Sound, shaped
by you.

CHAPTER 01

Introduction

Draw a waveform. Shape it. Make it move.

Phase Loom is Loom Instruments’ waveform instrument for hands-on sound design. It combines wavetable scanning and drawing, phase shaping, oscillator interaction, modulation, dual voice filters and a stereo effects chain.

Version 0.19.0 contains 448 factory presets, up to six oscillators and twelve modulation routes. Use it for bass, leads, plucks, keys, pads, sequences and textures. Its focus is creative control without an unnecessarily complicated workflow: Ideas Into Sound.

CHAPTER 02

Make your first sound

Use low monitoring volume for your first patch. These steps are a starting point, not mandatory values.

1. Load the instrument. Put Phase Loom on a MIDI instrument track and enable MIDI input/monitoring. In Windows standalone, select your audio output and MIDI device.
2. Choose a sound. Clear browser filters and select Init sine or Round Foundation. Play a note on a MIDI controller or the onscreen keyboard.
3. Shape it. Move oscillator A Position through its frames, or raise Fold slightly to add harmonics. Keep Output around its −12 dB default initially.
4. Make it move. Drag the LFO 1 socket onto A Position. Raise the route amount slightly; hold a note and adjust Rate. Position only changes tone if the table has different frames.
5. Filter it. Open Filter + FX, enable Filter 1, select Low pass 24 and lower Cutoff. Keep Mix at 100% to hear the full result.
6. Add space. Enable Reverb and start with a modest Mix, around 10–15%. Keep other stages bypassed while learning.
7. Check the level. Watch OUT. Reduce Output or the processing amounts if CLIP lights. Click the meter to clear the latched indicator.
8. Keep the result. Use Save patch → Save variation. Give it a name, category and notes. Save the DAW project as well.

CHAPTER 03

Installation

Windows

Close your DAW and standalone before running the x64 installer. It requests administrator privileges, installs the VST3 in the standard location and places the standalone and manual under Program Files. It checks for the Microsoft Visual C++ x64 runtime and installs the bundled prerequisite if needed. Restart if the installer requests it.

Open your DAW’s plug-in manager and rescan VST3 instruments. Look under Loom Instruments. Existing personal presets are separate from the application. To uninstall, use Windows Installed apps → Phase Loom. The installer intentionally preserves factory preset files and reusable modulation presets; back up personal sounds before removing any folders manually.

macOS

Open the supplied PKG and follow Apple Installer. Restart or rescan the host after installation. The source packaging configuration provides system VST3 and AU destinations; use the format actually included in your package. AU-capable hosts require the AU component, not just a VST3.

The build configuration defaults to macOS 11.0 and arm64 + x86_64, but those are build targets, not a claim that the distributed package was tested on every supported OS or CPU. There is no macOS uninstaller in the project. To remove an installed plug-in, quit hosts and remove its Phase Loom bundle from the applicable system plug-in folder; leave user presets intact unless you intend to remove them.

Windows installer · macOS beta installer

CHAPTER 04

Interface overview

Follow the sound from source to movement to processing. The map below is a navigation guide, not a simulated plug-in screenshot.

Inspect at full size (scroll horizontally on smaller screens)

Expand opens dedicated waveform or modulation workspaces. Filter + FX opens the processing panel. Hover a control or Tab to a knob for its help text. Double-click a knob to reset its default; edit its value field for precision.

CHAPTER 05

Preset browser

Choose a category to narrow the library. All categories restores the full category range. Search matches preset names, categories and available notes. The 448 factory presets include 30 Filter + FX showcase sounds, alongside the earlier 26 Heavy Bass additions. The library has 14 categories: Bass / Sub & 808, Bass / Reese, Bass / Heavy, Bass / Growl & Vowel, Bass / Motion, Bass / Plucked, Leads, Plucks, Keys, Pads, Sequences, Atmospheres & Textures, FX and Experimental.

The tag menu includes broad types such as Bass, Lead, Pad, Pluck, Rhythmic, Keys and Texture, plus more specific tags such as Heavy, Sub, 808, Reese, Growl, Vowel, Motion, FM, Unison, Morph, Distorted, Filtered, Phaser, Flanger, Chorus, Delay and Reverb. Tags overlap and use category, name and note metadata. Select All tags to remove the tag filter.

Click a preset's star to save it as a favourite. The Favorites button shows starred sounds within your current category, tag and search filters. The category menu also has a Favorites entry. Stars are remembered across sessions and updates.

