diff --git a/dsp/fx/amp.dsp b/dsp/fx/amp.dsp
new file mode 100644
index 00000000..11173bd9
--- /dev/null
+++ b/dsp/fx/amp.dsp
@@ -0,0 +1,209 @@
+# Amp -- two valve stages, a tone stack and a speaker cabinet.
+#
+# Most of an electric guitar's sound is what happens after the string,
+# and `guitar.dsp' stops at the string. This is the rest of the chain,
+# in the order an amplifier puts it.
+#
+# THE INPUT IS TIGHTENED FIRST. A high-pass at 100 Hz in front of the
+# gain, because low end driven into a valve turns to mud: an amp that
+# keeps the bass out of the preamp and puts it back in the tone stack
+# is how a high-gain chord stays a chord.
+#
+# TWO STAGES, AND THE FIRST IS BIASED. A tanh is symmetric and makes
+# odd harmonics only; a valve is not, because it is biased off center,
+# and the even harmonics that asymmetry adds are the warmth people mean
+# by "tube". So stage one is tanh of the signal plus a bias, less tanh
+# of the bias alone, which is zero for silence; a low-pass at
+# 6 kHz between the stages takes the fizz out before stage two clips
+# it again, symmetrically. `Gain' drives both.
+#
+# THE TONE STACK is one state-variable filter at 700 Hz, its three
+# outputs -- which sum to the input -- weighted by `Bass', `Mid' and
+# `Treble'. At 5 a knob is flat and each step either side is about
+# 2.4 dB, so all three at 5 is the signal unchanged. It sits after the
+# gain, where an amp has it.
+#
+# THE CABINET is what makes it a guitar amp rather than a fuzz. A
+# 12-inch speaker passes nothing much below 80 Hz -- where the box
+# resonates, hence the bump -- and nothing above 5 kHz, with a peak
+# where the cone breaks up just under that. Two low-passes give the
+# 24 dB slope; `Cab' at 0 bypasses it for a direct, harsh box.
+#
+# Mono in the middle, because an amp is: the two sides are summed in.
+#
+# AND AN ECHO PEDAL, because a channel carries one effect and a lead
+# guitar without its delay is not the sound anybody means. It hangs off
+# the cabinet, left at `Delay' and right half again as late, which is
+# where the stereo comes from; `Echo' at 0 is off.
+
+name "Amp";
+author "Misha Nasledov";
+description "A guitar amplifier: a tightened input, two valve stages, a three-band tone stack and a 12-inch cabinet.";
+category "Effects";
+
+    @gain = 5;
+    @gain.widget = 1;
+    @gain.min = 0;
+    @gain.max = 10;
+    @gain.label = "Gain";
+
+    @bass = 5;
+    @bass.widget = 1;
+    @bass.min = 0;
+    @bass.max = 10;
+    @bass.label = "Bass";
+    @bass.group = "Tone";
+
+    @mid = 5;
+    @mid.widget = 1;
+    @mid.min = 0;
+    @mid.max = 10;
+    @mid.label = "Mid";
+    @mid.group = "Tone";
+
+    @treble = 5;
+    @treble.widget = 1;
+    @treble.min = 0;
+    @treble.max = 10;
+    @treble.label = "Treble";
+    @treble.group = "Tone";
+
+    @bias = 0.2;
+    @bias.widget = 1;
+    @bias.min = 0;
+    @bias.max = 0.5;
+    @bias.label = "Bias";
+
+    @cab = 1;
+    @cab.widget = 1;
+    @cab.min = 0;
+    @cab.max = 1;
+    @cab.label = "Cab";
+
+    @echo = 0;
+    @echo.widget = 1;
+    @echo.min = 0;
+    @echo.max = 1;
+    @echo.label = "Echo";
+    @echo.group = "Echo";
+
+    @delay = 375 ms;
+    @delay.widget = 1;
+    @delay.min = 20 ms;
+    @delay.max = 1000 ms;
+    @delay.label = "Delay";
+    @delay.group = "Echo";
+
+    @feedback = 0.35;
+    @feedback.widget = 1;
+    @feedback.min = 0;
+    @feedback.max = 0.9;
+    @feedback.label = "Feedback";
+    @feedback.group = "Echo";
+
+    @level = 1;
+    @level.widget = 1;
+    @level.min = 0;
+    @level.max = 4;
+    @level.label = "Level";
+
+node ionode {
+    channels = 2;
+
+    in0 = 0;
+    in1 = 0;
+
+    out0 = out->out + echol->out * @echo;
+    out1 = out->out + echor->out * @echo;
+};
+
+node tight filt::svf {
+    in = (ionode->in0 + ionode->in1) * 0.5;
+    cutoff = 100;
+    res = 0;
+};
+
+node stage1 dist::saturate {
+    in = tight->out_high * (1 + @gain * 3) + @bias;
+    factor = 1;
+};
+
+node rest dist::saturate {
+    in = @bias;
+    factor = 1;
+};
+
+node couple filt::svf {
+    in = stage1->out - rest->out;
+    cutoff = 6000;
+    res = 0;
+};
+
+node stage2 dist::saturate {
+    in = couple->out_low;
+    factor = 1 + @gain * 0.5;
+};
+
+node stack filt::svf {
+    in = stage2->out;
+    cutoff = 700;
+    res = 0.2;
+};
+
+node tone math::add {
+    in0 = stack->out_low * exp2((@bass - 5) * 0.4) +
+          stack->out_band * exp2((@mid - 5) * 0.4);
+    in1 = stack->out_high * exp2((@treble - 5) * 0.4);
+};
+
+# The box: a resonant high-pass at 85 Hz, then two low-passes, the first
+# with the cone's breakup peak on it.
