Particles
Model Pulse
Send glowing waves through particle-covered 3D models, with wide views and close surface pans that ease into place on your chosen beat count.
Model Pulse covers a 3D model with glowing particles. Each wave pushes a band of the surface outward, brightens it, then lets it retract as the band travels through the entire shape. New waves can overlap while earlier ones finish. Cinematic combines a rising, dollying orbit with close pans just above the surface, where particles beyond the focus plane soften into bokeh. Macro gives a centered close-up that crops into the model as it orbits. Surface follows a close edge on the right, leaving space on the left for overlays. Camera Speed controls both; set it to 0 to hold their travel. The selected Shot Transition also applies when switching between these views.
Open Model Pulse
Launch the visualizer with its matching left-nav entry selected.
Quick start
- Start the demo track, choose a local audio file, or enable a live input.
- Try a preset or style first, then open the section for the part of the image you want to change.
- On a control with Assign modulation, open the source picker, choose a signal, and watch the slider's live fill.
- Use Reset to Defaults whenever you want to return to the original look.
Presets and styles
Jelly · Cinema · Jelly · Tentacles · Jelly · Wide · Jelly · Underside · Jelly · Surface · Abyssal Blue · Amber Circuit · Lunar Scout · Neon Drive · Signal Tower · Surface Study · Aquarium · Research Scan · Bioluminescent Macro
Audio modulation
On a control with Assign modulation, select the activity icon to open Modulate with. Choose a named source, or choose — None to leave the control unmodulated. After you assign one, its name appears below the slider; select that name to edit the route, or use Clear modulation to remove it. The slider track shows the live signal reaching the control.
| Modulated control | Section | What the route changes |
|---|---|---|
| Animation Speed | Model | Set embedded model animation speed: 1 is the original speed; 0 holds its current pose. |
| Swim Speed | Model | Glide along a gently curving path through the water while the camera follows. Set 0 to hold travel without stopping the embedded animation. Animation Speed controls the bell and tentacles separately. |
| Bell Radiance | Model | Send a soft emissive ring across the jellyfish bell, then down its tentacles to the tips as it swims. Animation Speed also controls this light motion. Set Bell Radiance to 0 to turn the organic light off. |
| Lure Glow | Model | Set the angler bait’s glow while keeping the rest of the fish at its normal brightness. |
| Particle Count | Model | Set the number of stable particles covering the model surface. |
| Particle Size | Model | Set the sharp particle size before depth blur spreads it into bokeh. |
| Deformation | Pulse | Set how far each passing wave pushes the surface outward before retracting. |
| Pulse Glow | Pulse | Brighten particles along the traveling wave without interrupting its motion. |
| Pulse Speed | Pulse | Set how fast new waves cross the complete model; active waves finish at their original speed. |
| Pulse Width | Pulse | Set the width of each new deformation and glow band. |
| Pulse Trigger | Pulse | Assign a shared beat, audio, generator or automation source; each rise starts the selected response. |
| Excitement Size | Pulse | Grow each particle on a trigger, then return it to its resting size. |
| Excitement Glow | Pulse | Brighten particles in place as they grow with each trigger. |
| Excitement Jiggle | Pulse | Set the short, shared bouncing motion around the resting particle positions. |
| Brightness | Colors | Set the overall particle brightness while retaining colored highlights. |
| Background Opacity | Colors | Fade only the backdrop for transparent layering. |
| Light Shafts | Water | Set the soft, drifting beams coming from the water surface above. |
| Water Particles | Water | Set the brightness of suspended motes drifting around the model. |
| Transition Duration | Camera | Set how many seconds each new shot takes to ease into place. If another shot arrives sooner, the camera continues from its current position. |
| Camera Trigger | Camera | Assign a shared source; each rise switches to the next camera angle. |
| Move Duration | Camera | Set the duration in seconds for each new cinematic move; active moves finish at their original duration. |
| Camera Speed | Camera | Set the speed of cinematic arcs, gradual dolly travel, orbit movement, centered macro orbits and surface pans. |
| Surface Clearance | Camera | Set how closely surface shots pass above the particles; deformation clearance is retained. |
