This has been updated as recently as Infinite Flow version 1.16

Infinite Flow is a polyphonic analog modeling synthesizer, with a particular emphasis on Per-Voice-Variance.

Per-Voice-Variance means the micro differences between different voices.

Infinite Flow works for Windows and Mac/OSX in VST3 and AU formats

It has been heavily tested in the following DAW's:

Reaper, Logic, Garage Band, Ableton, Bitwig, Cubase, FL Studio

But we have heard it performing quite well from any other DAW that accepts VST3 or AU, such as: Studio-One, Vegas, Audition, Sonar, and more

We do not currently offer an AAX version for Pro-Tools, but we have heard that people have been able to use it by using a host plugin like the free Plugin-Buddy

Understanding what a "voice" means is very crucial to getting the most out of Infinite Flow.

Every time you hit a key, a sound is generated from a new voice. If you hold two keys down, you are hearing two voices.

You can modify the number of voices in the Voices page.

For Infinite Flow, we measured specific poly-phonic synths and carefully gathered the differences in their voices. This is related to oscillator pitch, overall voice pitch, ADSR values, and Filter Cutoff values.

For advanced users, you can go into the Voice-Variance page. But most users can use our Voice Var presets to try different sounds.

"Slop" controls the amount of voice variance, where a slop of 0 makes Infinite Flow sound like any other synth. And a Slop of 1.0 is how we measured it. (a Slop of 2.0, doubles the differences)

We have a brief video about that concept here

If you haven't purchased a license from us, you will hear a white noise blast after running the software for 15 minutes.

If you have purchased, you should be able to enter your product code in the Settings Page.

Your licensing information is stored on your computer, and it should stay consistent between sessions.

Infinite Flow is made to be used by one user, but can be used on multiple computers by the same user.

Patches are stored in (your username)/Documents/SilenAudio/InfiniteFlow/Main

If for some reason you don't see your patches after you load Infinite Flow (usually on some Mac/OSX computers), you might need to manually install them.

If you run Infinite Flow for the first time, it will create a dummy folder in (your_username)/Documents/SilenAudio/InfiniteFlow

If you go to that folder and it is empty, that means that our installer was unable to get the permission to copy over the presets. What you should do is download our patches here: www.silen.software/downloads/InfiniteFlowPresets/

Then when you unzip that folder, you should see something that looks similar to the empty folders. You should copy the presets over in the same folder structure

At the heart of Infinite Flow is our Mod-Matrix. Most elements of the Mod-Matrix can be dragged and dropped onto parameters by dragging the title over and dropping it on top of the destination parameter. You can then right-click on the parameter, and modify the matrix amount for that parameter, or use the Mod-Matrix page.

Each lane can be set as a source and a destination, as well as a secondary source, which multiplies the two sources together.

Amp can be a positive or negative modulation, and defaults to 0.5.

Lanes can be cleared using the "Clear" button. Or by right clicking the modulated parameter and clicking the X button

Most of our parameters are modulatable on a per-voice basis. This means that different voices can be modulated uniquely in a per-voice manner.

These are a way to control all of your oscillators together. You can do many advanced, "Super-Saw" type techniques.

Our Oscillator settings operate on a "Last Touch" function. So if you make individual oscillator changes, they can be overwritten by the Macros, or vice-versa.

You can lock Detune and Pan spread together, to get a very traditional "Super Saw" control.

Each Oscillator is set up the same way. With traditional controls.

We have 8 Oscillator Shapes. Some of them, you can change the shape by using the "Shape" slider next to the waveform.

These oscillators have been carefully crafted to have analog characteristics. They are created using mathematical anti-aliasing methods. We believe, when combined with our voice-variance, that this is as close to capturing the analog oscillator thickness as possible.

Pitch controls course pitch. The slider is locked to full numbers, but modulation can be smooth.

Tune is a micro-tune.

Pan is for each oscillator (this is different than voice-panning)

Amp is the volume of each oscillator.

You can also turn each oscillator on or off.

The first thing that you will see is the "Voice Panning" section.

This allows per-voice panning in a similar way to the classic Oberheim OB-XA.

If you double click on the "Voice Panning" title, you will set a hidden pan-spread setting. This can be used by pads to sound huge when holding a chord down.

Filters can be switched by clicking on the filter image.

The first six are Moog Ladder type filters in various shapes and cutoff angles.

The next two (KR) are based on Korg filters and are (possibly) the richest sounding to us.

The second from the bottom is a Diode model filter, which has a quite unique character.

The last one is a mixture between the KR filters, which you can fade between using the "mix" function.

Filter Mix

This controls the overall mix of the filter, allowing in filtered out frequencies, unless Mix is a full value.

The only exception is the KR Mix, which fades between two filters with this parameter.

Synth Speed

This is a parameter that usually does not need to be touched. Please don't crank it up thinking that it will make your sound better. There are a few modulations that happen VERY fast, such as a kick sweep that goes from +64 to -64 in pitch over the span of less than a second.

In this rare instance, there are times when you can hear a the modulation working. Turning up the synth speed will increase the CPU (sometimes a lot) but can also remove this potential artifact.

In reverse, there are times when someone is using a computer without much CPU. They might be able to utilize less CPU power by turning down the synth speed.

But truthfully, we pretty much never touch this setting.

Our ADSRs have traditional parameters that are modulatable, as well as different shapes, if you click and select a different one.

Our LFO's have variable wave shapes that can be changed by clicking on the LFO image.

There is a phase slider underneath the LFO that can be used to change the starting phase. (Usually only matters when "RT" is on)

Our patches are made to be sorted through, as well as to organize your own patches.

You should store all new patches in your (username)/Documents/SilenAudio/InfiniteFlow/Main/ folder.

