fallback can control that destination again.

CAUTION: Step Mod INIT also clears stored exact/random playback counts and authored note overrides.

10.4 Relative and Absolute modes

Absolute uses the authored value directly. Relative moves from the live reference value toward an available limit.

Select Absolute for a stored step value. Select Relative when the target supports adjustments around its live reference value.

10.5 Group editing and Solo

Mod Map can change selected Step Mod values proportionally through their available range. It does not add the same amount to all values.

Solo isolates selected Step Mod contributions. It does not mute the note grid or the normal MOD and LFO systems.

Make a curve. Let a mathematical pattern change it. Then draw the part the algorithm did not give you.

Every channel has M1, M2, and M3. The complete kit contains 24 generated MOD lanes.

MOD lanes generate control movement. They do not generate audio. Connect a MOD lane to a parameter to hear its effect.

11.1 Make a generated curve

1. Select a channel.
2. Select M1, M2, or M3.
3. Select a modulation algorithm.
4. Adjust its four generator controls.
5. Set the MOD step count and division.
6. Set the output Min and Max values.
7. Connect the MOD lane to a destination.

The graph shows the movement. An activity indicator shows the moving source value.

11.2 Curve interpolation

Interpolation controls how neighboring points connect. It does not select a new generation algorithm.

11.3 Draw a curve

1. Select a MOD lane.
2. Select its curve editor.
3. Add or move nodes on the graph.
4. Adjust a segment bend if required.
5. Play the pattern.

You can use up to 32 freely positioned nodes. A complete drawing gesture creates one Undo step.

Edited nodes keep their positions. Untouched generated nodes can continue to respond to generator changes.

11.4 Shaper

Shaper changes the shape of the resulting MOD movement. It does not replace Curve, Triangle, or Square interpolation.

Shaper can receive modulation. Its graph follows the effective modulated value.

11.5 Rotate, Density, and limits

• Rotate shifts the MOD pattern horizontally.
• Steps sets the number of generated anchors.
• Division/Rate sets the traversal speed.
• Density sets how many MOD positions change value.
• Min/Max limit the source output.

At zero MOD Density, the source stops producing changing modulation values. Other authored settings remain stored.

11.6 MOD Repeat and Ratchet

MOD Repeat revisits the span between neighboring anchors before it advances. Ratchet retraverses that span inside the step.

Available span speeds include ×½, ×1, ×2, ×4, and ×8. Direction options include forward and ping-pong variations.

NOTE: Setting the ordinary MOD Repeat control to zero leaves the curve running without extra repeats. Do not treat it as Mute.

11.7 MOD Humanize

MOD Timing does not move the main sequencer's note-onset grid. Note Humanize is a separate system.

11.8 Copy, paste, and reset a MOD lane

Use the MOD context menu for these actions:

• Copy/Paste transfers source settings and the curve.
• Reset Manual removes manually drawn curve points.
• Reset All restores the source settings and removes manual points.
• Mute bypasses a source without deleting its stored data.

Current source reset and copy actions retain destination assignments. Check the Mod Map after a complex edit.

Some movement should be slow enough to notice. Some should be fast enough to become part of the sound.

Every channel has LFO 1 and LFO 2. The complete kit contains 16 independent LFOs.

An LFO is a low-frequency oscillator used as a modulation source. Ravik also permits audio-rate operation.

12.1 Set a regular LFO

1. Select a channel.
2. Open LFO'S.
3. Select LFO 1 or LFO 2.
4. Select a waveform.
5. Set the rate and depth.
6. Connect the LFO to a destination.

Available waveforms include sine, triangle, saw, square, sample-and-hold, and random.

Regular operation can use a free frequency or a tempo-synchronized rate.

12.2 Use Audio mode

1. Open the LFO context menu.
2. Select Audio.
3. Set a frequency between 20 Hz and 20 kHz.
4. Connect the LFO to a compatible destination.
5. Start with a small depth.

Audio-rate modulation supports selected sound, tuning, filter, envelope, level, and pan parameters. Not all destinations support audio-rate updates.

CAUTION: Audio-rate LFO processing is not oversampled. High rates can produce aliasing or rough sidebands.

12.3 Use Note Follow

Note Follow derives the LFO frequency from the played MIDI pitch. The oscillator phase remains continuous.