Random loads one of the currently matching sounds. It avoids the current preset when there is another choice, and is disabled when no sounds match. The top-bar < and > buttons also follow the filtered list. If a sound seems missing, clear Search, choose All categories and All tags, and turn off Favorites.

For the newer motion sounds, clear the filters and search MOTION -. Search LOOM - for the refreshed interaction sounds. Play sustained notes to hear their movement; try the macros and your modulation wheel.

Compare with A/B

When you load a preset, A and B both start with that sound, and B is selected. Edit B, then click A to hear the starting version. Click B to return to your edits.

Both slots are editable and retain their own changes. A>B replaces B with A and selects B; it overwrites the previous B version. Comparison includes parameters, drawn oscillator frames, modulation shapes, routing, both voice filters and the FX settings. Your MIDI mappings and interface preferences stay in place.

The two slots survive closing and reopening the editor in the same plug-in instance. Loading a preset or restoring a host session starts a fresh comparison. Only the active sound is saved to a patch or DAW project; use Save variation to keep either version permanently. Switching uses patch recall and may restart voices; it is not a crossfade.

Save and exchange sounds

Click Save patch, enter a name, category and optional notes, then Save variation. Each save creates a new personal preset rather than overwriting the original. Choose User presets in the category menu to find it. Notes can describe playing technique, macro assignments or sound-type tags.

Use Export .loom in the save panel to make a portable sound file. Open patch loads a .loom file; Save variation then adds it to the managed library. Whole-sound files embed the waveforms and modulation data, so their original imported audio files are not needed for playback.

Personal presets are in %APPDATA%\Loom Instruments\Phase Loom\User Presets. On macOS, personal presets are in ~/Library/Application Support/Loom Instruments/Phase Loom/User Presets. Back up your platform’s User Presets folder and the adjacent favorites.txt. Reusable modulation files default to Documents\Phase Loom\Modulation Presets.

Save your DAW project to recall its active sound and instance settings such as MIDI assignments, pitch-bend range, polyphony and interface size. The inactive A/B slot is not part of that saved project. Version 0.19.0 saves format-11 sounds, including Filter + FX settings and destinations. It accepts supported older formats 1–10 and supplies defaults for the new controls. Older releases that do not understand format 11 cannot open these newly saved sounds. Delay and reverb parameters are saved, but the live audio already circulating in their tails is not stored.

CHAPTER 06

Synthesis engine

An oscillator produces the repeating waveform you hear. Position moves through the frames in its wavetable. Tune changes pitch and Level controls its audible contribution.

Bend, Asymmetry, Sync, Fold and Phase reshape the waveform. Start with small movements while holding a note. Shape... replaces the selected frame with a starting shape; you can then drag on the waveform to customise it. Warped changes the waveform preview. Use the oscillator's Undo or expanded editor history to recover earlier waveform edits.

Click Expand for frame selection, adding, duplicating or deleting frames and larger drawing controls. Each oscillator supports up to 16 frames. Import accepts WAV/AIFF files containing complete waveform frames; choose the frame size in the lower-left sidebar first. This imports a wavetable, not a sample that plays from beginning to end. Stereo imports use the left channel.

Click + beside the right oscillator selector to add C, D, E and F, for up to six oscillators. The selector changes which oscillator you edit; enabled oscillators continue playing. - removes the selected extra oscillator while retaining its settings so you can add it back.

Build a morph

1. Click Morph... above an oscillator.
2. Choose the starting and ending frames within that oscillator's table.
3. Draw the endpoint waves or choose shapes for them.
4. Choose a morph style and the number of intermediate frames, then click Build morph.
5. Hold a note and move Morph Position to hear the transition.

Endpoint drawings are drafts until Build morph is clicked. Animate can set up a free LFO and modulation slot to sweep the position; if no suitable free source or route exists, the panel explains why. Closing the panel leaves a completed animation running. Save variation stores the generated frames and modulation.

Interactions, sub and unison

The interaction strip lets one oscillator influence another through Phase mod, Linear FM and Ring. Choose the modulation direction, then increase one amount at a time. These controls can change tone dramatically. An oscillator can still act as a modulator when its audible Level is zero.

C-F > A/B... exposes additional phase/FM interaction amounts from the extra oscillators. Sub adds a sine one octave below; Noise adds noise. Use Output to rebalance the result.

