THE SNAKE

INTRODUCTION:

The Snake is a filter modulation device that uses a drag-and-drop interface to connect Gooey Graphs with various filters.

The Snake comes with two inlets, 4 graphs, and 2 macros.

It features over seventy-five presets and contains over seventy effect modes.

GETTING STARTED

CONNECTIONS:
(1) Making connections. 
 
To make a connection, drag any of the envelopes (boxed in red) onto a drop box (outlined in blue).
 
Note, when the mouse has clicked and started dragging an envelope, then all available dropboxes will appear. 
(2) Controlling the modulation amount.
 
To adjust the amount, the envelop impacts the control; click and drag the dropbox’s value. A corresponding line will wrap around the control to show how much and in which direction the envelope is modulating the control.
(3) More information about connections.
 
Not only can the six different controls per inlet be modulated, but so can a graph’s rate control, as well as the macro controls.
 
To disconnect, simply double-click the dropbox that has the connection.
UNDO/REDO:
Actions are stored on the plug-in, so users can easily undo/redo their actions.
 
To undo an action, press Ctrl + Z.
To redo an action, press Ctrl + Y.
GRAPH & CONTROL INDISCRIMINATION:

One unique feature of The Snake that sets it apart from it’s predecessors is that The Snake is indiscriminate of the connection(s) it has. 

Notice, here the cutoff has both G1 and G2 modulating the cutoff (and in different directions). 
 
Additionally, there are other controls within the same unit being controlled by other envelopes.
 
This opens an entirely new dimension of control for users to fine-tune The Snake.

HOW TO USE THE GRAPHs

GRAPH VIEW:
To change the view of the currently selected graph, double-click on the graph envelope (G1, G2, G3, and G4).
 
You will know which graph is selected by the highlighted area beneath the envelope.
ADDING NODES:
To add nodes to the Gooey Graph, double-click on the open graph canvas.
 
Nodes can be removed by single-clicking.
 
(see section on graph shaping for more ways to manipulate the nodes)
PLAYBACK CONTROLS:
The graph playback controls provide flexibility when creating different sounds.
 
The bullseye: is the manual retrigger button. When a user clicks the bullseye, the graph cursor will automatically reset. Note, the manual retrigger button can also be automated by a user’s DAW.
 
The loop: is a control to determine if the graph is to play continuously or as a one-shot.
 
The unidirectional: control determines how the envelope of the graph will bind to controllers. When set as unidirectional, the graph will modulate in a single direction, but when set to bidirectional, the zero point is in the middle of the graph, and modulation will span across the left and right axis of the controls.
 
The lock control determines the rate slider playback. When locked, the rate slider is synced to the tempo of the DAW.
 
Midi retrigger control allows users to route in midi notes to the plugin, and will retrigger the corresponding graph to a corresponding midi note (C-2 triggers graph G1)
GRAPH RATE:
In addition to the rate control being able to tempo sync, if you press Shift and right-click on the rate slider, then you can select a single, dotted, or triple playback rate.
 
Note, the rate control can also be daisy-chained with other rate controls.
WAVE VISUALISER:

Overlayed with the graph is a wave representation.

The waveform is bound to the rate slider.

To Toggle on and off the wave visualizer, press Ctrl + V.

(if the wave visualizer does not toggle on and off, then click on the graph area to focus the keyboard to that component.)

Note, when the rate slider changes, the waveform will reset.

GRAPH OFFSET:

At times, an offset may be desired on the graph.

If so, then first unlock the phase offset slider by pressing ctrl + p 

Note the slider will become black instead of greyed out, then click and drag to offset the start of the graph.

If the command Ctrl + P is not unlocking the phase offset slider, then try to click on the are first to grab the attention of the keyboard to that component.

By default, the offset is set to zero, and the control is disabled.

GRAPH SHAPING:

Shaping a graph to create a hook can be a daunting task at times, so we’ve tried to make the graph shaping process as intuitive as possible.

