• Two 16×16 pin matrices, one for audio and one for control. Click a hole to drop a pin at 100%; drag it to attenuate, shift-drag for fine control, right-click to pull it
• Six oscillators, two nonlinear diode-ladder filter/oscillators that self-oscillate on the dial frequency, two envelope shapers, a random voltage generator, two ring mods, two VCAs and an eight-band octave filter bank
• A two-spring reverb tank with that dispersive chirp, plus a joystick, a meter, and four inputs so the plugin can process your own audio
• Analog behavior from the circuit up: op-amp matrix rails that compress and grind, saturating VCAs with CV bleed, column-to-column crosstalk, oscillator top-octave sag, and a trim that turns it all up or down
• The ANALOG section adds drift, warm-up and a cold start, so no two patches sit exactly the same way twice
• The house EZ button rolls a new patch from scratch. A 16-step snapshot sequencer stores the pins and the dials at each step, with SLEW, SNAP, EXT SYNC and STEP TRIG, and it follows your DAW or runs its own clock
• 64 factory patches in six sections (EMS classics, instruments, sequences, generative and FX, voices, morphs), including six of Shane’s own. Hover any patch to see what it is and what to touch
• Eight performance inputs (mod wheel, aftertouch, pitch bend, velocity, breath, foot, expression and key CV) can be routed to either matrix bus

Modeled like a circuit, not a patch cord. Every matrix column is an op-amp mixer that runs out of supply, so dense and feedback patches compress and grind instead of just getting louder. The VCAs and output amps saturate and let their control voltage bleed through, neighbouring audio columns leak a faint whisper into each other, and the oscillators run flat up top and carry their own DC offsets. Drift, warm-up and a cold start make each box behave like a real one. Then it does what no hardware can: the snapshot sequencer stores every pin and dial at each step, and SLEW morphs the whole instrument between them.