Open Reese... for 1, 2 or 7 unison copies, Detune and stereo Spread. More copies and detuning create a thicker sound; Spread separates it across the stereo output. More oscillators, copies and played notes also require more processing.

Voice behavior and envelopes

The bottom playing-mode menu offers Poly, Mono and Legato. Poly supports chords. Mono plays one note at a time with retriggering. Legato connects overlapping notes; the nearby LFO and envelope retrigger choices determine whether their movement restarts on overlapping notes. Glide smooths pitch movement between notes.

The Amp envelope controls a note's volume:

• Attack: how quickly it fades in.
• Decay: how quickly it falls from its initial peak.
• Sustain: its held level while the note remains on.
• Release: how long it fades after note-off.

Try a short attack and release for a tight bass. Use a longer attack and release for a pad. The two modulation envelopes create movement for assigned controls; they do not control overall volume automatically.

PM spans 0–4 cycles; Linear FM index spans 0–8. Ring, Sub and Noise use 0–100% levels. Increase one interaction at a time. The Sub is a sine one octave below the played note and passes through the voice filters with the rest of the voice; it is not an independent clean-output bus.

Unison Detune is measured in cents; the reference table lists its full range. Spread needs two or seven copies to produce a stereo difference. Mono and Legato use Glide; Poly supplies chords up to the maximum polyphony selected in Settings. Oscillator layers, unison copies and held voices multiply processing cost.

CHAPTER 07

Modulation system

1. Choose an LFO or modulation envelope.
2. Drag its coloured source socket onto a sound knob or oscillator waveform.
3. Adjust the connection amount in the modulation matrix. Start with a small amount.
4. Hold a note and change the source's rate or shape.

There are twelve routing slots, shown in pages. Positive and negative amounts move the destination in opposite directions. M mutes a route without deleting it. The macro sliders are useful performance controls when routed to one or more destinations.

Show wiring reveals the connections. Hiding wiring does not stop modulation. Use the source filter to focus the display. Click and drag a wire vertically to change its amount; double-click for exact entry, or right-click for options such as mute and removal. Right-clicking a destination also gives access to its incoming connections.

LFOs and custom shapes

Three LFOs are available. Draw a shape or choose a shape preset, set its rate or tempo division, and choose Note retrigger, Free running, Transport or One shot. Click Expand for a larger workspace.

In the expanded editor, To breakpoints converts the drawing into editable points. Click empty graph space to add a point, drag a point to move it, and use T, V and C for time, value and curvature. Step / hold holds a value until the next point. Snap helps align points to cycle divisions. Converting back to drawing resamples the shape and can lose exact curves or steps.

Modulation envelopes and sequencing

The expanded modulation envelope editors offer Loop / Attack + Decay > While held. Set the loop boundaries to repeat part of the envelope while a note is held. Note-off exits the loop and starts release. The amplitude envelope remains a normal ADSR.

Select Sequencer in the modulation editor for up to 32 steps. Its Value, Gate, Chance and Tie lanes control the modulation pattern. Route it to a parameter to hear its effect. It does not generate MIDI notes; hold or send notes to the instrument. A step value of zero means neutral modulation, not necessarily silence.

Use the expanded editor's Save..., Load... and Starter library... for reusable source shapes. LFO, modulation-envelope, sequencer and amplitude-envelope files have different types. Loading a source preset leaves the other sources and oscillators alone.

Depth, polarity and limits

Depth spans −1 to +1 (−100% to +100%). The engine adds source × depth × destination range to the base setting, then clamps the result to that parameter’s range. A small amount can therefore make a large change on a wide-range control such as Cutoff. Negative depth reverses motion; it does not automatically turn a unipolar envelope into a bipolar source.

LFO drawings and sequencer values may move above and below zero. Envelopes, velocity, wheel, pressure and macros are unipolar. Key tracking is centered on MIDI 60. Modulation rings show evaluated movement; they are not a separate saved knob value. With polyphony, the display and global FX modulation reflect the last evaluated active voice in the primary unison lane.

Synced sources follow host tempo. Standalone uses 120 BPM. LFO Clock selects free Hz or the division; playback Mode separately chooses Note retrigger, Free running, Transport or One shot. Random sources follow LFO 3. Rate modulation is useful in Free Hz mode; the clock overrides it in synchronized modes.