Click the magnifying glass to change the grid viewer layout, and toggle on the magnet to quickly snap the nodes to the grid.

The Line Segments:

  • Alt-click and drag on a line to shape the bend of the line segment.
  • Alt double-click to reset the bend to a string line.
  • Ctrl-Alt click to drag a line segment.
The Nodes:
  • Double-click on any open space in the graph add a node.
  • Single-click on a line segment to add a node.
  • Single-click on a node to remove the node.
  • Click and drag on a node to move the node.
  • Shift + click to fine-tune the position of a node.
Additional Controls:
  • Ctrl + Shift + R and double click to generate a random graph.
  • Ctrl + Alt + Shift and double click to reset the graph.

Note, when two nodes are vertical, there will be a little resistence when dragging across. This was done intentionally so nodes could be lined up on the y-axis easily.

There are also plenty of preset graph shapes to work with, and you can also save graph presets to be recalled on other projects as well.

HOW TO USE THE INLETS

INLETS:
To change inlet modes, users can click the right or left arrows or select a mode from the dropdown menu. 
 
When the mouse is hovered over the menu, there will be a tooltip to provide more information about the selected mode.
INLET VIEWERS:
The inlet viewers provide a frequency response of the filter being applied to the signal. This provides a rough approximation of what frequencies are being filtered, and where in the spectrum they are getting filtered. 
 
Note, the viewers will animate with the motion of the controls.
DROPBOX MINIMAPS:
Any controls that have a dropbox can have the control path redefined. This is an advanced feature, but it allows combination effects to be created and allows the redefinition of how the controls work, which becomes super powerful when used correctly.
 
To access the minimap, press Ctrl + Shift + right-click on an attached dropbox.
 
 
The graph of the minimap behaves the same way that the shaper graphs do, but the minimap will remap the controller’s value.
 
It may take a while to understand this concept, so we suggest first trying a simple test.
 

Try it out yourself:

  • Attach M1 to the pan control and gain control of an inlet. 
  • Next, press Ctrl + Shift + right click on the pan controls drop-down.
  • Add a node at the halfway position and drag it to the bottom of the graph.
 
Next, start running some sound through the snake and start turning M1 from the zero position to the right. 
 
You’ll notice there is no panning effect until M1 reaches the halfway mark. That’s because the dropbox’s minimap has been redefined.

INLET MODES:

PHASERS:
These are liberally defined as phasers, but include comb filters and flangers too.
 
Each section has about ten different modes to select from. The scrolling arrows in the inlets make it easy to change modes, and hear how the different inlet modes affect the same sounds.

PHASERS (section):

The all the multi-notch phasers and experimental phasers. Phasers, unlike comb filters, provide frequency spike(s) at the cutoff location, whereas a comb filter provides a series of frequency spikes based upon the length of the filter.

  • P2 is your traditional single-notch phaser.
  • P4 is a dual-notch phaser.
  • P8 is a four-spiked phaser.
  • P16 is an eight notched phaser.
  • P24 has twelve notches.
  • P32 has 16 notches, which will be a bit heavier on the processor.

The traditional phasers provide that crisp sound one would imagine when phasing a signal. When the feedback lines are turned up, less of the original sound is heard, and the phasers become the main point of inflection for your ears.

  • PN2 is an experimental single-notch phaser, which has a frequency cut into a single notch. The harmonic content is a bit more accentuated and subtly darker.
  • PN4 is a dual-notch experimental phaser.
  • PN8 is a four-spiked experimental phaser.
  • PN16 is an eight spiked experimental phaser. 

Note, all the PN-type phasers use the same formula, but change the number of all-pass filters used in series to create notches.

COMB FILTERS:

Comb filters depend on feedback loops to create a harmonic series of notches. Comb filters with lowpass filters attached (CPLP, CNLP) sound phenomenal when modulating.

