Your signal chain does not have to be a straight line.

morph drive is irio's own drive pedal, and it is part of the free version. Instead of switching between eight drive voicings, its TYPE knob sweeps through them, from soft breakup through hard clipping into fuzz, so every setting in between is usable. PRE TONE shapes the signal before the distortion, POST TONE shapes it after, MID sets the mid character, and MIX blends your clean signal back in.

spud secret is a mid-90s British studio distortion. Its name comes from the LA session players who kept quiet about it. It gives you tight high gain that still lets the pick attack through, and the bass tightens as you turn the gain up. LOWEND tightens the lows before the distortion, and fully up it is the unmodified circuit.

verde drive is the classic green overdrive of the late 70s. Its diodes clip inside the amplifier's feedback loop, so your clean signal always passes under the distortion. That is where its compression, its sustain and the way it cleans up from your guitar's volume knob come from. A high-pass before the gain stage drives only the mids, and the lows stay nearly clean.

cab ir is a true-stereo cabinet loader for impulse responses. It draws the loaded response as a waveform, and IRs load at matched loudness, so you compare the tone of two cabs and not their volume. IR LENGTH shortens the response, with a fade handle that softens the tail instead of cutting it, and low and high cuts and an output trim finish the module.

octopluzz is the early-70s octave fuzz. A transformer and a pair of germanium diodes fold the waveform, which adds an octave above the note you play and ring-modulation tones on double-stops. It cleans up from your guitar's volume knob. BIAS unbalances the circuit for rougher, more broken sounds, and the OCTAVE switch removes the fold-back for a plain fuzz.

cahuenga is an early-80s Japanese distortion. It is scooped rather than mid-heavy, and raw. Low Drive is a bright boost, and turning it up pushes more gain into the upper mids until the whole circuit saturates. The tone knob blends bass against treble around the circuit's mid dip. The name is the boulevard with the small club where LA's session players have played their late sets.

goldhoof is the gold-box transparent overdrive. Its gain knob blends a driven signal against your untouched clean signal, so your guitar's own sound stays in front, slightly compressed. It has a lot of clean headroom, so it works as an always-on boost too, and unity sits low on the output dial, as on the hardware.

cinderworks is a germanium fuzz. STAB starves its supply voltage, and across a wide range of settings the circuit starts to self-oscillate. The red arcs on the knobs mark where that happens, and DRIVE sets the pitch of the oscillation.

duress comp is the 90s studio-standard compressor, with its controls. The input level sets how much compression you get, against a fixed threshold. Its eight ratios run from gentle thickening to the pumping, crushed room sound at the top, and it has valve-style and tape-style saturation, a Mix knob for parallel compression, and the all-buttons-in British mode.

rivet comp is a true-stereo FET limiter after the mid-60s studio unit, with its controls. It has four ratio buttons and no threshold knob, because the INPUT knob is the threshold: the harder you push it, the more it compresses. Attack and release run the original's inverted tapers, so they get faster as you turn them up, and pressing every ratio at once gives you the all-buttons-in mode. The class-A output stage colours the signal even at 1:1.

optical comp follows an early-70s studio unit. Your signal lights two lamps that sit over photocells, and the brighter they glow, the more the gain comes down. As a note decays they darken and the gain comes back. There is no threshold, ratio or attack control, because the response comes from the lamps themselves. Balance blends the compressed signal against the clean one.

expwah is a wah after the mid-60s original, inductor included. POSITION is the treadle. You can sweep it by hand, drive it from an expression pedal, or wire an LFO onto it for an auto-wah. The damping is set to the vocal-sounding vintage value rather than the sharper modern one, and LEVEL is the one control the original never had.

coma vibe follows the original photocell vibe circuit: a preamp into four phase stages, swept by a lamp and photocell instead of an LFO. Because a photocell brightens quickly and darkens slowly, the sweep is uneven in a way a plain LFO cannot be, and that is the sound. It has chorus, vibe and tremolo modes, Symmetry skews the sweep, and Bias moves the notches.

