![Divine Errors: Part 1 [Free Version]](https://static.wixstatic.com/media/75835c_36d4cf489f374feda424ff226a825ad2~mv2.jpg/v1/fill/w_3000,h_2420,al_c,q_90,enc_avif,quality_auto/75835c_36d4cf489f374feda424ff226a825ad2~mv2.jpg)
This Free version has the same functionality and parameters as the full version just not all the samples and patches.
Divine Errors Part 1 is a Decent Sampler instrument built from long, evolving samples.
Guitar, harmonium, ocarina, modular synths, and noise are layered and transformed, exploring the beauty of little imperfections.
Sounds shaped by process, chance, and transformation, embracing drift, texture, and instability as subtle musical qualities, designed for slow music, film, and experimental composition.
Divine Errors: Part 1
Overview
Divine Errors Part 1 features a streamlined yet flexible interface built around three independent sample layers and a dedicated Sub Synth for added cinematic weight.
Each sample layer can contain a single long-form sample or multi-sampled material, depending on the patch. Layers can be muted individual, have their own volume control, and include a high-pass filter (HPF) to remove low frequencies when needed.The Sub Synth layer is designed specifically for low-end reinforcement and includes a separate LPF, allowing for a more gradual and controlled high-frequency roll-off.
Tone shaping is handled by a central Filter section, which can be modulated by both an LFO and a dedicated Filter Envelope for dynamic movement. An Amp Envelope defines the overall articulation of each sound.
Built-in effects include distortion, chorus, a tempo-syncable Delay (locked to your DAW) and a Reverb for spatial depth and atmosphere.
The Full version includes 22 presets, intended as starting points rather. Much of Divine Errors’ strength lies in exploration: simply muting a layer, adjusting layer balances, or subtly reshaping the filter can quickly reveal entirely new and unexpected textures.
Note: The Mod Wheel (CC1) is intentionally patch-specific. Rather than a fixed assignment, it controls the parameter that most dramatically shapes the sound such as LPF cutoff, Filter Envelope depth or sustain, or Reverb level. You’ll see it (and hear it) as soon as you move it.