+node box filt::svf {
+    in = tone->out;
+    cutoff = 85;
+    res = 0.4;
+};
+
+node cone filt::svf {
+    in = box->out_high;
+    cutoff = 4200;
+    res = 0.5;
+};
+
+node cone2 filt::svf {
+    in = cone->out_low;
+    cutoff = 5000;
+    res = 0;
+};
+
+node cabmix mixer::fade {
+    in0 = tone->out;
+    in1 = cone2->out_low;
+    fade = @cab;
+};
+
+# A driven stage comes out near full scale however hard it was hit, so
+# the master is divided by the gain: `Gain' adds dirt, `Level' adds
+# volume, and a quiet clean channel stays as loud as it went in.
+node out mixer::mul {
+    in0 = cabmix->out;
+    in1 = @level / (1 + @gain * 2);
+};
+
+node echol delay::echo {
+    in = out->out;
+    size = 1600 ms;
+    delay = @delay;
+    feedback = @feedback;
+    dry = 0;
+};
+
+node echor delay::echo {
+    in = out->out;
+    size = 1600 ms;
+    delay = @delay * 1.5;
+    feedback = @feedback;
+    dry = 0;
+};
+
+io ionode;
diff --git a/dsp/fx/glue.dsp b/dsp/fx/glue.dsp
new file mode 100644
index 00000000..06702a50
--- /dev/null
+++ b/dsp/fx/glue.dsp
@@ -0,0 +1,197 @@
+# Glue -- the mix bus: EQ, a slow compressor, tape, width and a ceiling.
+#
+# What a mastering chain does to a finished mix, as one master effect.
+# None of it is dramatic and that is the point: each stage is a few dB,
+# and together they are the difference between a set of channels and a
+# record.
+#
+# THE LOW CUT comes first, because everything after it reacts to level:
+# rumble the ear cannot hear still pumps a compressor. It sits at 20 Hz
+# and not higher because a pad's sub-octave and a low kick live just
+# above that, and this filter's slope is gentle.
+#
+# TWO SHELVES, `Low' and `High' in dB. Each is a state-variable filter
+# whose low or high output is added back to the signal scaled by the
+# gain less one, so 0 dB is the signal untouched.
+#
+# THE COMPRESSOR IS SLOW AND GENTLE: 2 to 1, a soft knee, 30 ms to let
+# the drums' attack through and a quarter second to come back. Fast
+# enough to hold the mix together, slow enough that you hear a band
+# breathing and not a meter. It is keyed from the sum and applied to
+# both sides, so the image does not lean when one side is louder.
+#
+# TAPE is a tanh scaled back down by its own drive, which is unity for
+# a quiet signal and rounds the peaks of a loud one: `Tape' at 1 is
+# barely there, at 3 it is a cassette deck in the red.
+#
+# WIDTH is mid and side: the side signal times `Width', so 1 is as
+# mixed, 0 is mono and 1.3 opens the stereo of the pads and the
+# reverbs without moving the kick and bass, which sit in the middle.
+#
+# THE CEILING is the limiter from `fx/limiter.dsp', last, so a piece
+# that wears this one in place of that one keeps its peaks under
+# `Ceiling' all the same.