You can have sub folders within that, which should show up in the "FOLDER" column.

You can also filter the patches, in the filter on the top right.

Type, Author, Rating, Notes can all be saved with the patch.

"PATCH" will be the patch name when you saved it.

You can Save your existing patch, or Save As to create a new patch.

Find and Rescan Infinite Flow directory can be used if you want to move your default Infinite Flow directory, or relocate it.
We sort of don't recommend doing this, unless you need to.

If you have installed new patches, you should be able to rescan the directory, to load the new patches.

In some ways, this is the heart of our synth. But we also recognize that it is quite confusing to look at.

We have our own careful voice variance models that you can choose through in the VOICE VAR dropdown, either on the main page, or the Voice Var Page.

Unless you would like to create your own voice variance models, you don't really need to be using the Voice Var page.

We are very happy with our models, so we only make our own when we are feeling a bit adventurous.

ADSR slop can be used to tune up or down the ADSR slop for your patch.
Sometimes ADSR slop can get in the way of the sound we are looking for, but we still want other variance slop.

In this case, we would turn down either, or both ADSR slop settings.

Each Voice has a setting for it's variance of each parameter.

The Red ones are for the Filters.

The Blue are for the Oscillators

The last two are for the ADSR variance.

You can enter in your own value by double clicking in the box, or by clicking and dragging.

The top section are for randomizing variance, if you would like to experiment with this.

Our default randomize settings are set up to be similar to the selected model, so you can experiment with RANDOMIZE ALL if you would like.

You can randomize individual lanes by clicking the circle with an arrow.

You can zero out the lane by clicking the circle with a line through it.

Random STD Dev. controls how far the randomize for that lane can go.

Random Limit sets an upper +- limit for each lane. We are using a function that sticks close to 0.0, but can have some pretty crazy outliers at time. The limiter can catch some outlier values.

Our Saturation is made to be carefully tuned, but we also have some fairly wild Saturation types.

Input and Output can control the amount of signal going in and coming out of the synth.

Dry/Wet can control the amount of Dry (unaffected) signal in the mix

If you click on the shape in the middle you can change saturation type.

Saturation 1: is our most used standard and sometimes cleanest saturation.

Saturation 2: is a quite extreme type of saturation with a fair amount of high end to it's effect.

Saturation 3: Is in the realm of Saturation 1, but a bit more extreme.

Saturation 4: Is quite similar to 3

Saturation 5: is a fairly intense model, with more high end

One way to really tune in your Saturation, as well as potentially create some interesting effects is to use the three sliders below the saturation image.

These actually create a spike of sound at a certain frequency, with a certain resonance that goes into the saturation.

Crank up the "Input" and then the "Amount", then move the "Freq" slider. You should be able to hear what is happening.

This Filter is exactly the same as our voice filters, except that it comes near the end of our signal chain, and there is no default ADSR 2 link.

The way any chorus works is it takes a copy of the signal and modulates it up and down.

If you keep the Mix at about 50 percent, and then increase the OSC1 Depth. You will hear it going up and down.

You can change the shape of the oscillators for more unusual sounds.

We have added a second oscillator for more interesting modulation shapes.

Often we will increase the depth on a slow OSC1, and then keep a subtle, but much faster OSC2.

Stereo actually changes the phase relationship of the Left and Right Chorus oscillators, which can create some great, but subtle stereo effects.

The flutter is set up almost exactly the same as the chorus.

The main difference is that the effect is always 100% wet, and to control the amount you use "Depth" instead.

Feedback can create almost a delay/reverb like effect.

Stereo actually changes the phase relationship of the Left and Right Chorus oscillators, which can create some great, but subtle stereo effects.

This is a fairly standard delay, although we have spent a lot of effort to give it a "vibe".

In general we often use it for stereo effects, change the rate L and R to different values.

Feedback changes the amount of delayed signal we are feeding back.

Filter filters the delayed signal

Rate L/R are general lengths, in seconds. Unless "Sync" is on, then it locks to the host tempo

PingPong sends the Left to the Right Channel and vice versa when we feedback. It is great to increase stereo interest.

Freeze is probably a function to turn on, get a sound, and then turn off. It locks the delayed sound in place, circling around. There is sometimes a pop when the sound pops back to the beginning.

This is actually a very carefully created reverb, although you sometimes need to work a bit to get the right sound.

If you aren't really getting a "Reverb" sound, we encourage you to turn the Damped Feedback up, maybe to about 70%.

Size has a micro and macro rate.

The basic slider controls the micro distance.

The horizontal slider below size can actually multiply the signal to get some really wild, long tails

Mod Depth controls the "vibe" of the reverb. A little goes a long way, but also zero Mod Depth will sound very cold.

Mod Rate controls the overall rate of the mod. If you turn up the depth, you will be able to hear the mod rate change. We generally like to get to a place where you don't consciously hear the modulation.

Filter filters the reverbed signal, removing some frequencies as it reverberates.

PreDelay creates a bit of silence before the reverb. This can create some depth to the attack of your signal.

These are our "Animations"

Scope is a lissajous oscilliscope which takes the difference between the phase of the left and right channel.

If you want to see it in action, try "Pretty Shapes" patch, which uses the flutter stereo to change the phase of the signal.

You can then change the oscillator shape in the macro section to see the shape of different oscillators.

Notice how Square looks square, and Sine looks round

Console is our nod to a DOS style console. This generally tracks the changes that are happening in the synth.

It is not completely necessary. But we like it, and sometimes it can give you a hint about what is happening underneath the hood.

OUTPUT GAIN this is our animation of the current signal.

In general, our oscillators can run fairly hot, so don't be surprised if the gain slider is near the bottom end.

If you are starting to see some Red colors in the animation, you should probably turn your gain down.