| Depth of Field | Camera | Soften particles in front of and behind the selected focus plane. |
| Focus Offset | Camera | Move the focus plane relative to the model or surface patch. |
Settings reference
Model
| Setting | Available values | What it changes |
|---|---|---|
| Model | DAFT PUNK · THOMAS, DAFT PUNK · GUY-MANUEL, STORMTROOPER, TIE FIGHTER, LIGHTCYCLE, RECOGNIZER, PALM TREE · ANIMATED, T-REX · ANIMATED, CRYSTAL JELLYFISH · ANIMATED, ZORAG · ANGLER FISH · ANIMATED, STEAMPUNK SPIDER · ANIMATED, X-12 MECH, FANTASY BUTTERFLY · ANIMATED, MY MODEL (UPLOADED) | Choose a library model or the validated GLB saved in this browser. |
| Animation Speed | 0–3 | Set embedded model animation speed: 1 is the original speed; 0 holds its current pose. Use Assign modulation to choose a source. |
| Swim Speed | 0–3 | Glide along a gently curving path through the water while the camera follows. Set 0 to hold travel without stopping the embedded animation. Animation Speed controls the bell and tentacles separately. Use Assign modulation to choose a source. |
| Bell Radiance | 0–1 | Send a soft emissive ring across the jellyfish bell, then down its tentacles to the tips as it swims. Animation Speed also controls this light motion. Set Bell Radiance to 0 to turn the organic light off. Use Assign modulation to choose a source. |
| Lure Emission | On / Off | Light the angler’s bait using its original emission mask. The light follows the moving lure. |
| Lure Glow | 0–3 | Set the angler bait’s glow while keeping the rest of the fish at its normal brightness. Use Assign modulation to choose a source. |
| Particle Count | 12000–96000 | Set the number of stable particles covering the model surface. Use Assign modulation to choose a source. |
| Particle Size | 0.4–3 | Set the sharp particle size before depth blur spreads it into bokeh. Use Assign modulation to choose a source. |
Pulse
| Setting | Available values | What it changes |
|---|---|---|
| Particle Response | TRAVELING WAVE, EXCITEMENT, BOTH | Travel a wave through the model, excite particles in place on each trigger, or combine both responses. |
| Pulse Travel | BOTTOM → TOP, RADIAL, BELL → TENTACLES | Send waves upward or radially through the model. BELL → TENTACLES crosses the jellyfish bell from its center to the rim, then continues down the tentacles to their tips. This choice is available for the jellyfish. |
| Deformation | 0–0.5 | Set how far each passing wave pushes the surface outward before retracting. Use Assign modulation to choose a source. |
| Pulse Glow | 0–1 | Brighten particles along the traveling wave without interrupting its motion. Use Assign modulation to choose a source. |
| Pulse Speed | 0.15–1.5 | Set how fast new waves cross the complete model; active waves finish at their original speed. Use Assign modulation to choose a source. |
| Pulse Width | 0.04–0.25 | Set the width of each new deformation and glow band. Use Assign modulation to choose a source. |
| Pulse Trigger | 0–1 | Assign a shared beat, audio, generator or automation source; each rise starts the selected response. Use Assign modulation to choose a source. |
| Send Pulse | Action | Start the selected particle response with a button, MIDI note, keyboard or OSC trigger. |
| Excitement Size | 0–3 | Grow each particle on a trigger, then return it to its resting size. Use Assign modulation to choose a source. |
| Excitement Glow | 0–1 | Brighten particles in place as they grow with each trigger. Use Assign modulation to choose a source. |
| Excitement Jiggle | 0–0.1 | Set the short, shared bouncing motion around the resting particle positions. Use Assign modulation to choose a source. |
Colors
| Setting | Available values | What it changes |
|---|---|---|
| Particle Color | Color | Choose the resting particle color. |
| Pulse Color | Color | Choose the color reached by the traveling or excitement glow. |
| Brightness | 0.2–1.5 | Set the overall particle brightness while retaining colored highlights. Use Assign modulation to choose a source. |
| Background Color | Color | Choose the flat backdrop color when Water is off. |
| Background Opacity | 0–1 | Fade only the backdrop for transparent layering. Use Assign modulation to choose a source. |
Water
| Setting | Available values | What it changes |
|---|---|---|
| Water | OFF, MOONLIGHT, REEF, DEEP TRENCH, NEON | Surround the model with Fish Impressions-style open water. Choose OFF for the original flat backdrop. |
| Light Shafts | 0–1 | Set the soft, drifting beams coming from the water surface above. Use Assign modulation to choose a source. |
| Water Particles | 0–1 | Set the brightness of suspended motes drifting around the model. Use Assign modulation to choose a source. |
Audio
| Setting | Available values | What it changes |