Sequencer details

Direction supports Forward, Reverse, Ping-pong and Random. Swing offsets alternating steps; Smooth rounds transitions. Pitch quantization offers smooth, semitone or minor-scale offsets when the sequencer targets oscillator pitch. Gate and Chance suppress modulation values, not MIDI notes. A tie holds connected step behavior. Sequence values are stored with the patch, separately from the host parameter list.

Complete destination reference

There are 80 routable controls. Output gain, effect bypass switches and many other automatable parameters are not modulation destinations. Removed C–F oscillators retain settings; their routes resume when enabled again.

CHAPTER 08

Dual voice filters

Open Filter + FX. Set the Filter 1 or Filter 2 menu from Bypass to Enabled. Each voice has its own filters before amplitude and velocity. The two filters have matching controls and can be used independently.

Cutoff moves the filter frequency. Resonance emphasizes that region with bounded resonance and output compensation. Drive adds compensated saturation before filtering. Mix blends dry and filtered sound; zero preserves the dry voice. Key Track at 100% follows note pitch relative to MIDI 60.

Serial sends Filter 1 into Filter 2. Parallel averages the two branches equally; a bypassed branch passes dry sound. Parallel is not a user-adjustable crossover or independent layer mixer.

Practical starting points

• Remove high end: Low pass 24, full Mix, Cutoff around 1–4 kHz; lower further for darker bass.
• Add movement: route a modulation envelope to cutoff at a small positive depth, then set a short decay.
• Growl: combine oscillator PM/FM with a moving band pass and modest resonance.
• Resonant sweep: raise resonance gradually and sweep cutoff slowly; compensate loudness.
• Bass shaping: reduce Fold/Sync first, then use a low pass to control upper harmonics.
• Metallic filtering: start with ring or FM and move a notch or band pass through it.

CHAPTER 09

Effects and signal flow

Inspect at full size (scroll horizontally on smaller screens)

The global chain order is fixed. Use each stage’s enable control to compare dry and processed sound.

Distortion

Soft / tanh rounds peaks, Hard clip is more abrupt, and Sine fold folds the signal for complex harmonics. Enable switches the stage; Drive increases shaping; Tone is the post-shaper low pass; Mix balances dry and processed sound. Drive compensation moderates level changes but does not guarantee equal loudness. Try a small Drive/Mix for body or stronger folding for aggressive midrange.

Chorus, Flanger and Phaser

These are mutually exclusive modes of one Mod FX stage, not three simultaneous inserts. Chorus adds moving width, Flanger creates comb-like sweeps, and Phaser creates phase-shifted motion. Enable activates the stage. Mode chooses the effect. Rate is free Hz; Clock overrides Rate with a tempo division. Depth sets excursion, Feedback reinforces the motion, Stereo phase offsets the channels and Mix sets the wet balance. Begin with low Feedback and modest Mix to avoid large tonal peaks.

Delay

Enable activates repeats. In Free clock mode, Time is seconds; synchronized divisions override it and cap at eight seconds. Feedback returns up to 85% of the delayed signal. Stereo/Ping pong selects channel routing. Low cut and High cut filter the feedback. Mix sets wet level. Start around 20–30% Feedback and 10–20% Mix for rhythmic depth. Automating Time can produce pitch movement.

Reverb

Enable activates the room tail. Size changes the delay network independently of Decay. Decay is approximate low-frequency T60 in seconds; Damping shortens high-frequency decay. Pre-delay separates the tail from the attack. Width controls wet stereo spread, with zero producing a mono wet tail. Mix sets wet level. Use short Decay and low Mix for presence, or longer values for pads; dense bass usually benefits from restraint.

Clock, modulation and tails

Clock choices are Free, 2 bars, 1 bar, 1/2, 1/4, 1/8 dot, 1/8, 1/8 trip, 1/16 and 1/32. The 20 filter/FX destinations are listed in the modulation reference. Delay and reverb stop receiving new input on bypass while existing tails decay. Preset recall and Panic reset tails; live tail audio is not serialized. Settings remain when a stage is bypassed.

CHAPTER 10

Spectrum and metering

The small OUT section beside the keyboard shows independent L/R sample peaks from -60 to 0 dBFS. Thin markers hold peaks briefly; the number shows the higher held peak. Amber indicates the upper range and red the area near full scale.

CLIP lights when either channel reaches or exceeds 0 dBFS. Lower Output if it lights during normal playing, then click the meter to reset the indicator. Continued overload lights it again. This is a sample-peak meter, not a true-peak or loudness meter.

