VixForge Shader Inspector

UV Tile Discard Settings

• UV Set - The UV set that holds your tile layout. Options: UV0, UV1, UV2, UV3
• Mode - Vertex drops whole triangles before they draw, which is faster. Pixel checks every pixel, for a part whose triangles cross a tile edge. Options: Vertex (Faster), Pixel (Slower)
• Tiles - One button per tile. The column is how many squares right and the row is how many squares up, so 0, 0 is the normal UV square.
• Row 3 - Click a tile to hide every part whose UVs sit in it. Right-click a tile to rename it.
• Row 2 - Click a tile to hide every part whose UVs sit in it. Right-click a tile to rename it.
• Row 1 - Click a tile to hide every part whose UVs sit in it. Right-click a tile to rename it.
• Row 0 - Click a tile to hide every part whose UVs sit in it. Right-click a tile to rename it.

Triplanar Settings

• Tiling - How many times the texture repeats per metre. Higher makes the pattern smaller.
• Edge Sharpness - How quickly one projection hands over to the next. Low gives a long soft crossfade, which suits curved and organic shapes. High snaps to whichever way the surface faces, which suits hard edges.
• Space - World holds the pattern still while the object moves, so neighbouring pieces line up. Local carries the pattern with the object, for anything that gets picked up or animated. Options: World, Local

Breakup Settings

• Blend Contrast - Stops the shuffled copies averaging into a blur where they overlap. Turn it up if the surface looks soft, down if you can see the joins.

Second Normal Map Settings

• Map - A second normal map laid over the first, for a pattern that repeats at its own scale.
• Strength - How strongly the second map shapes the light. Above 1 exaggerates it, 0 ignores it.
• Blend - Layered adds the second map's bumps on top of the first. Replace swaps the first map out for the second wherever the mask allows. Options: Layered, Replace
• Flip Green - Turn this on if the bumps look pushed in instead of raised. Maps made for DirectX need it.
• Placement - Where the map sits on the material, how big it is, and how far it is turned. Rotation is in degrees. Pos X: Moves the map left or right. Pos Y: Moves the map up or down. Scale: How big the map is. Above 1 makes it bigger. Rot: How far the map is turned, in degrees.
• Tiling - How many times the map repeats across and down. A negative value mirrors it.
• Movement - Drift slides the map across the material. Spin turns it, in degrees per second. Drift X: Slides the map sideways on its own, forever. 0 holds it still. Drift Y: Slides the map up or down on its own, forever. 0 holds it still. Spin: Turns the map on its own, in degrees per second.
• Mask Source - Borrows another layer's map so the second normal map only shows where that layer does. Pick an Emission layer or a Matcap, then the channel your mask sits in. That layer has to be switched on. Leave it on None to cover the whole material. Options: None, Emission 1, Emission 2, Emission 3, Emission 4, Emission 5, Matcap 1, Matcap 2, Matcap 3, Matcap 4, Matcap 5
• Mask Channel - Which channel of that layer's map holds your mask.
• Invert Mask - Swap which side of that borrowed mask the second map shows on.

Bent Normals Settings

• Map - A bent normal map, which leans away from nearby geometry so creases and folds catch light the way they should.
• Ambient Shaping - How much the bent normal map steers the ambient light. It knows which way each part of the surface is open to the room, so creases take less sky and exposed areas take more.
• Reflection Shaping - The same idea for reflections: how much the bent normal map dims what a crease is allowed to reflect. Creases reflect less of the room than a flat area does.
• Sharpen - Sharpens your normal map against the bent one, so fine detail stands out more in the creases. 0 is off.

Micro Detail Settings

• Map - A fine normal map tiled far tighter than the main one, for pores, weave and grain seen up close.
• Strength - How strongly the detail normal map shapes the light on top of your main one. This is the fine stuff: grain, weave, pores.
• Band - Which part of the music the detail raises with.
• Raise - How far the beat pushes the detail up.
• UV Tiling - How many times the detail map repeats across the surface. Higher is finer grain.

Reflection Mask

• Channel - Which channel of the packed mask holds the reflection amount.
• Invert - Tick this if your mask has it the other way round, white where you want less.
• Strength - How far the mask is allowed to dim reflections. 0 ignores it.

Specular Mask

• Channel - Which channel of the packed mask holds the highlight amount.
• Invert - Tick this if your mask has it the other way round, white where you want less.
• Strength - How far the mask is allowed to dim highlights from the lights in the room. 0 ignores it.

Height

• Packed Mask Channel - Which channel of the Packed PBR Mask holds height. Height drives Parallax, Displacement and Cavity. Or turn on Use Separate Map to load a standalone height texture.
• Use Separate Map - Load a standalone height texture instead of reading it from the Packed PBR Mask. Substance and Marmoset export height as its own grayscale file, so it goes straight in.

Shading Options Settings

• Style - Which stylised look. Ramp Texture reads your Gradient, Cel Steps posterises into flat bands, Soft stays smooth, Hard gives one crisp edge, and Realistic leaves the physical light alone. Options: Ramp Texture, Cel Steps, Soft, Hard, Realistic

• Edge Softness - How soft the edge between light and shadow is.
• Light Wrap - How far the light carries past the point it would normally stop. Higher softens the whole look and lifts the shaded side.

Unified Light

• Enable - Experimental, so you can compare it with the lighting you have now. It lights you the same way whichever route a light takes to reach you: realtime, the cheaper per-vertex lights, light probes or Light Volumes. Soften and Hardness then reach every light, Light Volumes look less flat, and the per-vertex lights pick up your normal map and highlights. Each Light Volume point, spot and area light lights you on its own, at its real size and with its own highlight. Reflections change too: they line up with the room even where box projection is switched off in the project settings, dim in corners the light does not reach, stretch along anisotropic surfaces, and come from the light probes on rough surfaces.
• Light Size - How big the lights look from the material, in degrees. 0 treats every light as a point, the way Unity draws them. Raise it for the wide, soft highlight a studio light gives gloss: about 5 for a softbox across the room. The highlight spreads and dims together, so it carries the same light. Light Volume lights keep their own size.
• Probe Highlights - Gives the light probes a highlight. Probes only carry soft light, so in a room lit by baked lamps a glossy material shows no highlight from them. This finds where the probe light comes from and lights you from there like a real lamp. 0 is off. The reflection probe may already show that lamp, so raise it until it looks right. Light Volumes and lightmaps have their own highlight, so it stays off there.
• Brushed Reflection Start - How far Anisotropy Strength has to go before the reflection stretches with the highlight. At the default it stretches as soon as the highlight does. Raise it to keep a round reflection on lightly brushed surfaces.
• Dark Corner Dimming - How much reflections dim where the room light does not reach, so a dark corner does not mirror a bright sky. 1 is full, 0 turns it off and the material draws a little faster.

