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The patch is not really good for use in songs since it's really CPU heavy, there are 60 bandpass filters (switchable between 8 and 16 pole steepness), and probably hundreds of automation routings. Since they're all audio rate... Well. But very cool for sound design work.

I tried to make the macro controls artistically sensible, have every control do something useful, and avoid the possibility of "bad settings". There are two tabs of macro controls, a few right on the chain page, and the most on the layer after that. I could have moved them all to the main page, but that would have doubled most of the macros which causes all kinds of problems in practise.

A light version of this patch could probably be built around the internal Bitwig resonator bank. But the inner workings could not be finetuned.

Anyway, I had this sound in my head for days, it did not end up sounding exactly as I envisioned, but on the other hand I can see myself using this a lot on arpeggiated short note runs, pads, etc.

Having a separate delay on every frequency band did not end up sounding as cool as I hoped. I might think about that at some point, I remember the old NI Spectral Delay used to be very cool. But then again it was optimized for running tons of very narrow bands...