Click SPECTRUM + to expand the frequency display. The left side shows low frequencies and the right side high frequencies. Taller peaks mean more output at those frequencies. The expanded view includes frequency/level labels and a peak readout. Close, Escape or a click outside the card collapses it. It analyses the sound without changing it.

Gain staging

Leave headroom while designing. Reduce oscillator levels, filter drive, resonance or effect wet amounts when processing creates unwanted peaks. Use Output to adjust the engine feed, remembering that it precedes global FX. For a downstream trim, use your DAW channel fader. The analyzer is a visual guide to frequency balance, not a loudness or mastering assessment.

CHAPTER 11

Themes and appearance

Open Settings to choose maximum polyphony (1, 2, 4 or 8 notes), pitch-bend range (1–24 semitones each way), interface size and MIDI assignment management. Pitch bend defaults to two semitones. Panic stops stuck notes.

Theme offers Original dark, White, Grey, Graphite, Midnight, Ocean, Plum and Sand backgrounds. Colours independently selects Spectrum, Neon, Ocean, Sunset, Orchid or Monochrome accents. Both appearance choices are remembered. Interface size ranges from 70% to 125%.

To assign a physical controller, right-click a supported sound control, choose MIDI Learn, then move the controller. Mappings stay in place while browsing presets and recall with the DAW project. CC64 sustain, pitch wheel, all-notes-off and all-sound-off are supported. Phase Loom does not currently provide MPE.

Choose the theme and accent combination that makes labels, source sockets and modulation rings easiest to see on your display. Increase interface size when necessary rather than relying on color alone. Appearance choices affect the editor, not the sound. The manual has a separate print stylesheet for light-paper output.

Theme gallery

Current interface captures supplied on 29 September 2026. Open a theme to compare its background and control contrast. Accent colour sets are independent of themes; the White capture uses a different accent selection.

Original dark

Inspect at full size (scroll horizontally on smaller screens)

White

Inspect at full size (scroll horizontally on smaller screens)

Grey

Inspect at full size (scroll horizontally on smaller screens)

Graphite

Inspect at full size (scroll horizontally on smaller screens)

Midnight

Inspect at full size (scroll horizontally on smaller screens)

Ocean

Inspect at full size (scroll horizontally on smaller screens)

Plum

Inspect at full size (scroll horizontally on smaller screens)

Sand

Inspect at full size (scroll horizontally on smaller screens)

CHAPTER 12

Sound design recipes

These approximate settings are listening exercises. Start quietly, change one thing at a time, and adapt amounts to the waveform and note range.

CHAPTER 13

Heavy bass workflow

1. Establish the note. Start with a simple waveform and a stable pitch. Listen without effects before adding layers.
2. Create movement upstream. Move Position, Bend, FM or a voice-filter cutoff before increasing global distortion. Rhythmic modulation should support the phrase.
3. Shape around harmonic generation. Voice filters follow oscillator shaping and PM/FM, but precede global distortion. Distortion Tone supplies post-shaper low-pass control. Use a DAW EQ after the plug-in for additional post-FX shaping.
4. Control the low foundation. The internal Sub is mixed through the same voice filters and global FX. For an independently clean sub, use a separate instrument instance or DAW layer and manage the frequency overlap yourself.
5. Keep low frequencies focused. Reduce unison Spread, check mono, and avoid assuming chorus or wide reverb preserves a stable bass center. There is no dedicated multiband stereo crossover in Phase Loom.
6. Make expression repeatable. Map macros or the wheel to a few useful targets. Use one clear rhythmic source before adding random variation.
7. Compare and save. Match perceived level when using A/B. Save useful neutral and expressive versions as separate variations.

CHAPTER 14

Workflow tips

• Use presets as examples: inspect active sources, route depths, filter modes and stage enable states before editing.
• Keep one audible oscillator while learning a shaping control. Add C–F only when each has a purpose.
• Use muted routes to compare a movement idea without losing its destination and amount.
• Save meaningful names and notes, including macro assignments and intended note range.
• Use A/B for sound comparisons, not as a permanent two-patch storage system.
• Reduce maximum polyphony, unison copies and extra oscillators when a patch is expensive. Longer releases keep voices active.
• Use a larger DAW audio buffer for dense sessions, then return to a lower buffer for live playing if stable.