azul vibe is a pitch vibrato after the early-80s original. It is wet only, with no dry signal mixed in. The LFO sweeps the delay clock, and since a changing delay changes the pitch, the pitch moves with it. In UNLATCH the module's bypass works as a momentary footswitch: the vibrato fades in over a set rise time and fades out when you let go.

plastic chorus is a stereo chorus after the early-80s original. Its stereo works the way the original's does: the left output carries your dry signal plus the effect, and the right carries the dry signal minus it. That makes it wide in stereo and largely cancelling in mono, just like the hardware. Rate reaches unusually high for a chorus, and Tone shapes only the effect signal.

mistral flange is a flanger after the late-70s original. The LFO sweeps the delay clock, so the delay length itself moves, and Range sets how far toward the long, dark end that sweep reaches while the short end stays fixed. Color is the feedback, and it limits itself as the signal gets louder, as the circuit does. MATRIX holds the sweep wherever it stands, which leaves you a fixed filter to play through.

moon ring is a ring modulator after the classic studio unit. Your signal is multiplied with a carrier tone, so each note comes out as the sum and the difference of the two, a metallic set of tones with no clear pitch. High carriers give bell-like and robotic sounds, and carriers below the audio range give tremolo. Drive adds harmonics before the multiplier, and the LFO can sweep the carrier for sirens and trills.

gyre mod is one of irio's own designs rather than a model of a pedal. Four voices orbit a listener in the stereo field, and each voice's position sets its pan, its delay time, its level and its brightness all at once. Because the delay time keeps moving, the pitch moves with it, so the voices doppler as they travel, and that is what makes a rotating speaker sound like one. Inertia gives speed changes a spin-up and a slow-down.

irio mod holds twelve stereo modulation effects in one module: chorus, rack chorus, flanger, phaser, tremolo, harmonic tremolo, filter, ring mod, auto-wah, rotary, vibe and vibrato, and it switches between them without a click. The same set of knobs serves all of them and takes on the meaning each effect needs, so one module covers most of what a modulation pedal would be there for.

irio delay is irio's own delay, and it is part of the free version. It has eight machines, digital, tape, bucket-brigade, ping-pong, dual, multi-tap, pattern and reverse, and it switches between them without a click. The tape wows and flutters, the bucket-brigade stays dark and percussive, TIME bends the pitch like a reel when you turn it, FREEZE locks the loop, and DUCK lowers the repeats while you play.

rota delay is irio's own take on a mechanical echo. Instead of a delay line there is a spinning medium: one record head writes to it and eight playback heads read it back. You can place the heads anywhere around the wheel or snap them to a rhythm grid, and when you change the motor speed, everything already on the wheel changes pitch while new echoes stay in tune. Four media age the repeats differently, and Freeze lifts the record head.

loom delay is an experimental four-voice delay for sound design. Each voice has its own time, pitch shift, reverse, tone and pan, and the loom decides where every echo's next generation goes: in parallel, moving from voice to voice, scattered across all four, or crossed in stereo. EVOLVE ages the repeats as they travel, and each voice has a send into a built-in reverb.

protocosm delay is an eight-voice modulated multi-delay, built for the layered, chorused chord sounds of the Japanese eight-stage delay pedals. Every line is a complete delay of its own, with time, level, pan, feedback, an LFO, tone filters in the loop and a diffusion smear.

irio verb is irio's own reverb, built to sound like a real room. Every early reflection is a short, dense burst from alternating sides, the way sound comes back from real walls, and the tail swells in after them, darkens as it fades and stays wide down into the bass. Its four voicings, Plate, Room, Hall and Chamber, switch without a click while the tail rings on.

welkin verb is a deeply modulated ambient reverb for long, wide tails. SHIMMER adds pitch-shifted regeneration at intervals you choose, the TEX and WARP pages feed the tank through a granular stage with grain clouds, reverse playback and repeating slices, FREEZE holds the tail for as long as you like while you play over it, and DUCK lowers it while you play.