1. Select the Audio LFO mode.
2. Enable Note Follow.
3. Play different pitches.

Result: The modulation frequency follows the note pitch on compatible sound destinations.

12.4 Multiple destinations

One LFO can control several destinations. Those destinations can belong to different channels.

Each connection has separate destination depth and range settings. Removing one connection does not remove the other connections.

Every movement has a source and somewhere to go. Mod Map shows that relationship before you change it.

The Mod view brings MOD lanes, Step Mods, LFOs, and Humanizers into one routing editor.

13.1 Open the map

1. Select Mod in the header.
2. Select a channel in the sidebar.
3. Select Mod Lanes, Step Mods, LFO 1, LFO 2, or Humanizers.
4. Select the route you want to inspect.

The sidebar shows assignment counts. Activity dots continue to show current source movement.

13.2 Read a destination row

Displayed Min and Max values account for the current source range and destination depth.

NOTE: In the overview, Depth can control the source span for MOD or LFO. The assignment editor provides independent destination depth.

13.3 Make a connection

1. Open the context menu of the destination control.
2. Select Add Modulator.
3. Select the source channel and source type.
4. Set the destination range and depth.
5. Audition the change.
6. Select Save to keep it.

Select Cancel to restore the previous assignment. An uncommitted audition is temporary.

13.4 Relative and Absolute routing

Relative uses the authored Base value as its neutral position. Movement goes toward the available limits.

Absolute maps source movement into the selected destination range.

Each route can have its own bounds. Different destinations do not need to use the same mode.

13.5 Mute, Solo, Invert, and Delete

• Mute bypasses a connection and keeps its settings.
• Solo isolates selected routed contributions from other routes.
• Inv reverses one destination's movement.
• Delete removes a connection.

Routing Solo is not audio-channel Solo. Step Mod Solo is also separate from routing Solo.

CAUTION: A global or group action can affect several routes. Check its selected scope before you confirm.

13.6 Restore one destination

1. Open Mod Map.
2. Find the destination route.
3. Mute it to test the sound without its contribution.
4. Delete it only if the connection is no longer required.

Use Mod Map when you need to remove a current multi-destination route. Legacy knob Unlink actions can have a narrower scope.

One control can move a whole set of parameters. The relationships remain yours to define.

Ravik has six assignable macros. Each macro can control more than one destination.

14.1 Assign a macro

1. Open the destination parameter's context menu.
2. Select the macro assignment control.
3. Select a macro.
4. Set the assignment range and depth.
5. Move the macro and check the result.

14.2 Modes

Each destination retains its own range and depth. Different starting values keep their proportional relationships in Relative mode.

14.3 Edit a destination during Relative movement

1. Set the macro to the required position.
2. Edit the destination parameter directly.
3. Move the macro again.

Result: Ravik uses the edited destination value as the new reference at that macro position. The value does not snap back.

Small differences can give a pattern character. Choose where variation belongs and how quickly it moves.

Humanize can vary note timing and selected sound parameters. Each destination can have its own amount, Speed, and Jitterness.

15.1 Main controls

15.2 Timing variation

Timing variation moves an event in either direction around its scheduled onset. It does not change the generated pitch sequence.

The maximum offset is limited to 30% of one step, with a 50 ms upper limit.

1. Select the channel's Humanize controls.
2. Increase Timing by a small amount.
3. Listen to the groove.
4. Reduce the amount if the timing becomes unclear.

15.3 Speed and Jitterness

Speed changes the time scale of variation. Jitterness changes how smoothly that variation moves.

At low Jitterness, the values move smoothly. Higher Jitterness adds more frequent and more abrupt changes.

Jitterness does not change the authored variation amount. It changes the character of the movement.

15.4 Custom Humanize destinations

Humanize can control parameters on both engines, Pan, EQ, dynamics, effects, and other compatible destinations.

1. Open the destination's context menu.
2. Select Add Modulator.
3. Select the channel's Humanize source.
4. Set the amount and destination range.

Custom destinations appear in the source channel's Humanize menu and in Mod Map.

New custom routes start at zero amount in Relative mode. At zero depth, the custom route is bypassed.

A voice can be dry and precise, or occupy its own space. The other channels do not have to follow.