Undo boundaries

Waveform, morph and expanded modulation editors have their own histories. Matrix Undo / Redo handles routing changes. These are separate histories, not an Undo command for the entire instrument. Some histories clear when you load a preset or switch the source being edited. Use A/B and Save variation before making a large set of changes.

CHAPTER 15

Troubleshooting

CHAPTER 16

Bug reporting

Post reproducible beta issues through the Loom Instruments Discord or consult the support page. Include only files you are comfortable sharing.

Phase Loom version: 0.19.0 (include build details if available)
Operating system and version:
CPU architecture (x64 / Intel / Apple Silicon):
DAW and version, or standalone:
Plug-in format (VST3 / AU):
Audio device, sample rate and buffer size:
Preset name or attached .loom:
Steps to reproduce:
1.
2.
3.
Expected behavior:
Actual behavior:
Frequency / repeatability:
Screenshots or screen recording:
Crash log / host scan log, if available:
Short audio example, if relevant:
Does it also happen with Init sine in a new project?

Distinguish an observed result from a guess about its cause. Mention whether the issue began after loading a patch, changing A/B, switching audio devices or restoring a project.

CHAPTER 17

Keyboard and mouse reference

CHAPTER 18

Technical reference

This table is generated directly from Engine.h and FilterFxParameters.inc. Values are raw parameter units, not normalized host automation values. Fractional level/mix/depth values are displayed as percentages in many controls (0.5 = 50%). Defaults describe a newly initialized parameter set; factory presets override them.

Menu parameters use stored indices. Important mappings: Route 0 = B → A, 1 = A → B; Voice mode 0 = Poly, 1 = Mono/retrigger, 2 = Mono/legato; Unison 0/1/2 = 1/2/7 copies. Filter types 0–5 follow the filter mode table; Filter routing 0 = Serial, 1 = Parallel. Distortion modes 0/1/2 = Soft / tanh, Hard clip, Sine fold. Mod FX modes 0/1/2 = Chorus, Flanger, Phaser. Enable 0/1 = Bypass/Enabled.

Source selectors 0–14 follow the source table. Legacy destination selectors cover the original 24 targets; extended, interaction and FX selectors add newer targets. A nonzero FX destination takes priority, then interaction, then extended, then the legacy target. Use the unified routing UI instead of manually combining selector values in host automation unless you understand this precedence.

LFO mode 0–3 = Note retrigger, Free running, Transport, One shot. LFO/Mod FX/Delay clocks 0–9 = Free followed by the nine listed divisions. Sequencer clock 0–8 uses those divisions without Free; Steps 0–31 means 1–32 steps. Direction 0–3 = Forward, Reverse, Ping-pong, Random. Quantization 0–2 = smooth, semitone, minor. Seq mode 0/1 = note retrigger/transport. Mute and Tie 0/1 = off/on. Envelope/LFO legato retrigger 0/1 = hold/restart. C–F enable 0/1 = removed/enabled. Extra source 0–4 = Off/C/D/E/F.

Waveform samples, breakpoint data and sequencer values are embedded patch data rather than individual entries in this host parameter table. Maximum polyphony, pitch-bend range, interface size and MIDI assignments are instance settings; this is not a list of every saved XML property.

343 parameters

File locations

Formats

CHAPTER 19

Version information

Current documented version: 0.19.0. The 0.19.0 source adds dual six-mode voice filters, a fixed four-stage global effects chain, 55 appended parameters, 20 new modulation destinations and 30 Filter + FX showcase presets. The complete bank contains 448 presets in 14 categories; the earlier 26 Heavy Bass additions are included.

Saved state uses schema 11. Supported older schemas 1–10 receive defaults for added controls. Older releases cannot load newly saved format-11 patches. Preset recall preserves parameters and embedded sound data; it does not reconstruct already-running FX tails.

Repository change notes: DEVELOPMENT-0.19.0.md and FILTER-FX-DEVELOPMENT.md. These include historical development-status statements; current download availability is listed on the website. No separate public changelog URL is configured.

CHAPTER 20

Support

Loom Instruments · Ideas Into Sound

Creative control, fast workflows and instruments built from a producer’s point of view.

• Loom Instruments website
• Support and download information
• Discord community and beta feedback
• Latest online manual
• Download this manual as an HTML file

Community preset submissions may be considered for the factory library. Accepted sounds credit their creators; submission does not guarantee inclusion.