MASTERING — EXPORT AUDIO now finishes your song like a release: the mix is measured (EBU R128), raised to the target and the peaks are caught by a transparent true-peak limiter. Pick STREAM (-14 LUFS), LOUD (-9) or CLUB (-7) — the choice is remembered across projects, so a whole album gets the same loudness and the same character. ADJUST THE RECIPE — tweak the LUFS target itself, TONE (one darker/brighter tilt), GLUE (gentle bus compression) and WIDE (a stereo lift). MASTER A TAPE — the cassette view masters your jam to a new tape ("· M"). The original stays untouched, so you can A/B them from the list. THE DRUM GROWS A BODY — BODY puts a resonant skin under the hit: four modes struck by the transient, ringing on their own clock. BODY TONE morphs the material from tom membrane to bell plate; harder hits excite it more, not just louder. Eight new presets built on the skin. METAL, ITS OWN VOICE — the 808 cymbal's two paths, for real: the six-square metal stack now has its own attack and decay, so a ride can ping fast while the noise wash rings on. And GRAIN thins the noise into 909 grit, crackle and dust. EVERY DRUM PART ON ITS OWN TIME — tone, noise, metal and body each carry their own attack and decay; the drum's envelopes are pure modulation now. Old drum sounds migrate automatically. A SWEETER ENGINE — anti-aliased oscillators (high leads stop fizzing), constant-power pan and chords, smoother sample playback, and the same sound at every sample rate. PUSH MIRROR — turn the phone to landscape with a Push connected and the screen becomes the Push 1 display in large format.

JAM TO TAPE — press record and everything you hear is written to a cassette: knob rides, live pads, whole performances. STEMS mode writes ten files in one pass (master, eight tracks, FX) that sum back exactly. AirDrop the WAVs anywhere. EVERY PARAMETER LOCKS — hold a step and turn any knob: envelopes, curves, every modulation route. All ~130 parameters, per step. PATTERN DEFAULT — untouched steps follow the pattern's sound; change it once and they all follow. TRACK FOLLOW turns a whole track into one super-step driven by another track's notes. SHAPE — draw ramps, curves and random spreads across a step selection in one modal. JUMPS IN TIME — hold a phrase or part and press play: the switch waits for the bar, sample-exact. CUE gives taps the same patience. FREE CHORDS STAY IN KEY — your voicing intact at home, in scale when the part transposes. LFO PHASE IS ALIVE — works in every mode, rotates the wave live under your finger. COMPACT — squeeze the silence out of a pattern without changing the sound. LIVE RECORDING — count-in, forgiving quantize, velocity, and knob automation you hear immediately. Saving mid-performance no longer crackles. ABLETON PUSH — plug in a Push 1, 2 or 3 and play the whole instrument. Plus: loop points you can move while the sample plays, a properly reachable SELECT tab, and silent RANDOM/EUCLID steps fixed.

GRAIN — a seventh engine. The sample plays as a cloud of small grains instead of a cursor: POS picks the spot, SPRAY scatters around it, SIZE sets the grain length, DENS the overlap, JITTER detunes every grain, WINDOW goes from soft washes to buzzy edges. On a sliced sample the cloud quantizes to your slice starts. 32 presets. CAPTURE — one button on a track. The track records itself: nothing drops out, it keeps playing in the mix while the capture runs its signal through its own private effects, so the file has the filter, the drive and the track's own reverb and delay tail. It starts exactly where that track's loop starts, runs one loop, and keeps rolling until the sound has died away — the reverb decides the length. Then listen, and choose what it becomes: SAMPLE (the whole loop), GRAIN (a cloud, sliced on the hits) or KIT (sliced with keymap on, so each note plays one hit). Paused song? The gesture starts it, captures, and stops it again. STEREO SAMPLES — the bank keeps both channels. The sampler and the grain cloud both read them, and PAN becomes a balance on a wide sound. Fold one with the new MONO flag when you want to place it at a point in the field instead — the flag belongs to the sound, so a clone can stay wide. TUNING FIXED ON IPHONE — samples played a semitone and a half sharp. The bank is 44.1 kHz while the engine runs at the device's rate, and nothing bridged the two. This has been wrong since sampling was added, which means projects with samples now sound lower than you are used to on iPhone. That is the correct pitch. PLUCK: DAMP AND CUT SEPARATED — routing an LFO to DAMP used to sweep the filter's cutoff as well. DAMP moves the string now, CUT moves the filter. QUIETER MODULATION MENUS — targets an engine does not use are hidden instead of listed. They were selectable and did nothing.

A NEW ENGINE: PLUCK — a real plucked string (Karplus-Strong). DECAY in time, endless drones, a pick that changes every note, piano-wire STIFF, and the original 1983 noise-drum mode. 32 presets. ROUTES EVERYWHERE — three envelopes and three LFOs, each with three destinations. ENV C is free, HOLD and CURVE shape every envelope, and END floors turn sounds into drones. EVERY TARGET LIVES — samples get real vibrato and per-note slice/start/length chops, drums get a moving noise filter and real FM modulation, and sends are targets for dub throws. PRESETS KNOW THEIR OCTAVE — drums and basses land at C2, and your own presets remember the note they were saved on.