|---|---|---|
| Audio Response | On / Off | Enable shared audio-driven detail, modulation and wave triggers. |
| Master Gain | 0–3 | Set the sensitivity of continuous audio motion. |
| Smoothing | 0.01–0.8 | Set how gently shared audio levels change the fine particle motion. |
Camera
| Setting | Available values | What it changes |
|---|---|---|
| Camera | CINEMATIC, WIDE, MACRO, SURFACE, ORBIT, UNDERSIDE, TENTACLES | CINEMATIC sweeps sideways, rises above the model and dollies inward, like Flip Clock’s cinematic orbit, between eased surface approaches. The jellyfish also visits underside and tentacle close-ups. WIDE holds the establishing view. MACRO fills the canvas around the model center with a slow orbit. SURFACE glides along a close edge on the right, leaving open space on the left. Camera Speed controls both views. Drag the canvas to orbit and scroll to zoom; your view holds until Next Shot, a camera mode change or Trigger Camera Move. Other models alternate wide and surface views. |
| Shot Transition | EASE IN/OUT, CUT | EASE IN/OUT glides between angles with a slow physical dolly into the surface. CUT changes the camera immediately. |
| Transition Duration | 1–30 | Set how many seconds each new shot takes to ease into place. If another shot arrives sooner, the camera continues from its current position. Use Assign modulation to choose a source. |
| Shot Switching | BPM / BEAT COUNT, ROUTED TRIGGER, MANUAL / MIDI / OSC | Change shots on the session BPM grid, a routed trigger, or only explicit Next Shot commands. |
| Beats Per Shot | 1–32 | Choose how many session beats pass before the next camera angle. |
| Camera Trigger | 0–1 | Assign a shared source; each rise switches to the next camera angle. Use Assign modulation to choose a source. |
| Next Shot | Action | Start the next camera angle with the selected transition from this button, MIDI, keyboard or OSC. |
| Cinematic Move | OFF, PUSH IN, PULL OUT, ORBIT ARC, DOLLY ARC, SURFACE PAN | Choose a finite camera move for Trigger Camera Move and each new BPM or triggered shot. |
| Move Duration | 0.5–12 | Set the duration in seconds for each new cinematic move; active moves finish at their original duration. Use Assign modulation to choose a source. |
| Trigger Camera Move | Action | Start or retrigger the selected move from the current pose using this button, MIDI, keyboard or OSC. |
| Camera Speed | 0–1 | Set the speed of cinematic arcs, gradual dolly travel, orbit movement, centered macro orbits and surface pans. Use Assign modulation to choose a source. |
| Surface Clearance | 0.06–0.8 | Set how closely surface shots pass above the particles; deformation clearance is retained. Use Assign modulation to choose a source. |
| Depth of Field | 0–1 | Soften particles in front of and behind the selected focus plane. Use Assign modulation to choose a source. |
| Focus Offset | -0.8–0.8 | Move the focus plane relative to the model or surface patch. Use Assign modulation to choose a source. |
Some controls appear only after you enable a related mode or style. The settings panel always reflects the options available for the current selection.
Tips for a better audio visualization
- The animated Crystal Jellyfish starts swimming in Moonlight water, with a following Cinematic camera and Ease In/Out transitions. Choose another Model from the shared library or try a preset. Both is the default particle response, with Deformation 0.02, Pulse Glow 0.07, Pulse Speed 0.55, Pulse Width 0.10, Excitement Size 1.82, Excitement Glow 0.28 and Excitement Jiggle 0.
- The shared library lists Zorag · Angler Fish, Steampunk Spider, X-12 Mech and Fantasy Butterfly immediately after Jellyfish. Zorag swims, the spider walks and the butterfly flaps its wings; Animation Speed 0 holds their moving surfaces. X-12 Mech is a static model whose Cinematic establishing shot looks upward from near its feet for a sense of scale. Other visualizers use their own surface, material or path treatment.
- Choosing Zorag sets Particle Count to 96000 so its teeth stay readable. Lure Emission is available for Zorag and starts on. Lure Glow adjusts the bait independently of the fish’s overall brightness, up to three times its normal light, so a modulation route such as Beat pattern visibly pulses it; turn Lure Emission off to remove that light. Beat-driven particle growth, glow and traveling deformation still apply to all models.
- Choose Bottom → Top, Radial, or Bell → Tentacles under Pulse Travel. Bell travel crosses the Crystal Jellyfish bell from center to rim, then continues down its tentacles to their tips; the bell choice is only shown for this model. Pulse Speed and Pulse Width shape new waves; waves already traveling keep their original timing.