Select CHAN FX for local processing. Select MASTER FX for shared or master processing.

16.1 Effect reference

16.2 Add a local effect

1. Select one channel.
2. Select Solo for that channel.
3. Open CHAN FX.
4. Set the required effect's WET to zero.
5. Select its type.
6. Increase WET until you hear the effect.
7. Adjust its time, feedback, or character controls.
8. Clear Solo and listen to the complete kit.

16.3 Reverb PRE and CUT

PRE delays the reverb input by 0–250 ms. It does not delay the dry sound.

CUT filters only the wet return:

• Move left to reduce high frequencies.
• Use the centre to leave the return open.
• Move right to reduce low frequencies.

PRE and CUT are available for local and shared reverb processing.

16.4 Mono-safe stereo spread

Channel and master SPRD have an optional mono-safe low-frequency threshold.

1. Open the Spread context menu.
2. Enable the mono-safe option.
3. Select a threshold between 0 and 500 Hz.
4. Listen to the sound in stereo and mono.

Result: The selected low-frequency region stays centred. Stereo width remains above that region.

Zero disables the low-frequency protection.

Every voice can have its own space. The shared returns make those voices sound like one kit.

17.1 Local effects and shared effects

Local WET controls affect the selected channel. SEND controls feed shared Delay, Reverb, and Distortion processing.

The three send amounts are independent of the channel's local WET controls.

17.2 Make a shared space

1. Select SEND.
2. Select the first channel.
3. Increase its REV send.
4. Select another channel.
5. Increase that channel's REV send.
6. Adjust the shared reverb in MASTER FX.

Result: Both channels contribute to the shared reverb.

NOTE: A channel can have a local reverb and also send to shared reverb. The two audible paths add together.

17.3 Initial effect levels

New 0.9.0 setups use these initial values:

• Shared AUX returns: fully wet.
• Channel sends: zero.
• Local insert mixes: dry.

Loaded presets keep their saved values.

17.4 Master EQ and effects

The master has independent low and high EQ controls. These controls affect the Main mix and applicable Post Master FX stems.

Use the page scope label before you edit an effect. CHAN FX and MASTER FX are different processing areas.

17.5 Ducking

Ducking reduces a channel's level when a selected source plays. Set the two switches in each channel's context menu.

1. Turn on Ducking Source on each channel that should trigger ducking.
2. Turn on Receive Ducking on each channel that should respond.
3. Increase DUCK gradually on a receiving channel.
4. Listen to the complete kit.

Use small changes first. Large changes can hide a note that is otherwise correctly generated.

Ravik can build a pattern internally or receive notes from another device. It can also deliver a complete kit or separate audio channels.

18.1 MIDI input modes

1. Open the side menu.
2. Select KIT or SEPARATE.
3. Configure the required note map or MIDI channel.
4. Send MIDI notes.

The input-mode choice is retained as a user or session preference. Loading a preset does not normally replace it.

18.2 Per-channel MIDI settings

Channel input can be Omni or MIDI channels 1–16. Use Note Learn for the KIT note map.

Parameter context menus support CC assignments and host automation. Review MIDI mappings when you copy a channel or change its input mode.

On iOS standalone, Ravik retries newly available Bluetooth MIDI inputs without creating duplicate subscriptions.

18.3 Main and channel outputs

Ravik has one Main stereo output and eight optional stereo channel outputs.

The Main stereo output carries the complete kit. In a host that exposes additional output buses, Ravik also provides eight stereo channel outputs.

1. Open the host's audio output-routing controls.
2. Enable the Ravik channel outputs you want to use.
3. Open the channel settings in Ravik.
4. Select an Output Stage for that channel.

18.4 Output Stage options

Post Master FX does not put other channels' audio into that stem. It has independent effect histories.

NOTE: Independent nonlinear stems might not add together to reproduce Main exactly.

The DAW session stores the output-stage choice. Loading or browsing a sound does not replace the host output-stage setting.

Random does not have to mean uncontrolled. Set the scope. Set the distance. Keep what works.

19.1 Select the scope

The Random menu includes these scopes:

• This Engine.
• This Sequence.
• All Engines.
• All Sequences.
• Everything.
• The active MOD lane, when editing MOD.

Sequence parts can include Algorithm, Parameters, Behaviour, Probability, and Density.

