BOCHKA RAPIST+
v1.7 · eight bases · every knob shows where it bites · nothing leaves this page
FLOW
what to do, in what order, and what each step decides
- pick a CHARACTER, or a kick preset. changing character generates a fresh live kick immediately, including during LOOP. AREA and KEEP CURRENT locks are respected; baked layers stay unchanged. a preset is a whole finished kick, knobs and seed both
- press RANDOM until one is close. it throws every knob from a fresh seed inside that character. it is meant to be pressed a lot, not once
- 01 BASE. where the sound comes from, and nothing else. decide it first: half the BODY knobs are only wired up on some bases, and the ones that are not go grey and say so on their own line
- 02 BODY. the pitch fall and the punch. the pitch drops from START PITCH down to TUNE and that drop is the thump. SWEEP is how fast it drops, DECAY how long the kick lives. this is worth more of your time than everything below it put together
- 03 CLICK and 04 METAL. the first millisecond on top, and a plate ringing under. both are summed onto the body before the drive gets it
- 05 DRIVE, then 06 DATA and 07 IMAGE. the dirt. drive is the loudest decision on the page: the whole sum hits a curve there. data eats what comes out as bytes, image makes a picture sing over it
- 08 PARTICLES and 09 RUMBLE. what flies through the tail, and the low voice that swells back after the hit instead of dying with it
- 10 EQ, 11 SCHIZO, 12 MASTER. eq only moves what is already there, so it goes late. the rolls are stamped in after it, and the master guard has the last word
- BAKE, then roll the next one. bake freezes what you hear into a layer and hands you a fresh kick on top of it. SMART STACK then sorts out which layer owns the low end
what is made again, and when
- every knob rebuilds the whole kick the moment it moves. nothing here is ever half rendered, and nothing waits for a button
- RANDOM rolls inside the character, respecting AREA and KEEP CURRENT locks. PUNCH GUARD applies attack / low-end constraints to generated knobs; OFF removes these constraints, not the speaker limiter. FUCKED UP ignores the character and generator controls, retaining its own built-in low-end protection
- MUTATE nudges this kick by MUTATE DEPTH, respecting the same area, locks and guard. zero depth changes nothing
- SEED is a repeatable source of randomness, not a saved preset. Editing it changes the noise, wavetable and seeded textures without rolling the knobs. LOAD SEED also rolls the knobs from it using the current character and generation controls. Reproduction needs matching settings and external files; seed does not store manual edits, uploaded audio, photos, layers or bus settings
- a baked layer never changes again. the knobs, RANDOM, FUCKED UP and MUTATE only ever touch the live kick on top
- UNDO takes back the last thing that moved, smart stack included
DECK
character, loop, level, seed, export
LAYERS
bake a kick, roll the next on top
bake freezes what you hear into a layer and brings up a fresh kick. a baked layer is frozen sound: the knobs, RANDOM and FUCKED UP only ever change the live kick on top, never what is already baked. the line over the rows is the whole stack at a glance: how many rows there are, how many of them sound, what is soloed and whether the live kick is in the mix. every row says what it is doing next to its name, SOUNDS, MUTED, SILENT, SOLO or SHADOWED BY THE SOLO, and the small spectrum beside its wave is where that row sits: a block on the left is the lows, a comb on the right is the top, the red line is its weight. every row is one kick in the stack: SOLO hears it alone at full level, FLIP Ø flips its polarity, pushing the cone out where it pulled in, so two kicks that cancelled each other add up instead, MUTE silences it, ✕ DROP throws it away. the wave in the row is that kick alone: drag on it to set TRIM, the red line is where the sound is cut, what stays dim is thrown away with a short fade so the end never clicks. the full sound is kept, so drag back to the right, double click or press End to open it up again. TRIM on the LIVE row is how you shorten the kick you are rolling, no need to hunt for DECAY and LENGTH. LEVEL is how loud it sits, OFFSET how many milliseconds later it starts, LOW CUT where its bottom is taken away, off at the far left. one limiter sits over the whole stack, the wav and the kit export what you hear
MASTER
the whole stack treated as one sound
one chain over everything you hear: the live kick and every baked layer summed, after RECOVER, before the speakers. GLUE is a bus compressor over the lot. it sees the hit coming, so the click at the front and the body behind it are pressed by one and the same gain and three kicks read as one hit instead of one kick with two shadows; its detector barely hears the sub and it lets go slower than the bass swings, so the low end is not pumped away. PUNCH lifts or softens the attack of the whole stack and leaves the sub where it is. TONE leans the balance from low to high, LOW END is a shelf under the sub. DRIVE bends the sum into a curve: at the far left the sum is untouched, further right the layers melt together. CEILING is the last peak of the instrument, -1 db is where it already sits. everything here is computed with the kick, so the wav, the kit and the pattern loop get exactly what the speakers get. switched on with these knobs the chain changes nothing: it is off until you move something
PUNCH
the machine that will not let a kick turn into a dull hum
it reads the finished stack, says what the hit is missing and puts the punch back out of that same hit, so nothing is laid on top of your kick. TIGHTEN sharpens the stroke and pulls the smear behind it down, above the sub only, because a pumped fundamental is exactly the dull hum we are trying to kill. WEIGHT gives the bottom a pitch to lean on: if the kick sings a note, its own cycles are thickened, and if it is a wall of noise with no note at all, one is written under it, falling into place from above like a 909. BITE brings the top of the stroke back; on a dull kick with nothing up there the stroke is cut from the kick itself played two octaves up, so it is still your sound. FUSE pushes all of it through one curve inside the punch window, which is what welds it into one kick instead of a click sitting on a boom. GUARD measures the hit, corrects, measures again, up to three passes, until the punch reaches TARGET. the machine never makes anything louder: the level is matched back before the ceiling
PATTERN
this kick as a loop: tuc tuc tududuc, fills, rolls and a ghost groove
the loop is built from the kick on the bench, so every knob in the instrument goes into it. it rebuilds itself when the kick or a knob here changes, REBUILD forces it, NEW PATTERN rolls fresh steps. PLAY PATTERN and LOOP never run together: starting one stops the other
K full · A attack · S short · R reversed, its swell ends on the step · 8× a roll of attacks, the arrow is its ramp · = held by the roll · • a ghost from the return · a number under a letter is its pitch in semitones
FEEL · how the loop sits against the grid
GROOVE · a soloed delay return, its send on a knob
a roll of up to 4 reads as rhythm. from 6 the repeats fuse into a tone: at 180 bpm 8 per beat is about 24 hz, and that is the ear-cutting part