  • CP is a positive spiked comb filter, which means the comb filter has the feedback into the filter. This will add comb spikes at even intervals.
  • CPE is a positive spiked comb filter, but the lines are elongated. This filter borders an audible delay line, and can be used in a variety of ways beyond just coloring the spectrum with frequencies. Try turning down the feedback and lowering the length of the filter (cutoff control) to add trails to sounds. 
  • CN is the negative spiked comb filter, which means the comb filter has been fed forward into the filter. The coloring imparted is slightly different, and the comb spikes appear now in odd intervals.
  • CNE is the negative spiked comb filter, but the lines are elongated.
  • CPLP has a low-pass filter attached to the cutoff. Crank up the feedback and resonance, and attach a shaper graph to the cutoff control of a CPLP, and create new interest and rhythms.
  • CNLP is the negative spiked comb filter with a low-pass filter attached.
  • CPHP is another combo filter, but this time with a high-pass filter attached.
  • CNHP is also a high-pass combo filter.
  • CPW is a comb filter, but there’s a stereo offset, so the comb filter adds width to the signal.
  • CPEW borders into being a delay line with audible trails that expand the stereo field. When creating dream-like textures, this filter mode becomes quite useful.
  • CNW is similar to CPW, but uses the negative comb filter instead.
  • CNEW is the elongated negative comb filter with stereo width.

FLANGERS:

Flangers are based on delay lines, which include an offset and a modulated length sweeping on the delay lines. The filters used here are about untraditional.

  • FP is quite similar to a CP, but the difference is that the length (cutoff control) has an offset. Note, this flange mode does not modulate on its own.
  • FN is the counterpart to CN, but again has an offset in the line.
  • FPLP, FNLP, FPHP, FNHP these flanges are similar, but use different combinations of filters attached to their cutoff controls. (see previous section for more of an explanation.)
  • M all the M-type flangers modulate, but have corresponding combinations. For example, an FMPLP is the modulated positive flanger with a low-pass filter. 

About the presets:

PRESETS:
Some users may not want to fuss with configuring the controls of The Snake and just want to use The Snake out of the box. The Snake comes with close to 100 presets.
SUGGESTED USE CASES FOR PRESETS:
The factory presets of The Snake were created with different use cases in mind. However, there is no specific way in which a preset must be used.
 
(0) Turquoise: These are primarily derived as simple modulating comb filters. These sound nice with deep tones, like a low-pitched synth.
 
(1) Jabbler: These presets were created to accentuate formant sounds. Also best when a low pitch frequency rich signal, such as a saw wave, is applied, as the formant vowels are particularly accented.
 
(2) Teal: These presets were created to highlight the phasers that are included in The Snake. There is no specific use case in mind for these presets.
 
(3) Cinnamon: these are based around the typical lowpass modulating filters, great for frequency-rich synths, and great for creating acid-like basslines.
 
(4) Silk: These presets are spatial and great for adding to mid-ranged frequencies, such as guitars. Sometimes subtle, and sometimes not so much.
 
(5) Hieroglyphs: These presets are to be used as non-rhythmic effects. Perhaps you just want a tool to do a lowpass, or high shelf, etc. Then these presets are the category to use.
 
(6) Default: to reset the plug-in.
 
(7) Venom: These presets are based on the combo comb filters with lowpass filters attached to the combs, such as CPLP. These presets are rhythmically more nuanced than the Turquoise presets. The venom presets are great for dub-style music, and emphasize four-bar phrases with a one-bar flip by daisy-chaining the graph’s rate sliders together.
 
(8) Red: The red presets are more nuanced filter modulations. Sometimes with well versed articulations, and sometimes a mash up of modulation and time. The Red presets are surprisingly well versed, as long as there is a stream of sound into the effect chamber. The red presets can be used to chop up vocal tracks, used on synths, or add rhythmic complexity to drones.

Instruction Manual – V1.0.1 – last updated 7/24/2025