19.2 Set Range

Range limits each parameter's change to a percentage of its full possible span.

For example, a parameter at 50 with Range 10% can move between approximately 40 and 60.

1. Open RND.
2. Select the scope.
3. Set Range.
4. Select Range to randomise within that spread.

The parameter's valid minimum and maximum still apply.

19.3 Scale the random range

With a Range of 10%:

• +50% uses a 15% spread.
• -50% uses a 5% spread.

Both actions can move values up or down. They change the spread, not the movement direction.

These actions do not replace the stored Range setting.

19.4 Lock parameters

1. Open the context menu of a control.
2. Enable Lock.
3. Apply a Random action.

Result: The locked value stays unchanged while eligible controls are randomised.

The Random menu remains open for repeated actions. Use Undo and Redo to compare results.

An idea can be a whole kit, one pattern, or only a sound. Save the part you want to use again.

Ravik has three independent preset types. Each type has its own library and file workflow.

20.1 What each type stores

A Pattern is not a sequence-only file. It includes the channel sound and its local modulation.

An Instrument does not replace the destination's note sequence or modulation setup.

20.2 Open the Preset Manager

1. Select Lib.
2. Select Songs, Patterns, or Instruments.
3. Select a bank.
4. Select an item in the list.

Result: The row becomes selected. It does not load automatically.

Select Load or Open when you want to apply the item.

20.3 Save a Song

1. Select Songs.
2. Select Save or Save New.
3. Select a bank.
4. Enter or confirm the name.
5. Confirm the save.

Use a Song to preserve relationships between channels, including their sound, sequences, modulation, and effects.

20.4 Save a Pattern or Instrument

1. Select the source channel.
2. Open Lib.
3. Select Patterns or Instruments.
4. Select Save New.
5. Select or create a bank.
6. Enter the name. Confirm the save.

Channel context also provides Snap Inst and Snap Pttrn for typed snapshots.

Automatic Instrument banks can follow the selected engine type or engine pair.

20.5 Load a Pattern on another channel

1. Select Patterns.
2. Select the required preset.
3. Select one or more destination channels.
4. Select Load.

Result: Ravik applies the Pattern to the selected channels. Unrelated channels remain unchanged.

Modulation routes that pointed back to the source channel move to the destination channel. Explicit external-channel routes retain their target identities.

20.6 Load an Instrument

1. Select Instruments.
2. Select the required sound.
3. Select the destination channel or channels.
4. Set the Effects option.
5. Select Load.

Filter and channel EQ are part of the Instrument sound. They are not excluded by Effects Off.

20.7 Organise banks

The manager supports Save, Save New, Duplicate, Move, Rename/Edit, Delete, and bank operations.

You can create a folder directly from Save As. Factory banks are read-only.

Preset comments are local metadata. They are not included in portable share keys, QR cards, or bank exports.

CAUTION: Deleting a user preset removes that library entry. Export anything you must keep before deletion.

Before you replace a sound, listen to it inside the pattern you already have.

21.1 Try an Instrument

Try temporarily places an Instrument into selected channels. It keeps their existing note sequences and modulation.

1. Open Lib and select Instruments.
2. Select an Instrument.
3. Select the destination channel or channels.
4. Select Try.
5. Listen to the result.
6. Change the Effects option if required.
7. Stop Try to return to the original sound.

If playback was stopped, Try can start it temporarily. Stopping Try restores the previous playback state.

Leaving the Instruments tab or closing the manager also ends the audition and restores the previous sound.

NOTE: An active Try audition is temporary. It is not included in permanent saves or automatic recovery capture.

21.2 Split saved material

Split extracts reusable material from a saved Song or Pattern. It does not replace the currently playing Song.

1. Open the required Song or Pattern bank.
2. Select the saved item.
3. Select Split.
4. Choose Patterns, Instruments, or both.
5. Select the source channels.
6. Select or create a destination bank.
7. Confirm the operation.

Channels with both engine slots OFF are excluded. An Instrument is already a sound capsule and cannot split recursively.

Some sounds arrive while you're trying to make something else. Ravik gives you ways to find them again.

Ravik has separate systems for deliberate saves, edit recovery, and automatically retained states.