Rim Light

• Strength - How bright that edge gets. 0 turns it off.
• Band - Which part of the music the edge listens to.
• Flare - How far the beat pushes the edge brightness up.
• Width - How far in from your outline the edge reaches, in tenths of the way to the middle. 1 is a thin line, 10 covers the whole surface.
• Blur - How soft the inner side of the edge is. 0 is a crisp band, 1 fades all the way from your outline to Width.
• Follow Light - Ties the edge to where the light comes from. At 0 the whole outline glows evenly. At 1 the lights behind and beside you light the edge the way a real rim light does, a light in front of you barely touches it, and detail in your height map shadows it.
• Wrap - How big the light looks to the edge. Low is a small, sharp light that reaches only the side facing it, high a large, soft one that wraps further round you.
• Scene Lights - How much the lights in the room feed the edge. 1 is full, 0 leaves them out.
• Ambient - How much the ambient light and light probes feed the edge. 1 is full, 0 leaves them out.
• Light Volumes - How much of the room's Light Volume feeds the edge. A volume stands in for the probe light rather than adding beside it, so this trims its share of Ambient above. 1 is full, 0 leaves them out.
• LTCGI - How much a lit LTCGI screen feeds the edge. 1 is full, 0 leaves it out.
• VRSL - How much the stage rig feeds the edge. It takes its light from GI Wash Overrides in the VRSL section, so raise Intensity there first.

Subsurface

• Strength - How much light soaks in. 0 turns it off.
• Distance - How far the light spreads once it is inside. Small keeps the glow tight to the lit edge, large carries it round onto the shaded side.
• Power - How much extra you get looking towards the light, the way a hand held up to a lamp glows at the edges. Low shows it across a wide range of angles, high only when the light is nearly behind.
• Thinness - How thin the material is where light soaks through. Higher lets more light through and makes the edges glow. 0 keeps the fully thick look.
• Thickness Map - Paints the thickness across the mesh instead of one value for the whole material. White is thick, black is thin. It scales Thinness above, so raise that first.
• Thickness Channel - Which channel of the map holds the thickness. Auto reads a plain greyscale map.

Transmission

• Strength - How much light comes through. 0 turns it off.
• Band - Which part of the music the glow listens to.
• Glow Through - How far the beat pushes the glow up.
• Distance - How deep the light gets before the colour of the material soaks it up. Small gives a strong tint, large lets more of the light through as it was.
• Falloff - How much you have to be facing the light to see the glow. Low shows it from most angles, high only when the light is almost directly behind.
• Fracture - Hold a hand up to the sun and the light does not come through evenly, it comes through as rays: bright where it found a thin path, dark where a knuckle blocked it. This makes the glow follow the detail in your height source that way, and the shafts stretch along the light rather than spreading evenly. Needs a height source. Starts at 0, which is the flat glow you have now.
• Spread - How soft the edge of each shaft is. Low gives hard edged rays as if from a small bright source, high spreads them out the way a wide or overcast one does.

Anisotropy

• Strength - How far the highlight stretches. 0 leaves it round. Negative stretches it the other way across the surface.
• Rotation - Which way the brushing runs, in degrees.

Specular Response

• Multi-Scatter Compensation - Puts back the light that a rough surface bounces around inside itself before it escapes. Without it rough metal comes out darker than it should. Leave it on unless you want the older, darker look.
• Horizon Occlusion - Stops reflections leaking through the surface when you look at it edge-on. 1 is full, 0 is off.
• Highlight Clamp - Tames the hotspot on very glossy material so it stops sparkling. 1 leaves it alone, lower softens the highlight, and the bottom of the slider takes it out. Scene lights only, so reflections are not affected.
• Specular Anti-Aliasing - Stops highlights sparkling and crawling on tight detail when you move, on the material and its clear coat. Leave it on unless you want the sparkle.

Reflection Clamp

• Amount - Eases down hotspots in light bouncing off the world: reflection probes, Light Volumes, LTCGI and stage lighting. 1 leaves them alone, lower softens them. The sliders below let a source out of it.
• Reflection Probes - How much of the clamp reaches reflection probes. 1 eases them down with everything else, 0 leaves them alone.
• Light Volumes - How much of the clamp reaches Light Volumes. 1 eases them down with everything else, 0 leaves them alone.
• LTCGI - How much of the clamp reaches LTCGI. 1 eases them down with everything else, 0 leaves them alone.
• VRSL - How much of the clamp reaches stage lighting. 1 eases them down with everything else, 0 leaves them alone.

Micro Lighting

• Peak Light - Brightens the raised detail so peaks catch a little more light. It is the light-side companion to Micro Shading in Shadow Detail, which darkens the creases. The sliders below trim it per lighting source.
• Scene Lights - How much of it lands on light from the lights in the room. 1 is full, 0 leaves it out.
• Ambient - How much of it lands on ambient light and light probes. 1 is full, 0 leaves it out.
• Light Volumes - How much of it lands on Light Volumes. 1 is full, 0 leaves it out.
• LTCGI - How much of it lands on LTCGI. 1 is full, 0 leaves it out.
• VRSL - How much of it lands on stage lighting. 1 is full, 0 leaves it out.

Cavity Lighting

• Strength - Raised areas catch the light and creases fall into shadow as the light rakes across, on top of the flat Cavity shading. Needs Cavity turned on in the Surface section. The sliders below trim it per lighting source.
• Scene Lights - How much of it lands on light from the lights in the room. 1 is full, 0 leaves it out.
• Ambient - How much of it lands on ambient light and light probes. 1 is full, 0 leaves it out.
• Light Volumes - How much the creases react to the room's Light Volume. They did not react to it at all before, so in a room lit only by volumes the cavity detail sat flat however the light moved. Starts at 0.
• LTCGI - How much the creases react to LTCGI. Starts at 0.
• VRSL - How much the creases react to the stage rig. Starts at 0.

World Post Processing Settings

• Brightness Limit - Keeps highlights from going brighter than this, so the world's bloom can't turn a small glint into a huge glow. It starts easing off at half this value, so nothing clips flat. Each realtime light is limited on its own, so several lights on one spot can add up past it.