3.1 — THE PLAY UPDATE PLAY THE PADS — a new PDS view: twelve big pads that play the selected track's sound, scale-aware with ghost pads outside the key. The track's real step row sits on top — same gestures as the track view, settings panels included. LIVE RECORDING — arm REC and everything you play lands on the step under the playhead: note, velocity from where your finger hits the pad, the track's sound. QUANT snaps to the grid or keeps your timing in the step's DELAY. A STEP mode builds lines one step at a time, no transport needed. MIDI IN AND OUT — tracks 1–8 speak MIDI channels 1–8, channel 16 plays the selected track. Incoming notes record like pad hits; turn MIDI OUT on and the sequencer drives hardware synths through the "Brusmaskin" output. Works inside AUM too — the plugin now has a MIDI output port and an audio input. RECORD YOUR OWN SAMPLES — + NEW in the sampler records from the microphone, a single track, or the MASTER mix. Threshold arming with pre-roll, and GRAB reaches back into a rolling buffer — the take you forgot to record is still there. Straight into the sample editor. A METRONOME — Pen Click on the beat. ALWAYS or count-in only, with a proper count-in when you start playback with recording armed. Never printed to recordings or exports. STEP LENGTH — a step can last 1–16 step-times and the pattern loops on the sum: build uneven, analog-sequencer timing out of durations instead of rests. JUMP — when the playhead leaves a step it can jump: to any step, or a random one. Gate it with TIME LOGIC — loop three rounds, then jump — and empty steps work as silent jump markers. Loops inside loops, stutters, drunk walks. RANDOM NOTES — a step can reroll its note on every pass: in the scale (never a wrong note), in semitones, or across a keymapped sample's slices — instant breakbeat confetti. DRUNK wanders ±1 from its last note instead, bouncing inside an octave. VOICES — a track can hold up to three sounds at once. The track's default sound owns a protected voice that nothing else can cut, while the other sounds share the rest — a pad rings through the ticks, a ratchet roll keeps rolling under a melody. CHORDS ON EVERY TRACK — the old one-chord-at-a-time limit is gone: every track stacks its chords at once, no matter how many are playing.

THE PLUGIN UPDATE BRUS IS A PLUGIN NOW — Brusmaskin loads as an AUv3 instrument in AUM, Logic, GarageBand and friends. The whole instrument — sequencer, sounds, sampler, projects — inside your session, on the host's clock: sample-accurate start, fractional tempo, and it follows seeks and loops. TWELVE OUTPUTS — MAIN carries the mix, and any track can leave it for its own stereo bus (plus an FX return). Tap OUT on a mixer strip and that track goes dry to its own host channel — mix and effect it there instead. The choice is saved with the project. SESSIONS REMEMBER — saving a host session saves your working state inside it. Reopen the session and Brus comes back exactly as it was — and it sounds even before you open the panel. LIVE REC — arm REC and hold a parameter tile while the sequencer runs: whatever you set is written to the step playing right now, and you hear it on the ringing note as you move. Hold still to paint the value across every passing trig, record two parameters with two fingers, sweep to 0 and hold to erase. COLOR THEMES — restyle the whole instrument: Paper, STHLM, Norrland, Kosmische, Motown and Tokyo change the track colors and the project palette together, each with its own night variant. Your saved project colors keep their slot in the new dress. BRUS > SYSTEM. PROJECTS WEAR THEIR SOUND — every row in the project list shows its own waveform, rendered from the audio preview, plus BPM and age. Find your song by its shape. OFFSETS GO ALL THE WAY — a step offset now spans the whole parameter range. Take the filter from wherever it sits down to zero or up to full — no matter where it starts. PRESETS THAT TRAVEL — your presets are files now: they sync over iCloud, two devices merge their collections instead of overwriting each other, and they show up in the plugin too. SAVE PRESET also bakes the step's offsets in — the preset is what you hear on that step. SAMPLES EVERYWHERE — the sample library lives in shared storage, so the plugin sees everything you collected in the app. BRUS > PROJECT now shows exactly what is stored where and what syncs. FOLLOW KNOWS POLYMETER — with FOLLOW on and tracks of different lengths, every track pages with its own playhead instead of being dragged to the active track's page. DUPLICATE WHAT YOU HEAR — DUPLICATE on the active project saves your working copy first, then forks it, samples included.