22.1 Four kinds of saved state

22.2 Snapshots

Snapshots use persistent numbering. The newest entries appear first.

1. Select Snap.
2. Continue editing the instrument.
3. Open the Snapshot bank when you need the earlier state.
4. Select the Snapshot.
5. Select Open to restore it.

22.3 History Log

History Log stores completed edits locally. Drawn gestures and mapped-MIDI movement can form grouped history entries.

History retains the newest 1,024 states. When the bank is full, the oldest entry can be replaced.

Undo/Redo and History Log have different purposes. Undo/Redo follows the current edit chain. History retains earlier working states.

22.4 What Objects of Interest measures

Objects of Interest does not evaluate musical quality. It measures sustained activity on a configuration.

Listening time accumulates during active sequencer playback or MIDI playing. An idle editor does not accumulate listening time.

The feature can remain active when the editor is closed, while the instrument instance continues to play.

22.5 Capture sensitivity

Normal is the default profile. The selected profile changes the time threshold only.

22.6 What restarts the capture timer

The active listening period starts again when you:

• Change an engine selection.
• Change a note-generation algorithm.
• Change a MOD-generation algorithm.
• Stop playing and become idle.

Ordinary adjustments to filter, level, effects, or modulation can continue during the listening period.

The captured state contains the current full patch when the threshold is reached.

22.7 Example: capture an idea

1. Start playback with a new engine and pattern.
2. Adjust its filter for 20 seconds.
3. Continue listening and changing small controls.
4. Keep playing until the selected capture time is reached.
5. Change the engine and continue exploring.
6. Open Lib > Songs > Objects of Interest.

Result: The earlier configuration can appear as a stored Object of Interest.

An unchanged repeating loop does not create a new duplicate after every capture interval. A new capture requires a changed working state.

22.8 What an Object stores

An Object stores a complete recallable patch:

• All eight channels and their engine settings.
• Note generators and manual note edits.
• Step Mods, MOD curves, and routing.
• Effects and other authored parameters.

An Object does not store a recording of the audio or an instantaneous effect tail. Modulation runs again after you restore it.

22.9 Restore an Object

1. Open Lib > Songs > Objects of Interest.
2. Select an entry.
3. Select Open.

Selecting the row alone does not load it. This lets you browse without changing the current sound.

22.10 Keep an Object permanently

1. Select an Object of Interest or a History state.
2. Select Keep.
3. Open Saved Artifacts.
4. Select the new Artifact.

Keep copies the stored state. You do not have to load it before you keep it.

The interface shows Keeping/Kept feedback. This helps prevent duplicate copies from repeated clicks.

22.11 Saved Artifacts

Saved Artifacts are outside the automatic 1,024-entry rolling limit.

Use Previous Name and Next Name to select a suggested name. Use Save to bank to place a named copy in the ordinary library.

22.12 Disable automatic capture

1. Open Objects of Interest.
2. Select Disable.

Result: Ravik stops making automatic interest captures. Existing Objects and Saved Artifacts remain stored.

History Log continues to operate separately.

22.13 Startup recovery

The standalone app attempts to restore the latest valid History state. It starts in a paused condition.

If no valid state is available, Ravik can load a factory fallback. A host project later loaded into the plug-in has authority over its saved session state.

NOTE: Recovery banks are local to the installation. Export important presets for an independent backup.

A sound should be easy to keep and easy to pass to another musician. Choose how much of the idea you want to send.

Ravik supports compact share keys, QR cards, local files, and typed preset banks.

23.1 Share a Song

1. Open the side menu.
2. Select Share.
3. Copy the key or save the QR card image.
4. Send the key or image to another user.

The current QR card uses white modules on a dark-purple background.

The interface confirms when a key reaches the clipboard.

23.2 Import a key

1. Copy a complete Ravik share key.
2. Open the side menu.
3. Select Paste.
4. Paste or confirm the key.

A Song key can restore the complete patch. Typed Pattern and Instrument keys use their corresponding library workflows.

23.3 Import a QR image

1. Open Lib or the import controls.
2. Select Open Image.
3. Choose an image file on desktop, or select an image from Photos on iOS.
4. Confirm the import.

Ravik decodes standard and inverted QR images locally. Cancelling the picker leaves the current patch unchanged.