Micro Shading

• Strength - Makes occlusion react to where the light is coming from, so creases go dark when the light rakes in from the side and open up when it hits head on. Without it occlusion dims everything evenly and reads as dirt painted on. The sliders below trim it per lighting system, so you can lean on it in the ambient and ease off under a stage rig.
• Scene Lights - How much Micro Shading lands on light from the lights in the room. 1 is full, 0 leaves it out.
• Ambient - How much of it lands on ambient light and light probes. 1 is full, 0 leaves it out.
• Light Volumes - How much of it lands on Light Volumes. 1 is full, 0 leaves them out.
• LTCGI - How much of it lands on LTCGI. 1 is full, 0 leaves it out.
• VRSL - How much of it lands on stage lighting. 1 is full, 0 leaves it out.
• Assumed Direction - Scene lights, ambient and Light Volumes tell the material which way their light arrives. LTCGI and VRSL do not, so pick what to assume for those two. Above suits ceiling panels and overhead rigs. Camera keys it to wherever you are looking from. Surface keeps it flat and just deepens the creases. Options: Above, Camera, Surface

Light Volumes V3 Settings

• Intensity - How much of the world's Light Volume lighting reaches the material. Turn it down if a world overpowers your look, or to 0 to ignore volumes entirely.
• Specular Mix - How much the volume is allowed to put a highlight on you, on top of lighting you.
• Fresnel - Makes the Light Volume highlight stronger at glancing angles, the way real gloss and latex catch coloured light along their edges. It matters most on dark, glossy materials, where the highlight is nearly all the colour you see. 0 keeps the flat highlight.
• Clearcoat Specular - How much the volume shows up in your clear coat as well as in the surface under it.
• Clearcoat Tightness - How tight that coat highlight is. Higher is a smaller, sharper glint.
• Dominant Mode Specular - Work the highlight out from the single strongest direction in the volume rather than the whole spread. Crisper, and usually what you want on a glossy material.
• Per-Light Specular - Gives every point light in the volume its own sharp highlight, shaped by how big the light is. Off, point lights still add to the softer highlight the volume gives you.
• Point Light Strength - How strongly the point lights placed in the world reach this material. They used to arrive welded to the baked volumes, so the only way to bring one down was the Light Volumes strength above, and that pulls the whole room down with it. This moves the point lights on their own. 1 leaves them exactly as the world author placed them, above 1 leans into them, 0 takes them out.
• Light Edge - How strongly the point, spot and area lights catch your edges when they sit behind or beside you. That edge is the light reflecting in your gloss and clear coat, which is why the Rim Light sliders don't reach it. 1 is true to life, lower tames it.
• Point Light Shading - How much a point light in the volume wraps around your shape. Low reads flat and even, high reads like a real light off to one side.
• Use Shading Options - Point, spot and area lights from the volumes take the same bands as the lights in the room, from your Shading Options style. Off, they light you smoothly, like ambient light. While this is on, the style shapes these lights and Point Light Shading is set aside. ToonClothing ProFur ProWorld SurfaceWorld Fur
• Normal Stability - Keeps point, spot and area lights and their baked shadows from smearing when you use parallax, detail normals, wetness or drip. 1 is fully stable.
• Normal Bias - Nudges where the material takes its reading from, along its own normal. A small amount stops a surface picking up light from the far side of a thin wall.
• Position Offset - Shifts where the material takes its reading from, in world space. Useful when a volume boundary cuts through you.
• Additive-Only Mode - Only take the extra volumes a world layers on top, and keep your normal probe lighting underneath. Reach for it when a volume is washing you out.
• Smoother Probe Lighting - Smooths out the ringing you can get from light probes, where a bright light leaves a dark patch on the far side.
• Match This World - Compiles the material against the Light Volumes setup this world actually uses, instead of every feature Light Volumes can do, which builds and runs faster. Turn it on when the material behaves differently from the rest of the room. It needs the VRC Light Volumes package and does nothing without it. World SurfaceWorld Fur

LTCGI V2 Settings

• Intensity - How much of the LTCGI light you take. 1 matches the rest of the room.
• Specular Mix - How much of the screen shows up as a reflection on you.
• Diffuse Mix - How much of the soft light from screens and neon lands on your material.
• Mode - Whether you take the soft light from those emitters, their reflections, or both. Options: Both, Diffuse Only, Specular Only
• Diffuse Color - Tints the soft light before it reaches you. White takes the screen's own colour.
• Specular Color - Tints the reflection of the screen. White keeps its own colour.

VRSL Settings

• DMX Base Channel - Which fixture in the rig you follow. Ask the world or the DJ which channel to sit on, or pick one and see what lands on you.
• Channel Mode - Match this to the Channel Mode on your VRSL fixture, so the material reads the right channels. Counting from your base channel: 1CH is dimmer only and takes its colour from the material. 4CH is dimmer, then red, green and blue. 5CH is the same with a strobe channel after it. 13CH is a moving head: pan and tilt first, dimmer on 6, then red, green and blue on 8, 9 and 10. Options: 1CH, 4CH, 5CH, 13CH
• Override Strength - How much that fixture overrides your own colour when it hits you.
• Pan/Tilt Geo-Warping - Let the fixture's pan and tilt push your surface about as it sweeps. Needs a height source to push against.
• Color Hijack - Let the fixture drive your colour outright rather than only lighting you, so you change colour with the show.

Fabric Settings

• Material Type - One-click fabric presets. Pick a fabric and it sets the sheen and the fur to a sensible starting point, then tune from there. Latex resets them to off.
  • Coated - Latex, PVC, Neoprene
  • Natural Fibres - Cotton, Silk, Wool Knit, Linen, Hemp, Jute, Ramie, Bamboo, Merino, Cashmere, Mohair, Angora, Camel Hair, Alpaca, Tussah Silk
  • Specialty - Satin, Denim, Microfibre, Twill, Canvas, Jersey
  • Pile & Fur - Velvet, Fur, Fleece, Velour
  • Leather - Leather, PU Leather, Pinatex, Mylo, Apple Leather, Cactus Leather
  • Technical - Nylon Webbing, Ripstop, Cordura, Kevlar, Nomex
  • Semi-Synthetic - Viscose, Rayon, Modal, Lyocell, Tencel, Cupro, Acetate, Triacetate
  • Synthetic - Polyester, Nylon, Acrylic, Spandex, Elastane, Lycra, Polypropylene
  • Bio-Based - Soy Silk, Banana Fibre, Orange Fibre
  • Mineral & Metallic - Glass Fibre, Metallic Thread, Carbon Fibre, Basalt Fibre
  • Blends - Poly-Cotton, Wool-Silk, Nylon-Spandex, Tri-Blend, Softshell, Hardshell, Gore-Tex
  • Sheer - Soft Tulle, Mesh, Chiffon, Organza
• Strength - How strongly this shows.
• Band - Which part of the music this reacts to.
• Bloom - How far the beat pushes this.
• Tint - The colour the fabric catches at its edges, which on real cloth is rarely the same as its body colour.
• Roughness (soft to velvet) - How soft the fabric is. Low is a crisp satin, high is a deep velvet that glows all round its edge.
• Root Darkening - How much the sheen fades down inside the weave, so only the raised threads catch the light. It follows your AO map, so it needs one.
• Fabric Mask (B&W) - Scopes the sheen and the fur to part of the material, so you can put velvet on the collar and leave the rest plain. Leave empty to apply everywhere.
• Mask Channel - Which channel of the mask says where the fabric sheen applies.