- Choose Excitement under Particle Response to make particles grow, glow and jiggle in place on a beat, or Both to add that bounce to the traveling wave. Excitement Size, Excitement Glow and Excitement Jiggle set each part; Surface Study starts with this response.
- Pulse Glow, Pulse Trigger and Excitement Size follow Beat pattern by default. A routed Pulse Trigger starts a wave on each rise of its source, so Deformation and Pulse Glow show on the beat. Assign another audio or generator source, or press Send Pulse to start a wave yourself.
- Choose BPM / Beat Count under Shot Switching, then set Beats per Shot from 1 to 32 (default 16). Shot changes follow the session tempo; choose Manual / MIDI / OSC to control each change yourself. Shot Transition defaults to Ease In/Out with a 16-second Transition Duration (adjustable 1–30 seconds): the camera glides between views and slowly dollies into the surface. Select Cut for immediate changes. An early trigger continues from the current view.
- In Performer, use MIDI Learn on Next Shot or Send Pulse, then press a MIDI pad, keyboard key or send an OSC message. Choose Routed Trigger to assign a shared source to Camera Trigger.
- Cinematic Move defaults to Orbit Arc with a 4-second Move Duration. Choose Dolly Arc under Cinematic Move, then press Trigger Camera Move to combine a circling move with a gradual push toward the model. Push In, Pull Out, Orbit Arc and Surface Pan are also available. Move Duration sets the length; these moves can use the same MIDI, keyboard and OSC triggers.
- Drag the canvas to orbit and scroll to zoom. Your manual angle holds across automatic shot changes; Next Shot, a camera mode change or Trigger Camera Move returns to the authored camera. Mouse control applies to the interactive preview; video rendering uses the authored shots.
- Choose Wide, Underside, Macro, Surface or Orbit to stay with one camera family; Jellyfish also offers Tentacles. Macro fills the frame around the model center, while Surface follows its near edge on the right with space on the left. Surface Clearance sets the close-up distance, Camera Speed sets the pan or orbit, and Depth of Field and Focus Offset adjust the focus.
- Choose Jelly · Cinema for a sideways sweep, rising viewpoint and dolly toward the swimming jellyfish, followed by bell surface, underside and tentacle close-ups on your beat interval. Camera Speed sets the travel speed; Wide holds the establishing view. Jelly · Wide, Jelly · Underside, Jelly · Surface and Jelly · Tentacles hold a single camera family. Animation Speed changes its embedded bell, tentacle and bell-light speed; 0 holds the pose and organic light front. Bell Radiance sets the soft bell-to-tentacle light independently of beat-driven Pulse Glow. The jellyfish presets use smaller particles and restrained brightness for close-up detail.
- Without music, the jellyfish’s soft bell-to-tentacle light travels five times more slowly. Music restores its faster cadence without resetting the light front. Beat-triggered waves and manual/MIDI/OSC triggers keep their own response.
- Swim Speed starts at 0.7, making the jellyfish drift through the water while wide shots, close-ups, triggered moves and mouse orbit follow it. Set 0 to hold travel while the bell and tentacles keep animating. Adjust Animation Speed separately for that surface motion.
- The default look and jellyfish presets start in Moonlight water with drifting particles and overhead beams. Choose Reef, Deep Trench, or Neon under Water, or Off for the flat backdrop. Light Shafts starts at 0.05 in the default look and 0.10 in every preset. Light Shafts and Water Particles adjust the environment independently of the model glow.
- Aquarium combines cinematic swimming with a clear view and clears the FX Rack. Research Scan adds a specimen HUD with nearest-edge leaders, four-beat target holds, eased target changes and warning accents. Bioluminescent Macro starts on a close surface pan with restrained glow and a quieter HUD. These presets recall the model and their FX together; the rack master bypass remains yours.
- Animation Speed appears for animated models. Swim Speed, Bell Radiance, Bell → Tentacles and the Tentacles camera apply to the jellyfish. Other models retain general framing and pulse controls.
- Add 3D MODEL OVERVIEW under FX Rack → TRACK → WIDGETS to keep the full animated model visible during a close-up. Its sliders icon opens front, left, right, back and rotating views, scanner, camera-area and detail options. Configure Specimen widgets.
- For a printable still, open RENDER → PRINT. Choose SVG · CRISP HUD for vector widget text and lines over the rendered model, or PNG · SCREEN MATCH for the complete screen treatment. Print settings and limits.
- Lower Background Opacity when layering the model over another source in Studio; the water and its particles fade together while the jellyfish stays visible.