THE PROJECT UPDATE PROJECTS ARE FILES — every project is one self-contained .brus file: patterns, sounds AND samples. Stored on your device first, mirrored to iCloud if you want it, so your songs follow you between iPhone, iPad and Mac. Share one and the receiver just opens it and plays. HEAR BEFORE YOU LOAD — SAVE renders a one-bar preview into the file, from the busiest bar of the song. Tap through the list and listen your way back into the right project. SLICE IT YOUR WAY — place your own slice points instead of an even grid. AUTO finds the hits, markers drag right on the waveform (hold and slide down to zoom in for millisecond precision), tap between two points to hear that slice. TRIM, REVERSE and DUPLICATE round out the sampler. SAMPLES WORK LIKE PRESETS — picking a sample copies its slices and trim into the sound, where they live with the project. Clone a sound to chop the same break two ways, edit a step's sample straight from its ACTIONS tab, and open another project knowing it brings its own version along. Nothing leaks between songs. YOUR OWN PRESETS — save any sound from a step's ACTIONS tab, browse them under USR, and share them as tiny .brus files. Sample-based presets carry their sample with them. YOUR OWN CHORDS — a second chord mode beside the scale chord: NOTE 2-6 set exact semitone intervals on top of the root (±36, chromatic), so your voicing survives transposition. All six voices feed the arpeggiator. STEP MUTE — silence a step without removing it. Works exactly like a trig condition that fails, so muting and unmuting never re-phases the pattern — and muted steps survive KEEP. SOUND SHOPPING — tap SMP again to cycle the FM/MONO/SUPER/DRUM preset libraries: listen, ADD TO POOL, and the steps you place play it. ADD TO POOL from any sample, a POOL tab in the picker, and SOUND opens the pool browser. FIVE NEW LFO DESTINATIONS — noise, saw (the supersaw detune breathes), pulse, FM feedback and drive. LFO on RATIO sweeps sample slices — wavetable scanning through a chopped break. SYNTHESIZE, SHARPER — retrained on-device neural seeding that hears envelope speed, EVOLVE mutates the amp/LFO genes, auditions match your song tempo, and drum patches keep their pitch on save. DARK MODE — the paper flips to night. Same instrument, fewer colors. SIDECHAINED EFFECTS — each effect return can join a sidechain group: the kick ducks the delay tail and the repeats pump in time. VIDEO IN — drop a screen recording (or any video) into ADD SAMPLES and the audio track comes out as a sample. PATTERN GRID — tap PAT on a song cell to see every pattern at once. Hear one alone, tap again to bind it. KEYMAP KNOWS WHAT IT IS — RANDOM fills with random slices instead of chromatic notes, and a ratchet pitch ramp bends PITCH so the roll stays on one slice. IPAD AND MAC — the iPad fills the whole screen. One big instrument.

THE SYNTHESIZE UPDATE SYNTHESIZE — point Brusmaskin at any sample and it grows a synth patch that plays it. An on-device neural network proposes starting points, a genetic search refines them against the sample's spectrum, and every new best candidate auditions automatically. Tap to compare, EVOLVE to breed from a favourite, SAVE to drop the patch into your sound pool — in tune, ready to sequence. Everything runs on your device; samples never leave the phone. NEW ON EVERY SYNTH ENGINE • TUNE — constant transpose, ±24 semitones, offsettable per step • PIT AMT — the MOD envelope can sweep pitch: zaps, drops, 808-style bends • NOTCH, PEAK and VOWEL filter modes — VOWEL morphs U-O-A-E-I formants on the cutoff FIXES • Tweaking a sound while the sequencer plays updates ringing notes correctly — step offsets survive, edits never leak into the wrong voice • New steps inherit the track's actual sound after loading a project • Older projects load with correct tuning for every sound

Brusmaskin 1.1 — the jam update. • DEMO SONGS — six ready-made tracks (techno, drum & bass, house, deep house, ambient, and a one-track FM piece) under the BRUS menu. Load one, press play, pull it apart. • SNAP & KEEP — freeze the whole project mid-jam and tweak freely: tap SNAP again to restore exactly, or KEEP to save the variation as a new phrase and keep going. • UNDO/REDO — full edit history in the new track toolbar. • EQ — every sound gets a base-width filter (EQ BASE/WIDTH) to carve away rumble, offsettable per step. • EXPORT — one dialog for WAV or M4A, the full master or one stem per track, with FX or dry — and a real progress bar. • PLAY MODES — arm phrase or song mode from the track view, switch live without the pattern restarting, and let FLW follow the playhead. • First note on an empty track now gets a sound instantly — no more silent steps. • Plus: project view redesign, sample bank import (replace or add), quieter UI, scroll fixes and a pile of engine improvements (reverb, ensemble chorus, LFO hold, click-free retriggers, tighter timing).

Polish release: • New ensemble chorus — wider and lusher, without the vibrato wobble • Fixed a low rumbling artifact in the reverb's right channel • Fixed clicks when notes retrigger at part boundaries • Audio now recovers cleanly when another app takes over sound • Song export: the tail no longer catches the song looping back • CLEAR ALL (factory reset) under the BRUS menu • The view-bar marker slides; the piano transposes multi-selections