Surface Fur Settings

• Comb Direction - Which way the fur lies. Rotate it to follow the grain of the garment. This has its own control, separate from the anisotropy direction.
• Use Flow Map - Lets a texture set which way the fur lies, so it can follow the grain of the garment instead of all lying one way. Drop a map in below and this switches on by itself.
• Flow Map - Red and green steer the fur direction across the surface, the way a normal map steers the lighting. Bake one from your groom or paint it. Grey means no flow.
• Flow Strength - How far the map pulls the fur off the Comb Direction. Full strength follows the map exactly.
• Highlight Shift - Slides the two highlights along the strands. Set the sharp white one where the light catches, and the soft coloured one falls in behind it.
• Strand Specular - How much each strand catches the light along its length.
• Band - Which part of the music this reacts to.
• Glint - How far the beat pushes this.
• Strand Sharpness - How tight each strand reads, from a soft pelt to fine wiry hair.
• Secondary Highlight - The soft second sheen real fur has, in the Tip Tint colour, sitting just off the sharp white one. This is what makes fur read as fur and not plastic.
• Tip Tint - Colour of the second highlight, the light that glows through the strands, and the tips of the shell strands. A warm tone suits most fur.
• Edge Light - Light catching along the edges of the strands, for a fine bright rim.
• Ambient Response - Keeps the fur lit in soft, even light where a plain strand highlight would go dead. Turn it down for hard studio lighting.
• Strand Break-up - Scatters the highlight so it is not one clean band, the way real strands sit at slightly different angles.
• Light Scatter - How much light passes through the coat and comes back out, which is what makes fur glow at its edges when it is backlit.
• Root Darkening - How much darker the fur is at its roots, which is what gives a coat depth. It follows your AO map, so it needs one.
• Mask (B&W) - Narrows the fur to part of what the Fabric Mask already covers, so the sheen can run over the whole garment while the strands stay on the collar and cuffs. White keeps the fur, black drops it. Leave empty for fur everywhere the Fabric Mask allows.
• Mask Channel - Which channel of the mask says where the surface fur shows.

Real Fur Settings

• Strands Per Face - How many hairs grow from each triangle of your mesh. Trades against Curve Segments: they share one budget, so asking for more of one quietly gives you less of the other. Hairs you cannot see are dropped automatically, so raising this costs less than it looks. For denser fur on a low-poly mesh use Mesh Detail below.
• Strand Spacing - How much of the screen each hair is expected to cover, in pixels. The fur thins out on its own as a face gets smaller on screen, so distance, camera lens and resolution all take care of themselves. Lower puts more hairs on screen and costs more; higher is the first thing to raise if you need framerate back.
• Detail Distance - How far away the fur keeps growing, in metres. Past this the hairs stop entirely, which is most of what keeps a crowded room running. Turn Surface Fur on underneath and the coat still reads once the hairs go. 0 turns the cutoff off and grows fur at any distance.
• Mirror Quality - How much fur to grow in mirrors. A mirror draws you a second time at close range, on top of the view you already have, so fur is roughly twice the cost in front of one and four times in VR. Half is a good trade and is hard to spot. 0 drops the hairs in mirrors entirely and leaves Surface Fur to carry the look.
• Mesh Detail - Splits each triangle into smaller ones before growing hairs, so you get far denser fur than the mesh alone allows. 2 is about four times the hairs, 4 is about sixteen. THIS IS THE MOST EXPENSIVE CONTROL IN THE SHADER: it multiplies both the hairs and the work, so raise it a step at a time and watch your framerate. It only spends the extra detail on triangles that are large on screen, so distance stays cheap. 1 turns it off.
• Curve Segments - How many joints each hair bends at. Two or three is plenty for short fur; raise it only when long hairs droop enough to show the corners. Every extra segment costs you hairs, so start low.
• Length - How long each hair is, in metres. 0.01 is short pile, 0.05 is a shag, 0.15 is a full fur coat. Long hairs want more Curve Segments so they bend smoothly.
• Strand Width - How thick each hair is at the root. 0.05 is a fine 0.15mm hair, 1.0 is a 3mm bristle. Thin is what reads as fur, and hairs never fall below a pixel on screen so they will not sparkle at distance.
• Tip Taper - How sharply the strands narrow toward the tip. Low gives a soft rounded pile, high gives fine needle points. Strands always come to a point either way.
• Tufting - Pulls nearby strands together into tufts that converge as they rise, the way real fur clumps. Turn it down for an even brushed pile, up for a shaggy coat that has parted into locks.
• Guard Hairs - Mixes longer, sparser hairs over the short dense coat, the way real fur has an undercoat with guard hairs on top. This is what breaks the outline into strays instead of one clean edge, and it is most of what stops a coat looking printed on. Raising it grows the coat a little past your Length to make room for them.
• Comb Bend - Lays the strands over in the Comb Direction, instead of standing them straight up.
• Comb Pattern - How the coat lies before you paint anything. Uniform combs it all one way with Comb Direction above. Radial sweeps it outward from a point, which is how fur sits on a chest, a rump or the crown of a head. Swirl turns it around that point into a rosette. Wave ripples it back and forth for a rumpled coat. A painted Comb Map still overrides all of them wherever you brush. Options: Uniform, Radial, Swirl, Wave
• Pattern Centre - Where Radial and Swirl sweep out from, in UV space. 0.5, 0.5 is the middle of your texture. Read the UV position off your model in an image editor to place it exactly.
• Wave Count - How many ripples run across the coat.
• Comb Map - Which way the fur lies, painted onto the material instead of set by one angle. Leave it empty and the Comb Pattern above combs the whole coat. Hit Brush below to stroke the fur around in the scene view the way you would brush a real animal, and the harder you brush the flatter it lies. The same map can carry length and thickness: paint those with the Length and Density brushes, then raise the two sliders under it. Whatever you leave unpainted keeps following the pattern.
  • Direction - Comb, Radial, Swirl, Part, Ruffle
  • Shape - Straight, Curved, Curling, Slicker. These comb as well, then write their own curl on top, into the Comb Shape Map.
  • Other - Smooth, Erase, Length, Density. Length and Density write into the Comb Map, so raise Map Length and Map Density below to let them take effect.
  • New map size - 512, 1024, 2048
• Fur Ambient - How much of the room's light the hairs pick up. 1 lights them the way the world says. Lower it if a coat looks washed out in a bright room; raise it if it reads too dark. This is separate from Surface Fur's own Ambient Response, so tuning one no longer changes the other.
• Map Length - How far the Comb Map is allowed to change hair length. Paint with the Length brush, then raise this. 0 ignores the painted length entirely, which is why an unpainted map changes nothing.
• Map Density - How far the Comb Map is allowed to thin or thicken the coat. Paint with the Density brush, then raise this. 0 ignores the painted density entirely.
• Bend Height - Where along a strand the bend happens. High keeps it upright and curves it near the ends, which reads as a brushed coat with body. Low bends it down by the roots so the coat lies flat and the tips point away. It does not change how far the coat lays over, only the shape of the arc it takes.
• Curl - Hooks the tips round. Positive curls them back under, the way hair comes off a round brush. Negative flicks them out. It follows whichever way the coat is combed, so comb first and then curl.
• Comb Shape Map - Curl and bend height painted per patch, so one coat can curl at the ends and lie flat elsewhere. Paint it with the Curling, Curved and Straight brushes. Leave it empty and the two sliders above set the whole coat.
• Map Shape - How far the Comb Shape Map is allowed to change curl and bend height. Paint with the shape brushes, then raise this. 0 ignores the painted shape entirely.
• Droop - Pulls the tips down under their own weight. Negative lifts them instead.
• Wind Sway - How much the fur bends in the wind.
• Wind Speed - How fast that wind blows through it.
• Self Shadowing - Hairs shadowing each other. Light has to push through the coat to reach the deeper strands, and further when it comes in at a low angle, so the coat opens up and closes down as the light moves around it. This is the difference between fur that has volume and fur that is a flat pattern.
• Root Shading - Darkens the strands toward the roots, the way light struggles to reach the bottom of a thick coat, and dims the ambient down there too.
• Shade Variation - Gives each hair its own slightly different shade. Real coats are never one flat colour, and an even one reads as a printed texture however good the strands are. A little goes a long way.
• Tip Softness - Fades the very tips out so the coat does not end on a hard edge.
• Coverage - How much of the surface grows fur. Lower leaves bald patches, higher packs it solid.
• Follow PBR Map - Lets the material's packed PBR map set how shiny each hair is, so fur over a glossy patch catches more light than fur over a matte one, and metal tints the highlight. 0 gives every hair the same shine, the way it was before.
• Mask (B&W) - Paints where the strands grow and how long they are: white is full Length, grey is shorter, black grows nothing at all and skips the work. Use it to put a fur trim on a hood or a pair of cuffs without paying for it across the whole garment. Stacks on the masks in the Fabric and Surface Fur groups above.
• Mask Channel - Which channel of the mask says where fur grows.