irio shift is a four-voice pitch shifter in the style of the classic studio pitch racks. CHROMATIC shifts in semitones, DIATONIC shifts by scale degrees in a key and scale you set, and GLIDE slides between the intervals. Every voice has its own detune, delay, pan and EQ band, and feedback re-shifts each repeat for cascading shimmer effects.

irio synth is an analog-style synthesizer that you play from your instrument. A low-latency pitch tracker follows your playing and drives three oscillators, a resonant filter and two envelopes. SENS, SPEED and DYNAMICS set the tracking, and GLIDE adds portamento. Wire a midi in module into it and it becomes a keyboard synth with up to eight voices and velocity, in the standalone app.

midi in puts a MIDI keyboard on the canvas as a source, over USB, virtual or Bluetooth. On its own it is a mono tone with glide and an envelope, and wired into irio synth it plays the whole synth engine, up to eight voices with velocity. Two midi in modules on different channels let two keyboards play different parts of one rig. It is standalone only, because as a plug-in the host owns MIDI.

irio eq is an eight-band parametric stereo EQ. Each band can be a bell, a shelf, a notch, a band-pass or a cut, from a gentle slope to a steep one, anywhere from 20 Hz to 20 kHz, and each band can work on the stereo signal, on the left or right channel alone, or on mid or side. You set the bands on the display, with a live spectrum running behind the curve.

tantalum eq is a console channel strip after the early-70s British studio module, in true stereo, with one strip per channel. Gain runs in steps from clean into transformer saturation, and TRIM compensates the level, so it works as a colour control rather than a volume one. There are three EQ bands on the original's switched frequencies, plus high-pass and low-pass filters.

The lfo is the simplest modifier. It is a purple pin that moves other modules' knobs: you wire it onto a module, tap the knobs it should control, and set RATE, DEPTH and a waveform. Wired into a block card's control input instead, its waveform runs down the cable at audio rate. The global tempo is always running, so RATE can be synced to the beat at note ratios.

The envelope follower listens to a signal and turns its level into a control signal, and its purple pin can send that to almost any knob in the patch, or down a cable into a block card. That gives you a filter that opens as you play harder, or a delay that drops back while you play and returns in the gaps. ATTACK, HOLD and RELEASE set how quickly it follows, and FLOOR ignores signal below a level you set.

draw lfo is a modifier whose shape you draw yourself: the curve you draw on the display becomes the modulation. In CYCLE it repeats at a set rate. In TRIGGER it plays through once each time a signal you wire into it crosses a set threshold, which makes it a drawable envelope. Each route to a target knob has its own amount and direction.

Block cards are the building blocks of the engine, more than forty of them: delay lines, filters, oscillators, mixers, clocks, saturators, step sequencers and a reverb. They are cards on any canvas, listed under ENGINE BLOCKS in the picker, wired like modules, and they can feed back into each other when you want them to. The purple control blocks send a control signal down a cable or onto any knob, and the lfo and envelope modules do the same thing.

Every preset carries eight scenes, A to H, each with its own colour. A preset builds the rig, and a scene sets it: switching a scene moves the whole patch at once, every knob, every switch, the levels and the loaded captures and IRs, while the modules, the wiring and the modulation routes stay put. The changes take click-free paths, so you can switch in the middle of a phrase, from the chips, a pad, a footswitch or a DAW automation lane.

This is the four-track looper's console on the canvas, and it gets its own perform screen as well. You press to record, press again to play and again to overdub, and each track holds a stereo minute, with reverse and half speed. FREE keeps the tracks independent, LOOP SYNC locks them to the first take's cycle, TEMPO SYNC cuts loops to whole bars with a count-in, and sessions save with your presets.

Step past your last pad bank and the perform page lands on a ready-made looper screen. The bottom row is the four loop tracks, and each pad draws its loop's waveform, its playhead and its state: you tap to record, play and overdub, double-tap to stop, and hold to clear. REVERSE, half speed and UNDO sit above, and MIDI pad bindings run all of it from a floor controller.