23.4 Portable files

Supported legacy .ravik files can also be imported.

Use the correct type when you export. A Song includes more state than an Instrument.

23.5 Share-key compatibility

Share keys have version information. A newer key can require a newer Ravik build.

If Ravik rejects a key as too new, update the receiving build. Do not modify its prefix to force an import.

Host clock settings, global input preferences, and DAW output-stage choices are not the same as portable sound content.

The collection starts with familiar drum forms and continues into strings, resonators, algorithms and unstable systems. Any engine can occupy either layer.

Ravik 0.9.0 provides 48 engine types, plus OFF. Each type is available in Engine 1 and Engine 2.

The following descriptions provide a starting point. The engine-aware controls change with the selected type.

24.1 Drum foundations

24.2 Resonance, frequency modulation, and generated texture

24.3 Digital, physical, and nonlinear models

24.4 Six-operator FM and expanded percussion

24.5 More percussion and chord engines

24.6 Chords, textures, and 3x3

24.7 A note about the engine list

The four six-operator FM banks and the expanded drum/chord engines were already present in 0.2.1. The additional 0.9.0 engine is 3x3.

The independent 3x3 diode-ladder filter is also new in 0.9.0. It can process engines other than 3x3.

Start with the sound. Then check the sequence, the movement, and the route.

25.1 No sound

Check these items in order:

1. Confirm that the host or standalone audio output is active.
2. Confirm that the correct channel is selected.
3. Confirm that at least one engine slot is enabled.
4. Check Balance or Morph.
5. Check Mute, Solo, and channel level.
6. Check the clock and transport.
7. Check DENSE and ordinary note probability.
8. Check exact or random Repeat counts of zero.
9. Check the host's audio routing and monitoring.

25.2 The sequencer does not start

1. Check the Clock mode and the separate Start setting.
2. Start the host transport if the clock is set to Slave.
3. Wait for the next bar if Next Bar is active.
4. Check the note pattern and channel Mute state.

25.3 Some notes do not sound

1. Check the note's probability.
2. Check the current DENSE setting.
3. Check manual note Mute and scale settings.
4. Check the exact and random per-note playback counts.
5. Check channel ducking and audio level.

NOTE: A visible generated note can be silent because of note probability or a zero Ratchet count. Zero Repeat adds no extra plays.

25.4 A knob does not follow your edit

1. Open Mod.
2. Find the parameter in the destination list.
3. Check its Step Mod values.
4. Check connected MOD, LFO, Humanize, and macro sources.
5. Mute one route to isolate its effect.
6. Clear a Step Mod override if you want the generated value back.

Do not delete all routes until you identify the source of the movement.

25.5 A sound changes when you load an Instrument

1. Check the two selected engine types.
2. Check which engine layer is active for editing.
3. Check the Instrument's Effects option.
4. Check the shared filter and EQ.
5. Check the destination's retained sequence and modulation.

Effects Off keeps the destination's existing effects and sends. It does not preserve the previous filter and EQ sound.

25.6 A channel output differs from Main

1. Check the host output connection.
2. Open the channel settings.
3. Check Post Channel FX or Post Master FX.
4. Check the shared effects and master processing.

Independent Post Master FX processing can produce different nonlinear results from the Main mix.

25.7 Imported material does not appear

1. Confirm that the file or key is complete.
2. Check whether it is a Song, Pattern, or Instrument.
3. Open the matching library tab.
4. Confirm that the receiving build supports the file or key version.
5. Open the key with a Ravik version that supports its format.

25.8 Plug-in, standalone, or host problems

Collect this information before reporting a problem:

• Ravik version and build.
• iPhone/iPad model or desktop hardware.
• Operating system version.
• Host application and version.
• Standalone or plug-in form.
• Steps required to reproduce the problem.
• The relevant Song, Pattern, Instrument, or share key when available.

Send feedback to hello@valdlabs.com. Include the build number shown in About.

Ravik is built from independent systems. This reference shows their limits without requiring you to know the implementation.

26.1 System reference

26.2 Terms used in this manual

26.3 Changes that preserve older patches

Ravik retains older supported presets and share keys. Some older patches keep their original behaviour until you edit the relevant controls.

This can apply to Density, Repeat, Balance/Morph, Humanize, and generated modulation behaviour.