Soak

• Wetness - How wet the material reads overall.
• Darkening - How much wet areas darken, the way a wet cloth goes deeper in colour.
• Smoothness - How glossy the wet areas are.
• Film Sheen - How much of a film sits on top of the wetness.
• Normal Flatten - How much the water smooths out the detail underneath it.
• Gravity Pooling - Lets the water follow gravity: it gathers on the parts of you facing up, clings under the parts facing down, and thins on the steep sides it runs off.
• Touch Wipe - A touch pushes the water aside, so the spot under a hand dries and the water gathers round its edge. Uses the Touch section below.
• Glints - Tiny sparkles in the water film and on the drops, where the light catches them. Amount: How bright the sparkles are. Density: How many there are. Size: How big each one is. Twinkle: Makes them flicker.
• Music Colour - Tints the water, and the drops, with the colour of the music. It follows the Color Source in the AudioLink section.

Streaks

• Density - How many of them there are.
• Thinness - How thin each one is.
• Coverage - How much of the surface they cover.
• Run Direction - Turns the runs away from straight down. In degrees.
• AudioLink Band - Which part of the music this reacts to.
• Beat Wetness - The beat wets the material down.
• Beat Flow - The beat makes the runs pour faster.
• Beat Twist - The beat swings the run direction round. In degrees.
• Travelling Beats - Runs each hit down the streaks from the top instead of swelling them all at once. Volume or Peak Hold fall back to Bass. Amount: How much of the streak the beat takes over. Length: How long the beat takes to run down. Sharpness: Tightens the beat into a thin pulse. Glow: Flares the beat at its crest.
• Flow Speed - How fast they run.
• Strength - How pronounced the drips are.
• Bump - How much each drip stands out from the surface.
• Water Look - Turns each streak from a darker, glossier patch of the material into clear running water with its own colour, depth and highlight. 0 keeps the classic look.
• Water Colour - The colour of the water. It shows most where a streak runs deep.
• Water Depth - How deep the water looks. Deeper water holds more of its colour and bulges more, so it catches a rounder highlight.
• Gravity Flow - At 0 the streaks run down the texture. Turn it up and they run down in the world instead, so they stay vertical however the UVs are laid out and however you tilt.

Droplets

• Amount - How much the drips stand off the surface as real shapes.
• Scale - How big those standing drops are.
• Glassiness - How glassy they look.
• Fall Length - How fast they fall once they let go.
• Sway / Wobble - Sway adds surface-tension wobble to falling drops. Surface Slide makes an attached drop run down ALONG the body before detaching. Floor Splat pins drops to the shared world floor set under Goo Effects > Floor, and spreads them into a fading puddle.
• Surface Slide - How closely they follow your shape rather than falling straight.
• Floor Splat - Let the drips splash when they reach the floor.
• From Writhe - Makes drops fall from wherever the writhing has drawn the material out, instead of at an even rate all over. The reaching places shed first and most, so a drop looks like it came off the tip of a tendril rather than appearing beside it. Needs Writhe under Goo Effects to be doing something. Leave at 0 and the droplets behave exactly as they always have.
• Pooling - How much the drops build up where they land. At 0 each one spreads and fades on the spot, so the floor stays clear. Turn it up and the splats stay wider for longer and overlap, so the ground reads as goo gathering under you rather than drops blinking out one at a time.
• Room Lighting - Lights the drops with the room, the same way as the rest of you, so they sit in a dark club instead of glowing. At 0 they look the way they did before this option existed. Latex Ultra
• Beat Shake-off - A big peak in the music shakes a shower of extra drops loose, water and goo, and throws the falling ones outward. Amount: How many extra drops shake loose. Threshold: How big the peak has to be. Hold: How long the shower lasts. Softness: Fades the shower in and out. Latex Ultra
• Custom Particle - Use your own image for each drop instead of the built-in bead, so the same physics can throw sweat, bubbles, sparks, petals or anything else off you. The alpha decides the shape, so give it a transparent background. Everything above still applies: they swell, pinch off, fall and dry out exactly as before.

Noise

• Custom - Use your own noise texture to shape the goo instead of the built-in one.

Melt

• Sag Distance - How far the goo sags down the surface.
• Beat Sag - The beat drags the goo further down.
• Stretch Distance - How far a strand stretches before it lets go.
• Beat Stretch - The beat draws the strands out longer.
• Strand Variation - How much one strand differs from the next, so they do not all move together.
• Beat Variation - The beat spreads the strands apart, so more of them break rank and run.
• Tendril Scale - How fine the tendrils are. Low gives a few thick runs, high gives many thin ones.
• Flow Speed - How fast it flows.
• Beat Flow - The beat hurries the flow along. It adds to the clock rather than scaling it, so the goo gathers pace and settles again without jumping.
• Underside Bias - How much the goo hangs from the underside rather than clinging to it.
• Beat Underside - The beat pushes the goo toward the undersides, so it gathers where it would hang.

Sway

• Amount - How much the goo swings as you move.
• Beat Sway - The beat swings the hanging strands wider.
• Speed - How fast it swings.
• Surface Follow - How closely the goo hugs your shape rather than hanging straight down.

