Two rotors, modeled top to bottom

A rotating horn for the mids and highs. A rotating drum for the lows. Independent gain on each so you can find the balance you want: bright and singing, warm and round, or something the original cabinet was never quite capable of. Acceleration and deceleration are modeled per rotor, matching the real cabinet. The lighter horn ramps up before the heavier drum catches up.

Three speeds. Played, not just set.

Slow (Chorale). Stop. Fast (Tremolo). The toggle is the heart of the instrument, and it was always meant to be played live. Map it to a MIDI controller or a keyswitch and you’ll trigger the spin-up and spin-down in real time, the way the cabinet was used on stage. Or automate it in your DAW so the transitions land on the beat. The Accel and Decel knobs decide how fast the rotors get there: clockwise for snap, backed off for long woozy ramps. Tempo Sync locks the rotation to your project tempo for musical time. (And if you want to decide where the rotors stop, Brake to Position handles that. More on it in the next block.)

Beyond physics

Mechanical noise from “real and noisy” to “completely silent.” Mic bleed on (the natural recording behavior) or off (impossible on the original device, since each rotor was always picking up sound from the other). Brake to Position stops the horn and drum at any angle you specify, fully automatable. Pin the sound to an exact spot in the stereo field on a precise beat. The original cabinet could do none of this. We built it because you should be able to.