STOCH is a procedural sound generator. Every trigger produces a unique sound — no two hits or risers are ever identical. This is by design.
Hit ▶ Trigger or press Space to generate a sound. Hit ⟳ Random to randomise all layers. That's the core workflow — trigger, listen, random, repeat until something hits.
While a sound is playing, the trigger zone turns red and shows ■ Stop. Click it or press Space to cut the sound immediately. Useful for auditioning long risers or reverb tails without waiting for them to finish.
Hits generates short impacts — thuds, cracks, braams, bell strikes, ghostly moments. Riser generates tension builds — noise swells, filter sweeps, descending sinks, drifting instability, eruptions.
Each layer is an independent sound engine. Click a layer tab to select it. Use + Add to create new layers (max 6). Each tab has:
S Solo — hear only this layer. M Mute — silence this layer. L Lock — protect from global Random. The Pan knob sets stereo position (drag up/down, double-click to centre). ✕ removes the layer.
Each character is a starting point with different sonic DNA. Thud is sub-heavy. Fracture is metallic and sharp. Monolith is massive. Bell is tonal. Phantom is atmospheric. Pick one, then Random will generate variations from that foundation.
The Material selector changes how the 24-mode resonator bank behaves — what the sound is made of. Metal rings bright and long. Wood is short and dead. Glass is sparse and crystalline. Stone absorbs everything. Industrial resonates across the full spectrum. Each material produces fundamentally different resonance when the same transient excites it.
After hitting Random, a ← Prev button appears. Click it to restore the previous state — one step back. The button disappears after use. You get one chance to go back, then it's gone. Both the per-layer and global Random buttons have their own ← Prev.
Use the toggle in the top-right corner. Simple mode (default) shows only Character, Material, and Random — everything you need for fast sound design. Switch to Advanced to reveal all synthesis controls: oscillator tuning, transient shaping, texture, envelopes, filter, LFO, saturation, reverb, and delay.
Weight shifts the overall frequency balance — low values are bright, high values are dark and heavy. Chaos controls how much modulation, drift, and instability is in the sound. Length scales all envelope times — from tight percussive hits to 10-second evolving textures.
Toggle ↔ Reverse to render sounds backwards before playback. Reversed hits become risers. Reversed risers become impacts. The progress bar starts when playback begins, not during render.
The oscilloscope shows a live waveform during playback with a phosphor trace that fades in quickly and out slowly. When idle, it displays a terminal log of your recent actions — what you triggered, what you randomised, what you exported. Both are always visible, layered together.
Choose sample rate (44.1k / 48k / 96k), bit depth (16 / 24 / 32-float), and channel count (Mono / Stereo). Exports include embedded metadata — title, artist, keywords, and copyright — ready for library managers like Soundminer or BaseHead. Each export renders a unique variation.
Drag up/down to adjust. Shift+drag for fine control. Double-click or Alt+click to reset to preset default.
Layer a short Wood hit with a long Metal tail for cinematic impacts. Use Lock on your sub layer, then Random the others. Try different noise types (white, pink, brown) in Advanced mode for different textures. Export the same trigger multiple times — each export is unique. Use Stop to cut reverb tails short when auditioning quickly.