Writhe

• Amount - How far the surface pushes out and pulls in. Small is a slow churn under the material; large is full lumps rising and travelling.
• Beat Depth - The beat swells the writhe itself, so the tendrils surge and stretch on the hit instead of only running faster.
• Scale - How big each swelling is. Low gives a few large masses moving through you; high gives a fine boil all over. The push shrinks as you turn this up so the surface keeps its shape, so if a fine setting looks too tame, raise Amount rather than fighting it here.
• Speed - How fast the goo churns inside itself.
• Beat Writhe - The goo writhes harder while the music plays and settles back to its own pace when it stops. Needs Writhe turned up.
• Tendrils - At 0 the whole surface rolls, as much sinking as rising. Turn it up and most of it goes still while a few places reach out a long way, which is what makes them read as tendrils rather than lumps.
• Beat Tendrils - The beat pushes the writhe from a rolling boil toward sharp tendrils.
• Crawl - Lets the swellings travel across your body instead of pulsing where they sit. This is most of what makes it look alive.
• Beat Crawl - The beat slides the heaped goo across the surface harder.
• Surge - Gathers the movement into a band that climbs up you, so it arrives in waves rather than simmering evenly everywhere.
• Fold - Stops the movement travelling one way. At 0 the swellings all drift in the same direction at the same speed, and after a few passes that reads as a loop. Turn it up and the material folds over itself instead: swellings turn, stall, double back and pull apart, and it never repeats. This is the one to reach for first if the writhing looks like it is on a timer.
• Beat Fold - The beat folds the writhe in on itself, so it churns rather than drifting.
• Wander - Lets the swellings push sideways, up and underneath instead of only straight out from your body. It is the difference between a surface breathing and goo reaching somewhere, and because the direction keeps turning, a swelling will change course halfway and zig-zag.
• Beat Wander - The beat leans the writhe further into the flow, so swellings reach sideways and under instead of straight out.
• Stretch - Pulls the swellings long instead of round. They lengthen whichever way they are travelling and narrow across it, so the material reads as being drawn out rather than as lumps inflating. Pairs with Tendrils: Tendrils picks which places reach, this decides how far they draw out when they do.
• Run - Lets the writhing feed the melt, so wherever the material has been drawn out thin it also sags and runs. That is what turns a tendril that waves into one that hangs, runs and drips off its own tip. Needs Sag Distance under Melt to be above 0, since this decides how much the stretching adds to the sag rather than creating it.
• Beat Run - The beat lets the stretched goo give way and run further down.
• Wetness - Makes the swellings themselves read as thick wet goo: dark, glossy and deep where the material heaps up, thinner between, with the veins brightening along anything drawn out. This is on by default, so turning Amount up is all you need for the look. It borrows its colour and gloss from Slime Shading below, so setting those changes both together.
• Beat Wetness - The beat wets the stretched strands, so the writhe reads slicker as the music hits.

Oobleck Dance

• Fingers - Shapes the fingers that rise out of the goo. Height: How tall the fingers stand, in metres. Scale: How tightly they are packed. Sharpness: Turns broad bumps into thin spikes. Figure: Picks the pattern they rise in.

Floor

• Melt To Ground - Pull the goo toward the floor, so it runs down rather than following your shape.
• Beat Melt - The beat pulls the goo further down toward the floor.
• Source - Where the floor is. Avatar Feet finds it from the avatar itself, so the goo lands on the ground in any world and keeps up when you walk up stairs. Manual Height lets you type a world height instead, for a prop that is not worn. Options: Avatar Feet, Manual Height
• Height - On Avatar Feet this nudges the floor up or down if the goo lands slightly off. On Manual Height it is the world height itself.
• Contact - How many strands make it all the way down. At 1 every strand reaches the floor and pools. Lower it and only the longest get there, leaving the rest hanging as drips.
• Beat Contact - The beat sends more strands the whole way to the floor.
• Collision - Let the goo pile up when it reaches the floor instead of passing through it.
• Pooling - How much it spreads out into a pool where it lands.
• Beat Pooling - The beat spreads the pool wider where the goo lands.
• Pool Softness - How far the goo eases into the floor instead of snapping flat onto it. Higher rounds off the join where a strand meets the pool, which is what stops it breaking into hard edged patches. At 0 it lands hard, the way it did before.
• Beat Pool Softness - The beat rounds the pool out where the goo meets the floor.

Formation

• Amount - Animate this from 0 to 1 and the piece builds itself out of the goo, starting at your feet and climbing. At 0 nothing has formed yet; at 1 it is all there and the effect is off entirely. Put it on a toggle or a radial and you have goo crawling up and becoming your gear.
• Beat Formation - The beat pushes the formation wavefront up, so the gear builds itself in time with the music.
• Reach - How far up from the floor the goo has to climb to finish. Set it a little taller than the piece so a full Amount covers all of it.
• Beat Reach - The beat raises how far the formation front can climb.
• Edge - How deep the wet band is at the leading edge. Small keeps a sharp waterline; large leaves a long wet gradient behind the front.
• Beat Edge - The beat widens the band at the formation front, so the boundary softens on the hit.
• Break-up - How wild the leading edge gets. The goo climbs in tendrils that reach, sag and swing instead of rising as a flat line. Turn it up and a few strands go a long way ahead of the rest.
• Beat Break-up - The beat tears the formation edge into a rougher waterline.
• Break-up Scale - How many tendrils. Higher gives more, finer strands.
• Drip - How stringy the tendrils are. Low gives blobs and spots along the edge; high pulls them into long hanging strands. The tendrils borrow Flow Speed from Melt and the Sway settings above, so the whole effect moves as one.
• Beat Drip - The beat stretches the formation cells into longer hanging strands.
• Grab - How far the goo reaches up past the edge as it climbs, so it looks like it is grabbing the next part of you rather than just appearing.
• Beat Grab - The beat makes the front reach further ahead of itself for the next piece of the body.
• Lift - How far the strands pull away from your body and settle back as they climb. This is what makes them separate tendrils reaching out and taking hold, instead of a pattern sliding across the surface. Keep it small on tight gear so the goo does not lift through clothing above it.
• Beat Lift - The beat lifts the strands at the front higher off the surface.