+
+name "Glue";
+author "Misha Nasledov";
+description "A mix-bus chain for a piece: low cut, shelving EQ, a gentle compressor, tape saturation, width and a ceiling.";
+category "Effects";
+
+    @lowcut = 20;
+    @lowcut.widget = 1;
+    @lowcut.min = 10;
+    @lowcut.max = 120;
+    @lowcut.label = "Low Cut (Hz)";
+    @lowcut.group = "EQ";
+
+    @low = 1.5;
+    @low.widget = 1;
+    @low.min = -12;
+    @low.max = 12;
+    @low.label = "Low (dB)";
+    @low.group = "EQ";
+
+    @lowf = 110;
+    @lowf.widget = 1;
+    @lowf.min = 40;
+    @lowf.max = 400;
+    @lowf.label = "Low Freq (Hz)";
+    @lowf.group = "EQ";
+
+    @high = 2;
+    @high.widget = 1;
+    @high.min = -12;
+    @high.max = 12;
+    @high.label = "High (dB)";
+    @high.group = "EQ";
+
+    @highf = 8000;
+    @highf.widget = 1;
+    @highf.min = 2000;
+    @highf.max = 16000;
+    @highf.label = "High Freq (Hz)";
+    @highf.group = "EQ";
+
+    @threshold = -16;
+    @threshold.widget = 1;
+    @threshold.min = -40;
+    @threshold.max = 0;
+    @threshold.label = "Threshold (dB)";
+    @threshold.group = "Compressor";
+
+    @ratio = 2;
+    @ratio.widget = 1;
+    @ratio.min = 1;
+    @ratio.max = 10;
+    @ratio.label = "Ratio";
+    @ratio.group = "Compressor";
+
+    @attack = 30 ms;
+    @attack.widget = 1;
+    @attack.min = 1 ms;
+    @attack.max = 100 ms;
+    @attack.label = "Attack";
+    @attack.group = "Compressor";
+
+    @release = 250 ms;
+    @release.widget = 1;
+    @release.min = 50 ms;
+    @release.max = 1000 ms;
+    @release.label = "Release";
+    @release.group = "Compressor";
+
+    @makeup = 2;
+    @makeup.widget = 1;
+    @makeup.min = 0;
+    @makeup.max = 12;
+    @makeup.label = "Makeup (dB)";
+    @makeup.group = "Compressor";
+
+    @tape = 1.2;
+    @tape.widget = 1;
+    @tape.min = 0.5;
+    @tape.max = 4;
+    @tape.label = "Tape";
+
+    @width = 1.2;
+    @width.widget = 1;
+    @width.min = 0;
+    @width.max = 2;
+    @width.label = "Width";
+
+    @ceiling = 0.9;
+    @ceiling.widget = 1;
+    @ceiling.min = 0.1;
+    @ceiling.max = 1;
+    @ceiling.label = "Ceiling";
+
+node ionode {
+    channels = 2;
+
+    # The engine writes these every window. See fx/echo.dsp.
+    in0 = 0;
+    in1 = 0;
+
+    out0 = outl->out;
+    out1 = outr->out;
+};
+
+node cutl filt::svf { in = ionode->in0; cutoff = @lowcut; res = 0; };
+node cutr filt::svf { in = ionode->in1; cutoff = @lowcut; res = 0; };
+
+node lowgain  misc::decibel { db = @low; };
+node highgain misc::decibel { db = @high; };
+
+node lshl filt::svf { in = cutl->out_high; cutoff = @lowf; res = 0; };
+node lshr filt::svf { in = cutr->out_high; cutoff = @lowf; res = 0; };
+node hshl filt::svf { in = cutl->out_high; cutoff = @highf; res = 0; };
+node hshr filt::svf { in = cutr->out_high; cutoff = @highf; res = 0; };
+
+node eql math::add {
+    in0 = cutl->out_high + lshl->out_low * (lowgain->out - 1);
+    in1 = hshl->out_high * (highgain->out - 1);
+};
+node eqr math::add {
+    in0 = cutr->out_high + lshr->out_low * (lowgain->out - 1);
+    in1 = hshr->out_high * (highgain->out - 1);
+};
+
+node det dyn::compressor {
+    in = (eql->out + eqr->out) * 0.5;
+    threshold = @threshold;
+    ratio = @ratio;
+    attack = @attack;
+    release = @release;
+    knee = 6;
+    makeup = 0;
+};
+
+node squeeze misc::decibel {
+    db = det->gain + @makeup;
+};
+
+node tapel dist::saturate { in = eql->out * squeeze->out; factor = @tape; };
+node taper dist::saturate { in = eqr->out * squeeze->out; factor = @tape; };
+
+# Mid and side, the side scaled, back to left and right.
