Macros

Each clip has 6 macro links, labeled M1 through M6. A macro link maps one control to one or more parameters, so moving a single slider changes everything assigned to it at once.

Macros are especially useful for live performance. If you assign them consistently across your clips, you build muscle memory around what each link does. For example:

  • M1: always adds movement (phase speed, rotation, scale oscillation)
  • M2: always increases intensity (brightness, saturation, number of points)
  • M3: always adjusts color (hue shift, color cycling speed)

When every clip follows the same convention, you can switch between clips mid-show and still know exactly what M1 or M2 will do, without looking at the screen. This turns your macro controls into a reliable performance instrument.

Assigning Parameters

There are three ways to assign a parameter to a macro link:

  1. Drag and drop: Drag from any knob label in the parameter panel and drop it onto a macro link slot. The slot highlights when you hover over it.
  2. Dropdown: Click an empty link slot to open a parameter dropdown, grouped by source (oscillators, color, transform, etc.).
  3. Right-click: Right-click any parameter knob and assign it to a macro link from the context menu.

Each parameter can only belong to one link at a time.

Assigning Multiple Parameters

A single macro link can control multiple parameters. This is where macros get interesting: one slider movement can adjust scale, rotation speed, and color shift simultaneously.

To add more parameters to an existing link, just drag or assign additional parameters to the same slot.

Each link defaults to the center (0.5). Drag the dial vertically to adjust, or right-click to snap it back to center.

Configuring Range and Invert

Click a populated macro link to open its settings. For each assigned parameter you can configure:

  • Min / Max: Set a custom range so the macro only sweeps part of the parameter's full range. By default, it uses the parameter's natural range.
  • Invert: Flip the direction. When the macro slider goes up, the parameter value goes down.
  • All layers: Apply the macro to this parameter across all layers in the clip, not just the one where it was assigned.

You can also remove individual parameters from the link here.

Multi-Parameter Sync

When a link drives more than one parameter, edits you make directly to one of those parameters won't get steamrolled the next time the macro updates. The macro skips parameters whose current value has drifted from what it last set, so manual tweaks survive.

Drag the macro slider itself to force-apply across every assigned parameter and resync the group.

Using Macros in the Node Graph

Macros work with Node Graph layers too. You can assign a macro link to a specific input on any node, giving you direct slider control over graph parameters during performance.

If the input you target already has a connection in the graph, the macro becomes inactive for that input. Graph connections take priority. The popup editor flags this so you know why a link isn't doing anything.

MIDI and OSC

Macro links can be mapped to external controllers through MIDI or OSC, which is where the live performance workflow really comes together.

  • MIDI: Map a CC or note to any of the 6 links. Incoming MIDI always force-applies across every assigned parameter, so an external controller stays authoritative. Motorized faders receive feedback, so the physical position tracks the software value.
  • OSC: Macro links are available at /clip/macro/1 through /clip/macro/6, accepting a float value from 0.0 to 1.0.

Combined with consistent macro assignments, a MIDI controller with 6 faders becomes a dedicated performance surface that works the same way across every clip.

Timeline Automation

Macros can be automated on the Timeline. This is a practical way to handle pre-programmed shows with varied content.

Instead of automating different parameters for each clip individually, automate the macro links. If Clip A uses Macro 1 for scale and Clip B uses Macro 1 for point count, a single automation lane on Macro 1 drives whatever "intensity" means for each clip, without per-clip automation editing.