The recorder is a take recorder that you patch inline: your signal passes through untouched while the red dot records it, up to eight minutes in the app and four as a plug-in. You mark a green trim region on the waveform, and SAVE writes a WAV into your library, ready for the player, while SHARE hands the take to the share sheet.

The player puts an audio file on the canvas as a source card, and you wire it in wherever a source belongs. Record yourself dry at the input, save the take and load it here, and you can work on tones later on headphones without the guitar in your hands. SPEED changes the tempo without the pitch, PITCH changes the key without the tempo, the waveform has an A to B loop, and with SYNC on, play waits for the next bar.

The metronome is a canvas card that shows the beat on the card itself: four click sounds, an accent on beat one and a row of pips counting the bar. It follows the global tempo or runs at its own rate, set by knob or by tapping, and the speed trainer raises the tempo bar by bar from a starting point to a target you set.

The built-in tuner opens from the tuning-fork chip anywhere in the app, or from a MUTE / TUNE footswitch that mutes and opens it in one press. The outputs are muted while it is open. A needle shows the deviation in cents, with strobe rows below it for finer work, and the reference pitch is adjustable from A 440. It is part of the free version.

mammut delay takes the classic bucket-brigade echo and runs four delay lines of it. Each voice has its own time, level, pan, tone and direction, and the voices can run in parallel, in series or as ping-pong, with their times spread in musical ratios. A granular engine can sit before, inside or after the loop and cut the repeats into grains, forwards, reversed or split, and the ANALOG knob runs from a clean digital line to the full analog path. It goes much deeper into sound design than the elephant, from a plain slapback to huge ambient textures.

elephant delay is the classic bucket-brigade echo pedal, with its input stage, its compander, its filters, its two delay chips and their clock, and its chorus and vibrato. It has the same five controls, plus two: Buckets switches the chain between one, two, four and eight delay chips, from the dark, grainy repeats of a single chip to the cleaner, longer ones of a full chain.

elastik verb is a spring reverb after a long two-spring tank and the tube circuits around it. SPRINGS sets one to four springs, LENGTH the spacing of the echoes, TENSION how loose and dark or tight and bright the springs ring, DECAY the tail and DWELL the drive into the tank. KNOCK hits the tank, and the display shows the springs move.

plata octave is an analog octave pedal. UP, DIRECT and DOWN set the octave above, your own sound and the octave below. BRIGHT gives a brighter octave above and PURE a smoother one, while MIDS keeps the octave below tight and LOW makes it deep. Like every analog divider it tracks single notes best, and it comes with seven factory settings, among them a synth sound with no dry signal at all.

offramp synth is an analog guitar synthesizer after a classic 1980 unit, and you play it from a normal guitar cable. Six string circuits listen to the cable, agree on the note you play, and one of them voices it, so it follows your bends and vibrato and plays single notes. CUTOFF, RESONANCE, SENS and ATTACK shape the filter, PITCH A and B shift the pitch, and there are a sweep, a vibrato and nine factory sounds.

abyss is the transposer, with two engines under one set of dials. SPECTRAL moves your whole sound as one piece, so a full chord is lifted or dropped with every partial in place, while MONO follows single-note lines and shifts them with the pick intact. SHIFT works in semitones, FINE adds cents, SPREAD opens a wide pair with its own slow drift, and DOUBLE adds a wandering second take on each side.

rosa midi turns what you play into notes, pitch bends and velocity, down to the low B of a five-string bass, and wired into an au instrument it lets that instrument play from your guitar. midi out sends that stream out of the canvas: other apps see irio pro as a MIDI source, you can pick one hardware or app destination on the console, and inside the plug-in the notes go to the DAW.

This is the inside of a folder: its own canvas with IN and OUT cards at the edges, the cards you folded, and the chips for its shortcuts page and its memories. Modifiers from outside reach the knobs in here through a target sheet, and the folder can send a control signal of its own out. Press and hold a card and choose Move Out of Folder to take it out again.