+node widel math::add {
+    in0 = (tapel->out + taper->out) * 0.5 / @tape;
+    in1 = (tapel->out - taper->out) * 0.5 * @width / @tape;
+};
+node wider math::add {
+    in0 = (tapel->out + taper->out) * 0.5 / @tape;
+    in1 = (taper->out - tapel->out) * 0.5 * @width / @tape;
+};
+
+node folll env::follower { in = widel->out; falloff = 1.5; };
+node follr env::follower { in = wider->out; falloff = 1.5; };
+
+node over math::max {
+    in0 = max(folll->out, follr->out);
+    in1 = @ceiling;
+};
+
+node outl mixer::mul { in0 = widel->out; in1 = @ceiling / over->out; };
+node outr mixer::mul { in0 = wider->out; in1 = @ceiling / over->out; };
+
+io ionode;
diff --git a/dsp/fx/rotary.dsp b/dsp/fx/rotary.dsp
index decc624f..9752f11f 100644
--- a/dsp/fx/rotary.dsp
+++ b/dsp/fx/rotary.dsp
@@ -44,7 +44,13 @@
 #
 # `fx/chorus.dsp' is the same node doing a different job; see its head.
 # Put this on an organ channel -- dsp/organ0.dsp is what it was built
-# for.
+# for, and dsp/tonewheel.dsp is what it sounds best on.
+#
+# `Drive' is the cabinet's own valve amplifier pushed: a tanh before the
+# crossover, scaled back down by its drive so a quiet chord comes
+# through at the level it went in and a loud one growls. It acts on the
+# chord rather than on each note, which is why it lives here and not in
+# the organ, and at 0 the dry signal passes untouched.
 
 name "Rotary";
 author "Misha Nasledov";
@@ -119,6 +125,12 @@ category "Effects";
     @mix.max = 1;
     @mix.label = "Mix";
 
+    @drive = 0;
+    @drive.widget = 1;
+    @drive.min = 0;
+    @drive.max = 10;
+    @drive.label = "Drive";
+
 node ionode {
     channels = 2;
 
@@ -151,16 +163,30 @@ node drumrate math::add {
     in1 = drumspin->out * (@drumfast - @drumslow);
 };
 
+node satl dist::saturate { in = ionode->in0; factor = 1 + @drive; };
+node satr dist::saturate { in = ionode->in1; factor = 1 + @drive; };
+
+node drivel mixer::fade {
+    in0 = ionode->in0;
+    in1 = satl->out / (1 + @drive);
+    fade = min(@drive, 1);
+};
+node driver mixer::fade {
+    in0 = ionode->in1;
+    in1 = satr->out / (1 + @drive);
+    fade = min(@drive, 1);
+};
+
 # The crossover. One filter a side, and both of its outputs used: the
 # high goes round with the horn and the low with the drum.
 node splitl filt::svf {
-    in = ionode->in0;
+    in = drivel->out;
     cutoff = @xover;
     res = 0;
 };
 
 node splitr filt::svf {
-    in = ionode->in1;
+    in = driver->out;
     cutoff = @xover;
     res = 0;
 };
diff --git a/dsp/tonewheel.dsp b/dsp/tonewheel.dsp
new file mode 100644
index 00000000..d7da74dc
--- /dev/null
+++ b/dsp/tonewheel.dsp
@@ -0,0 +1,268 @@
+# Tonewheel -- nine drawbars, a key click, percussion and the scanner.
+#
+# A Hammond is additive synthesis done with gears: a sine for every
+# drawbar, each at a fixed ratio to the key -- 16' an octave down, 5 1/3'
+# a fifth up, 8' the note, then 4', 2 2/3', 2', 1 3/5', 1 1/3' and 1'
+# at the 2nd, 3rd, 4th, 5th, 6th and 8th harmonics. The drawbars run 0
+# to 8 and each step is 3 dB, which is why `888000000' is the jazz
+# sound and `888888888' is a wall: the scale is a level, not a mix.
+#
+# THE TOP FOLDS BACK. The highest tonewheel turns at about 5.9 kHz, so
+# a footage that would land above it on a high key plays an octave
+# lower instead. That is part of why a Hammond is never harsh up top,
+# and it keeps the 1' bar on a high note from aliasing here.