Slime Shading

• Amount - Turns the sag into wet slime: a deep glossy film with a mirror highlight, light bleeding through where it thins out, and glowing veins threaded through it. Leave at 0 to keep the plain melt with no change to the look.
• Beat Coverage - The beat spreads the goo further across the material, so it creeps out on the hit and pulls back between.
• Colour - The colour of the goo.
• Gloss - How glossy the goo is. High reads wet, low reads like thick paint.
• Beat Gloss - The beat polishes the slime, so it flashes wetter on the hit.
• Metallic - How metallic the goo is.
• Beat Metallic - The beat turns the slime more metallic, for a harder, wetter looking sheen.
• Coat Strength - How much clear coat sits on the goo, which is what gives it a wet skin.
• Beat Coat - The beat builds the clear coat, for a harder sheen on top.
• Coat Gloss - How sharp that wet skin's reflection is.
• Beat Coat Gloss - The beat polishes the clear coat on top of the slime.
• Thickness - How deep the slime reads. Thicker swallows more light and pools more on downward-facing parts. Thinner lets the veins and the body underneath show through.
• Beat Swell - The beat thickens the slime.
• Absorption - How much light the goo swallows as it passes through, so a thick run reads deeper in colour than a thin one.
• Beat Absorption - The beat deepens the colour the slime soaks up, so it darkens as it hits.
• Translucency - How much light passes through the goo from behind.
• Beat Translucency - The beat lets more light through the slime, so it glows from behind on the hit.
• Underside Pooling - How much the goo gathers on the underside before it falls.
• Beat Underside Pooling - The beat gathers more of the slime on the undersides.
• Refraction - How much the goo bends what you see through it.
• Beat Refraction - The beat churns what you see through the slime.

Veins

• Colour - Veins running through the goo: their colour, how bright they glow, how fast they pulse and how fine they are.
• Music Colour - Hands the vein colour, and the goo drops, over to the colour of the music. It follows the Color Source in the AudioLink section.
• Glow - Veins running through the goo: their colour, how bright they glow, how fast they pulse and how fine they are.
• Beat Veins - The beat lights the veins up.
• Scale - Veins running through the goo: their colour, how bright they glow, how fast they pulse and how fine they are.
• Thinness - Veins running through the goo: their colour, how bright they glow, how fast they pulse and how fine they are.
• Beat Thinness - The beat draws the veins finer, so they tighten as the music hits.
• Flow Direction - Which way the slime runs. Down is 0, -1, 0. Point it sideways and it crawls across instead. Dir X: How much the slime runs sideways. Dir Y: How much it runs up or down. Down is -1. Dir Z: How much it runs forward or back.
• Travelling Beats - Runs each hit along the veins in the way they flow, instead of every vein flashing at once. Volume or Peak Hold fall back to Bass. Amount: How much of the vein glow the beat takes over. Length: How long the beat takes to cross you. Sharpness: Tightens the beat into a thin pulse. Glow: Flares the beat at its crest.
• Flow - Veins running through the goo: their colour, how bright they glow, how fast they pulse and how fine they are.
• Beat Flow - The beat drives the slime along its flow direction.
• Pulse Speed - Veins running through the goo: their colour, how bright they glow, how fast they pulse and how fine they are.
• Beat Pulse Speed - The beat hurries the vein pulse along. It adds to the clock rather than scaling it, so the pulse gathers pace and settles again without jumping.
• Pulse Depth - Veins running through the goo: their colour, how bright they glow, how fast they pulse and how fine they are.
• Beat Pulse Depth - The beat deepens the vein pulse, so they swing further between dim and bright.
• Edge Bleed - Veins running through the goo: their colour, how bright they glow, how fast they pulse and how fine they are.
• Beat Edge Bleed - The beat pushes the veins out toward the thin edges of the goo.
• Edge Falloff - How sharply the goo ends at its edge.
• Beat Edge Falloff - The beat tightens the glow around the rim of the goo.

Drips

• Amount - How solid the drops read. Turn it down to leave them thin and glassy.
• Beat Amount - The beat sheds more drops at once. Latex Ultra
• Coverage - How much of the goo sheds drops. Low leaves a few forming at a time, high has them coming off everywhere.
• Beat Coverage - The beat spreads the drops over more of the material. Latex Ultra
• Scale - How big each drop is.
• Speed - How quickly a drop gathers, lets go and falls. Keep it low: slow is most of what makes it read as something thick rather than water.
• Beat Fall Speed - The beat hurries the drops down. It adds to the clock rather than scaling it, so they gather pace without jumping back up. Latex Ultra
• Stringiness - How long a drop stays joined to you as it falls. At 0 it pinches off cleanly the way water does. Turn it up and it draws out into a thread that follows the drop down and only snaps near the end.
• Beat Stringiness - The beat draws each drop into a longer string before it lets go. Latex Ultra
• Fall Length - How far a drop gets before it goes.
• Beat Fall Length - The beat sends the drops further before they fade. Latex Ultra
• From Writhe - Sheds the drops from wherever the writhing has drawn the material out, so they come off the tips of the tendrils instead of at an even rate all over. Needs Writhe above to be doing something.
• Pool Spread - How wide a drop goes when it lands. Uses Collision and Pooling under Floor above. Drops keep landing and spreading rather than stacking up, so it reads as goo gathering under you rather than a puddle that grows while you stand still.
• Beat Pool Spread - The beat spreads the pool wider where the drops land. Latex Ultra
• Beat Drops - The beat swells the hanging drops. It follows the AudioLink Band under Goo Effects. Latex Ultra
• Room Lighting - Lights the drops with the room, the same way as the rest of you, so they sit in a dark club instead of glowing. At 0 they look the way they did before this option existed. Latex Ultra

Cling

• Mask - Where the strands are allowed to grow from. White reaches, black stays put, so you can have goo all over you but strands only off the hands and shoulders. This narrows the Goo Effects mask above rather than replacing it, so a spot has to be goo before it can reach.
• Mask Channel - Which channel of the mask says where the goo can cling.
• Reach - How far the strands stretch off you, in metres.
• Spread - At 0 the strands reach straight out from your body, so they mostly point at the camera and read as a shell. Turn it up and they lean across the screen instead, reaching sideways toward whatever is next to you. This is the one that makes it look like it is going for someone.
• Strands - How many. Low gives a few thick ropes, high gives fine webbing.
• From Writhe - Grows the strands out of the places the writhing has drawn the material out, instead of picking spots at random around your outline. The webbing then hangs between the parts that are actually reaching and the calm areas stay clean. Needs Writhe under Goo Effects to be doing something. Leave at 0 and the strands form exactly as they always have.
• Break-up - How picky the strands are about where they form. Low coats the whole outline; high leaves most of it clean and sends a few strands a long way.
• Beat Break-up - The beat breaks the coat into fewer, longer strands. Latex Ultra
• Speed - How quickly the strands crawl and re-form.
• Beat Speed - The beat runs the strands along faster. It adds to the clock rather than scaling it, so they gather pace without jumping. Latex Ultra
• Pull - How far the strands drag what is behind them. This is what sells the stickiness: whatever is back there smears along the goo instead of sitting still behind it.
• Beat Pull - The beat drags what shows through the strands further. Latex Ultra
• Distortion - Ripples the view through the strands, the way looking through something thick and wet does.
• Beat Distortion - The beat ripples what shows through the strands. Latex Ultra
• Edge Falloff - How tightly the strands hug your outline. Low lets them creep in over your body; high keeps them to the very edge.
• Beat Edge Falloff - The beat tightens the strands toward the silhouette. Latex Ultra
• Opacity - How solid the goo reads. Lower it to leave more of what is behind showing through.
• Beat Opacity - The beat thickens the strands so they hide more of what is behind them. Latex Ultra
• Beat Reach - The beat flings the strands further out. It follows the AudioLink Band under Goo Effects. Latex Ultra
• Room Lighting - Lights the colour of the strands with the room, the way the rest of you is lit. Dark goo barely changes; coloured goo stops glowing in a dark room. At 0 the strands look the way they did before this option existed. Latex Ultra
• Colour Source - Match Slime borrows the colour, absorption, gloss and veins from Slime Shading above, so the strands look like the material they came off. Switch to Custom to colour them separately, which is what you want when the goo reads one way on you and another way as it reaches out. Options: Match Slime, Custom
• Colour - The colour of the film. Dark keeps it reading as thick slime; light and saturated turns the strands into coloured glass.
• Absorption - How much of what is behind gets swallowed. High makes the strands nearly solid, low leaves them tinted and see-through.
• Beat Absorption - The beat deepens the colour the strands soak up. It applies when Colour Source is set to its own. Latex Ultra
• Gloss - Sharpens the highlight and the reflection along the strands.
• Beat Gloss - The beat polishes the strands. It applies when Colour Source is set to its own. Latex Ultra
• Vein Colour - Neon threads running out along the strands. They brighten toward the reaching ends.
• Vein Glow - Set to 0 for plain strands with no threads in them.
• Beat Vein Glow - The beat lights the veins inside the strands. It applies when Colour Source is set to its own. Latex Ultra

