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 pick from the selected layer's parameters, grouped by source (oscillators, color, transform, etc.).
  3. Right-click: Right-click a parameter's label, choose Macros, then pick a link. Right-clicking the knob itself resets it to its default.

Each parameter can only belong to one link at a time. Assigned controls show a chip (M1 to M6) next to their label. Click it to find the link on the Macros board. Hover a link on the board to outline every control it drives.

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.

Drag the dial vertically to adjust. Moving the macro (the dial, MIDI, OSC, or the remote) writes every assigned parameter and overwrites manual edits to them.

A link with a single parameter follows that parameter. Assigning picks up its current value, so nothing jumps, and the dial keeps tracking the knob when you change it by hand.

Configuring Range and Invert

Click a populated macro link's name 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. If a layer has its own assignment of the same parameter, that one wins on that layer.

You can also remove individual parameters from the link here.

Using Macros in the Node Graph

Macros work with Node Graph layers too. Right-click a node's input row, choose Macros, then pick a link. On a Node Graph layer, the dropdown on an empty slot lists each node's inputs instead. That gives you direct slider control over graph parameters during performance.

A macro sets an input's default value, so it does nothing on an input with a wire connected. The Macros links are disabled on wired rows, and the popup editor flags a link whose input got wired later.

When you convert a layer with Extract to Node Graph, its macro assignments move onto the matching graph inputs, so your links keep working.

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. 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.

A parameter driven through a macro lane can't be captured with Keyframe changed lanes, so edit the macro lane instead.