+#
+# THE CLICK IS THE CONTACTS. Nine springs touch nine busbars a moment
+# apart, and what comes out is a burst of every frequency at once --
+# a few milliseconds of noise, which is what `Click' sets the level of.
+#
+# PERCUSSION is a second or third harmonic struck and left to decay, the
+# piano-like attack of the B-3 in a rock band. On the instrument it
+# fires only when every key was up; voices here are independent, so it
+# strikes on every note, which is what a fast passage wants anyway.
+#
+# THE SCANNER is a delay line swept at about seven times a second: at
+# `Chorus' 1 it is all wet (vibrato), at 0.5 the dry is mixed back in
+# (chorus), and the beating between the two is the C3 setting
+# everybody leaves it on. `Leakage' is the wheels nobody asked for --
+# the faint other drawbars a real console bleeds.
+#
+# The overdrive and the rotating speaker are the channel's, not the
+# voice's, because they act on the chord: put it on `fx/rotary.dsp' and
+# turn up its `Drive'.
+
+name "Tonewheel";
+author "Misha Nasledov";
+description "A drawbar organ: nine tonewheels with foldback, key click, percussion and scanner chorus.";
+category "Keys";
+
+    @db16 = 8;
+    @db16.widget = 1;
+    @db16.min = 0;
+    @db16.max = 8;
+    @db16.step = 1;
+    @db16.label = "16'";
+    @db16.group = "Drawbars";
+
+    @db513 = 8;
+    @db513.widget = 1;
+    @db513.min = 0;
+    @db513.max = 8;
+    @db513.step = 1;
+    @db513.label = "5 1/3'";
+    @db513.group = "Drawbars";
+
+    @db8 = 8;
+    @db8.widget = 1;
+    @db8.min = 0;
+    @db8.max = 8;
+    @db8.step = 1;
+    @db8.label = "8'";
+    @db8.group = "Drawbars";
+
+    @db4 = 0;
+    @db4.widget = 1;
+    @db4.min = 0;
+    @db4.max = 8;
+    @db4.step = 1;
+    @db4.label = "4'";
+    @db4.group = "Drawbars";
+
+    @db223 = 0;
+    @db223.widget = 1;
+    @db223.min = 0;
+    @db223.max = 8;
+    @db223.step = 1;
+    @db223.label = "2 2/3'";
+    @db223.group = "Drawbars";
+
+    @db2 = 0;
+    @db2.widget = 1;
+    @db2.min = 0;
+    @db2.max = 8;
+    @db2.step = 1;
+    @db2.label = "2'";
+    @db2.group = "Drawbars";
+
+    @db135 = 0;
+    @db135.widget = 1;
+    @db135.min = 0;
+    @db135.max = 8;
+    @db135.step = 1;
+    @db135.label = "1 3/5'";
+    @db135.group = "Drawbars";
+
+    @db113 = 0;
+    @db113.widget = 1;
+    @db113.min = 0;
+    @db113.max = 8;
+    @db113.step = 1;
+    @db113.label = "1 1/3'";
+    @db113.group = "Drawbars";
+
+    @db1 = 0;
+    @db1.widget = 1;
+    @db1.min = 0;
+    @db1.max = 8;
+    @db1.step = 1;
+    @db1.label = "1'";
+    @db1.group = "Drawbars";
+
+    @perc = 0;
+    @perc.widget = 1;
+    @perc.min = 0;
+    @perc.max = 1;
+    @perc.label = "Percussion";
+    @perc.group = "Percussion";
+
+    @percharm = 3;
+    @percharm.widget = 1;
+    @percharm.min = 2;
+    @percharm.max = 3;
+    @percharm.step = 1;
+    @percharm.label = "Harmonic";
+    @percharm.group = "Percussion";
+
+    @percdecay = 250 ms;
+    @percdecay.widget = 1;
+    @percdecay.min = 50 ms;
+    @percdecay.max = 1500 ms;
+    @percdecay.label = "Decay";
+    @percdecay.group = "Percussion";
+
+    @click = 0.3;
+    @click.widget = 1;
+    @click.min = 0;
+    @click.max = 1;
+    @click.label = "Key Click";
+
+    @scanner = 0.6 ms;
+    @scanner.widget = 1;
+    @scanner.min = 0 ms;
+    @scanner.max = 1.5 ms;
+    @scanner.label = "Scanner Depth";
+    @scanner.group = "Scanner";
+
+    @vchorus = 0.5;
+    @vchorus.widget = 1;
+    @vchorus.min = 0;
+    @vchorus.max = 1;
+    @vchorus.label = "Chorus";
+    @vchorus.group = "Scanner";
+
+    @leak = 0.004;
+    @leak.widget = 1;
+    @leak.min = 0;
+    @leak.max = 0.05;
+    @leak.label = "Leakage";
+
+    @r = 90 ms;
+    @r.widget = 1;
+    @r.min = 70 ms;
+    @r.max = 1000 ms;
+    @r.label = "Release";
+
+node ionode {
+    channels = 2;
+    out0 = vca->out;
+    out1 = vca->out;
+    play = env->play;
+};
+
+node freq misc::midi2freq {
+    note = ionode->note;
+};
+
+# One wheel per drawbar. A footage over the top wheel's 5920 Hz plays an
+# octave down: `clamp((x - 5920) * 1000, 0, 1)' is "x is over 5920".