Save a copy before editing a legacy patch if its exact earlier response is important.

26.4 Performance and playback continuity

Ravik applies short transitions during some sound and preset changes. This reduces abrupt level changes and unwanted reset triggers.

Preset switching normally preserves running transport and host phase. A stopped transport remains stopped.

Some handovers report approximately 2 ms of host latency. Host reporting and runtime results can vary by build.

Inactive effects and unused auxiliary output paths can reduce processing work.

Keep your work before you remove the instrument. The plug-in and your saved data are separate things.

27.1 Before removal

CAUTION: Deleting Ravik's user-data folder can permanently remove local presets, recovery states, preferences, and other stored data.

1. Close Ravik and your host application.
2. Export Songs, Patterns, Instruments, and banks you want to keep.
3. Copy the exported files to a safe location.
4. Keep any purchase or licence information required for later installation.

Do not delete shared system runtimes or your host application's projects.

27.2 Windows

1. Open Settings > Apps > Installed apps.
2. Select RAVIK VST3.
3. Select Uninstall. Follow the prompts.
4. Close the installer when removal is complete.

To remove optional user data, open these product-specific locations in File Explorer:

• %APPDATA%\RAVIK
• %LOCALAPPDATA%\RAVIK
• %TEMP%\RAVIK-WebView2

Remove only the Ravik-specific folders you no longer need.

If an installed plug-in copy remains, check:

C:\Program Files\Common Files\VST3\RAVIK.vst3

Do not remove Microsoft Edge WebView2 Runtime or Microsoft Visual C++ Redistributable as part of ordinary Ravik cleanup. Other programs can use them.

27.3 macOS

1. Close Ravik and your host application.
2. In Finder, select Go > Go to Folder.
3. Open the applicable plug-in locations below.
4. Move only the named Ravik bundles to the Trash.

• /Library/Audio/Plug-Ins/VST3/RAVIK.vst3
• /Library/Audio/Plug-Ins/Components/RAVIK.component

The 0.9.0 desktop preview installs RAVIK.app in Applications. Move it to the Trash to remove that standalone app and its embedded AUv3. The Components path above applies to older installations that supplied a separate AU component.

To remove optional local data, inspect these product-specific locations:

• ~/Library/RAVIK
• ~/Library/Application Support/RAVIK.settings
• ~/Library/Caches/RAVIK
• ~/Library/Caches/com.valdlabs.ravik
• ~/Library/WebKit/com.valdlabs.ravik
• ~/Library/Preferences/com.valdlabs.ravik.plist

Remove only existing files or folders that belong to Ravik. Do not remove your DAW's shared caches or projects.

The following optional Terminal commands remove installer receipts only. They do not remove the software:

sudo pkgutil --forget com.valdlabs.ravik.vst3
sudo pkgutil --forget com.valdlabs.ravik.au
sudo pkgutil --forget com.valdlabs.ravik.desktop

Skip a receipt reported as missing.

27.4 iPhone and iPad

CAUTION: Deleting the standalone app can remove locally stored presets and recovery states. Export material you want to keep first.

1. Open Ravik and export the Songs, Patterns, Instruments, or banks you want to keep.
2. Save the exported files outside Ravik's local storage.
3. Close Ravik and the host application.
4. Touch and hold the Ravik app icon on the Home Screen or in the App Library.
5. Select Remove App, then Delete App. Confirm the deletion.

Remove Ravik AUv3 instances from individual host projects if you no longer use them. Deleting the application does not automatically edit saved host projects.

Start with a sound that works. Change one relationship. Let the instrument show you the next one.

Three experiments can help you learn the deeper controls:

1. Put the same engine in both slots. Change each sound. Use Morph between them.
2. Generate a note pattern. Add one filter Step Mod. Mute the edit to hear the generated result.
3. Open Instruments. Try another sound on the same pattern. Stop Try to return to the original.

Save what you want to keep. Use Snapshots when you want an immediate checkpoint. Use Objects of Interest to find work you explored without saving.

Ravik does not require you to use its generative sequencers. External MIDI, fixed steps, and manual edits are equally valid ways to play it.

Våld Labs
Independent electronic instruments. Designed and developed in Lisbon.
© 2026 Jaime Paiva / Våld Labs