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KerBy
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Signal flow

Follow the sound.

From the two sources to the space between them.

Checked against KerBy 0.9.0 · 24 September 2026

The kick and bass are generated separately. The kick also feeds a reverb, and its pulses restart the ducking curve that controls both the bass and the reverb tail.

Select a box to read more. On a narrow screen, scroll the map sideways.

KerBy audio and ducking signal flow The kick splits into dry audio and a reverb send. Kick pulses control the Duck curve, which acts on the bass and the filtered reverb. Dry kick and ducked reverb recombine. Each voice then passes through Reverse and mono lows to its meters and scopes. The voices sum into the output soft clipper. Dry kickSendKick pulses Kick source + ClickCrush → Glitch → Volume Bass source + processingCrush → Glitch → Volume Reverb→ LP Duck curve+ Amt Duck gain Duck gain + Reverse → mono lows→ meters / scopes Reverse → mono lows→ meters / scopes Sum both voices→ soft clip → output
Solid lines carry audio. Dashed lines carry ducking control. Voice processing is expanded below.

Inside the kick

The main source and the Click layer have separate envelopes. They join before Crush and the kick’s volume control.

Main source

  1. Oscillator or Wave samplePitch, FM and Spread act here
  2. FilterCutoff follows the Filter envelope
  3. + NoiseFiltered to follow the cutoff
  4. Tone
  5. Amp envelope

Click layer

  1. Click sampleOwn Pitch and optional key tracking; FM also reaches it
  2. Tone
  3. Click envelope
  4. HP → Click Amt
  1. Combine main + Click
  2. Crush
  3. Glitch → VolumeThen split into dry kick and reverb send

Tone uses the same setting on both branches, before each branch’s envelope. Crush reduces the sample rate of their combined output, which Glitch then rolls and cuts in time. Filter, Noise and Spread shape the main source, leaving the Click layer’s own sound separate.

Inside the bass

  1. Oscillator or Wave samplePitch, FM and Spread
  2. Filter + ResoCutoff follows the Filter envelope
  3. + NoiseNoise is shaped separately to follow the cutoff
  4. Tone → Amp envelope
  5. Crush
  6. Glitch → Volume
  7. Duck gainThen Reverse, mono lows and meters / scopes

The noise joins after the main filter, but has its own filtering that follows the same cutoff. Turning off the Filter tab opens the cutoff.

Where the voices meet

Reverb
The kick’s output feeds the send. Reverb and its LP filter come before ducking. The ducked tail rejoins the dry kick.
Duck
Kick pulses restart the curve. The resulting gain, including Duck Amt and bypass, multiplies the bass and the wet reverb. It does not multiply the dry kick.
Reverse
Works on each voice’s finished audio, after ducking and reverb. A reversed kick therefore includes its reverb tail.
Mono lows
After Reverse, everything below 120Hz in each voice is summed to mono. Always on. A voice with no stereo width passes through unchanged.
Meters and scopes
Read the finished voices after mono lows, before the master sum and output clipper. A scope dragged out as audio gives the sum and clipper as heard.
Output
The two voices are added together, then pass through an always-on soft clipper. A voice’s meter can show a peak above 0 dB even though the final output is bounded.

This map describes the sound path. The pulse clock and launch settings decide when a voice starts; the bass step row decides which pulses play. They are controls on the path, rather than effects inserted into it.

Put the map to use: shape the duck →