+node w16  osc::simple { freq = freq->out * 0.5; waveform = 0; };
+node w513 osc::simple { freq = freq->out * 1.5; waveform = 0; };
+node w8   osc::simple { freq = freq->out; waveform = 0; };
+node w4   osc::simple {
+    freq = freq->out * 2 / (1 + clamp((freq->out * 2 - 5920) * 1000, 0, 1));
+    waveform = 0;
+};
+node w223 osc::simple {
+    freq = freq->out * 3 / (1 + clamp((freq->out * 3 - 5920) * 1000, 0, 1));
+    waveform = 0;
+};
+node w2   osc::simple {
+    freq = freq->out * 4 / (1 + clamp((freq->out * 4 - 5920) * 1000, 0, 1));
+    waveform = 0;
+};
+node w135 osc::simple {
+    freq = freq->out * 5 / (1 + clamp((freq->out * 5 - 5920) * 1000, 0, 1));
+    waveform = 0;
+};
+node w113 osc::simple {
+    freq = freq->out * 6 / (1 + clamp((freq->out * 6 - 5920) * 1000, 0, 1));
+    waveform = 0;
+};
+node w1   osc::simple {
+    freq = freq->out * 8 / (1 + clamp((freq->out * 8 - 5920) * 1000, 0, 1));
+    waveform = 0;
+};
+
+# 3 dB a step, and 0 is off: 10^((bar - 8) * 3 / 20), gated by min(bar, 1).
+node bars math::add {
+    in0 = w16->out  * (pow(10, (@db16  - 8) * 0.15) * min(@db16,  1) + @leak) +
+          w513->out * (pow(10, (@db513 - 8) * 0.15) * min(@db513, 1) + @leak) +
+          w8->out   * (pow(10, (@db8   - 8) * 0.15) * min(@db8,   1) + @leak);
+    in1 = w4->out   * (pow(10, (@db4   - 8) * 0.15) * min(@db4,   1) + @leak) +
+          w223->out * (pow(10, (@db223 - 8) * 0.15) * min(@db223, 1) + @leak) +
+          w2->out   * (pow(10, (@db2   - 8) * 0.15) * min(@db2,   1) + @leak) +
+          w135->out * (pow(10, (@db135 - 8) * 0.15) * min(@db135, 1) + @leak) +
+          w113->out * (pow(10, (@db113 - 8) * 0.15) * min(@db113, 1) + @leak) +
+          w1->out   * (pow(10, (@db1   - 8) * 0.15) * min(@db1,   1) + @leak);
+};
+
+node percwheel osc::simple {
+    freq = freq->out * @percharm;
+    waveform = 0;
+};
+
+node percenv env::ad {
+    a = 1 ms;
+    d = @percdecay;
+};
+
+node noise osc::noise {
+    color = 0;
+};
+
+node clicktone filt::svf {
+    in = noise->out;
+    cutoff = 3000;
+    res = 0.2;
+};
+
+node clickenv env::ad {
+    a = 0;
+    d = 6 ms;
+};
+
+node scanner delay::chorus {
+    in = bars->out * 0.2 + percwheel->out * percenv->out * @perc * 0.4 +
+         clicktone->out_band * clickenv->out * @click * 0.5;
+    rate = 6.9;
+    depth = @scanner;
+    delay = 2 ms;
+    taps = 1;
+    mix = @vchorus;
+    phase = 0;
+};
+
+node env env::adsr {
+    a = 2 ms;
+    d = 0;
+    s = 1;
+    r = @r;
+    trigger = ionode->trigger;
+};
+
+node vca mixer::mul {
+    in0 = scanner->out;
+    in1 = env->out;
+};
+
+io ionode;