Pulse Train II's ten units — Tone, Rhythm, Crush, Ring, Field, a second Tone, Freeze, Comb, and Space — restyled toward the flatter, thinner-lined minimalism of Pure Data and vvvv, plus two rave-style master effects on Output: a square-wave Gate that chops the whole mix between silent and full on a tempo-rate pulse, and a momentary Kill switch for a hand-held mute-all. Same universal-node rule as Pulse Train and Signal Chain — every unit is both an input and an output. Drag between the nubs to route audio, click a footswitch to bypass a unit, drag a knob to shape it.Patch cables in the Connections list below the transport, tap a footswitch to bypass a unit, drag a slider to shape it. Eight tuning presets built from interval math sit in the transport bar, keys 1–8 recall them, Space is power, K holds Kill, and Stage goes fullscreen for a set.
This is Pulse Train II's audio engine, unchanged, wearing a different board: the same ten units and the same patch graph, restyled flatter and thinner-lined, with eight interval-math presets, two rave-style master effects, and the keyboard/fullscreen additions below built for playing it live rather than reading about it. Everything that follows applies to both pages equally.
The same universal-node rule as Pulse Train and Signal Chain. Every unit exposes an in and at least one out, any out can patch into any in, and a footswitch is a real bypass. Ten units now: Tone and Tone II are a pair, identical design to Pulse Train's Tone (an undistorted sine, hard-clipped only as a feedback-loop safety net, with a second output running at a knob-set frequency ratio instead of a fixed octave). Rhythm is Pulse Train's Click ported over under a different name — the same pure impulse, edge-triggered via its own in the same way Click and Sonar are. Crush (bit-depth staircase quantization plus an audio-rate square gate), Ring (true ring modulation via an oscillator driving a gain node's own AudioParam), and Field (a panner whose LFO is quantized into 2-8 hard positions) are the same three units as Pulse Train, unchanged.
The three units that are new to this board: Freeze is a delay pushed somewhere Signal Chain's Echo never goes — feedback runs up to 98%, not the usual 80-90%, so instead of a decaying repeat you get a loop that barely decays at all, whatever was in the delay line when you turned the knob up cycling almost indefinitely. Comb uses the same feedback-delay idea at a completely different time scale: delay times short enough to be inaudible as separate echoes (down to half a millisecond) reinforce or cancel specific frequencies instead, the classic comb-filtering effect behind physical-modeling and Karplus-Strong-style synthesis — its freq knob sets delay time to 1/freq internally, so it reads as a pitch, not a time. Space is the site's first use of a ConvolverNode: rather than recording a real room, it synthesizes its own impulse response on the fly — filtered noise shaped by an exponential decay envelope, regenerated whenever the size knob moves — and convolves the input against that, a real convolution reverb built from math instead of a microphone in a cathedral.
Feedback loops are allowed on purpose, same as Pulse Train and Signal Chain: Output's own out can patch back into the board, and the compressor and hard limiter before the speakers exist specifically so that stays loud, not dangerous. Freeze in particular can build up fast in a feedback patch — start low.
The eight Presets aren't random starting points — each one sets every knob and footswitch from an actual interval or number: a 4 Hz unison beat, a 3∶2 just fifth, the golden ratio (guaranteed never to lock into a clean beat), a four-partial harmonic stack, the equal-tempered tritone, the Pythagorean comma made audible as shimmer, a semitone-apart critical-band buzz, and a Fibonacci-derived rhythm patch. Loading one sets the whole board deterministically — same recall every time, the way a real preset should behave live — and every knob stays live afterward to be pushed off that starting point by hand.
Gate and Kill live inline in Output, after the limiter's ceiling and before the final hard-clip safety net, so they always act on everything reaching the speakers — not one more patchable unit to route around, the actual master. Gate runs a sawtooth through a threshold WaveShaper to get a variable-duty pulse, scales it to ±0.5, and sums that onto a GainNode's own gain AudioParam — the same oscillator-into-AudioParam trick Ring and Field already use, just aimed at the whole mix instead of one signal or a pan position — so the output swings between silent and full on every cycle: a square-wave mute/unmute, the classic trance/rave gate, with rate (0.5–32 Hz) and duty (how much of each cycle stays open) both live. It's off by default and toggles like any footswitch. Kill is the blunt version: hold the transport button or the K key and the whole mix cuts to silence in a few milliseconds, release and it's back — a hand-on-the-fader mute for a live drop, not a setting to leave on.