Touch Settings

• Native Touch - Finds hands, and anything else close to you, from what the camera already sees, so no contacts or animator are needed. Each person sees only their own hands, only up close, and never in a mirror. The world has to draw a depth texture, which most worlds with realtime shadows do.
• Sensing - How hands are felt on you. Strength: How hard a hand presses. Reach cm: How far in front of you a hand still counts, in centimetres. Radius cm: How wide an area each point feels around it, in centimetres. Max Distance: How close the viewer has to be, in metres, before it switches on. Keeps the cost down.
• Zones - Four touchable areas, one per colour channel: red, green, blue and alpha. Paint soft edges rather than hard ones, since the material pushes in across the whole shape you paint.
• Press Red - Animate this from a contact receiver. 0 is untouched, 1 is pressed all the way in. Give it a curve that overshoots and settles back rather than a straight ramp and the material springs like real slime.
• Press Green - How hard a press at this contact point pushes into the goo. Driven by the contacts on your avatar, so it reacts to being touched.
• Press Blue - How hard a press at this contact point pushes into the goo. Driven by the contacts on your avatar, so it reacts to being touched.
• Press Alpha - How hard a press at this contact point pushes into the goo. Driven by the contacts on your avatar, so it reacts to being touched.
• Depth - How far the material pushes in, in metres. Turn Tessellation up for smoother results.
• Spread - How far the dent softens out past the painted zone. Low is a sharp fingertip press, high is a broad squash as though something heavy leaned on you.
• Rim - How much material piles up around the edge of the press. This is what makes it read as something soft being squeezed rather than a dent stamped into a solid.
• Shading - How strongly the dent shows up in the lighting. Leave this up: without it the surface moves but still catches light as though it were flat.
• Tendrils - Strands of goo squeezed out around the contact. They grow at the rim rather than under the press, the way slime escapes around a finger.
• Wetness - How much glossier the material goes where it is pressed.
• Flow - Slides the slime pattern out of the way of the press, so the surface looks pushed rather than printed on. Needs Slime Shading above to be doing something.
• Veins - Brightens the glowing veins where the material is squeezed. Needs Veins above to be turned up.

Dissolve Settings

• Shape - Where the dissolve starts and which way it runs. Gradient Texture follows a black and white image, Point to Point runs from one point to another, Spherical grows out from a point, and Center Out goes by the angle of the surface. Options: Gradient Texture, Point to Point, Spherical, Center Out
• Amount - How far it has dissolved. 0 is all there and 1 is all gone. Animate this to play the effect.
• AudioLink Band - Which part of the music moves the Amount.
• Beat Amount - Added to Amount. Min when the music is quiet, Max at its loudest.
• Beat Run - Sweeps the dissolve through again and again in time with the music, in place of Amount. 0 is off.
• Beat Run Band - Which part of the music drives Beat Run. Options: Bass, Low Mid, High Mid, Treble
• Beat Run Style - How the music drives Beat Run. Speeds Up goes faster the louder it is, Rocks swings back and forth with the level, Runs In Quiet moves between beats and holds on them, and Reverses On Beat runs back on each beat. Options: Speeds Up, Speeds Up Smooth, Rocks, Rocks Smooth, Runs In Quiet, Runs In Quiet Smooth, Reverses On Beat, Reverses On Beat Smooth
• Softness - How soft the line between what is left and what is gone is.
• Show Gradient - Paints the shape on the material so you can see how it runs. Black goes first and white last, red and green are past either end, and yellow is where Amount sits. Turn it off before you upload.

Ghost Settings

• Glow Colour - The colour the spirit glows.
• See-Through - How clear the middle of the body is. 1 is fully clear and 0 is solid. Needs Rendering Mode on Fade or Transparent.
• Edge Width - How far the glow reaches in from the outline. Low hugs the silhouette, high fills more of the body.
• Glow - How brightly the edges glow.
• AudioLink Band - Which part of the music this reacts to.
• AudioLink Amount - How far the beat flares the glow and pushes it in from the edges.
• Body Tint - How much the body takes on the glow colour in place of its own.
• Smoke - Smoke that drifts up through the body and thins it out. Amount: How much the smoke thins the body. Size: How big the smoke is, in metres. Speed: How fast it rises. 0 holds it still. Detail: How crisp the edges of the smoke are.
• Scanlines - Bands that roll up the body like an old recording. Amount: How strong the bands are. 0 turns them off. Lines: How many bands there are in a metre. Speed: How fast they roll. Negative rolls them down. Glitch: How often the signal drops out for a moment.

Skeleton X-Ray Settings

• Skeleton Mask - The bones, white on black, in the layout of this mesh. Bake one for your avatar with Tools > Skeleton Mask in the Hub.
• Mask Channel - Which channel of the mask holds the bones. The Skeleton Mask tool writes them into every colour channel, so R is right for it.
• Amount - How much of the X-ray shows. Animate it to switch the X-ray on and off.
• Depth - How deep under the skin the bones sit, in metres. They slide against the skin as you move, the way real bones would. 0 lays them on the surface.
• Reveal - Where the X-ray shows. Always covers the whole body. Scanner sweeps a band up the body. On The Beat shows it with the music. Edges shows it toward your outline. Options: Always, Scanner, On The Beat, Edges
• Scanner - The band that sweeps over the body. Width: How tall the band is, in metres. Speed: How many sweeps a second. Negative sweeps down. Softness: How soft the edges of the band are. Line: How brightly the edges of the band glow.
• Scanner Range - The heights the band sweeps between, in metres above the model's origin. Widen it if the band misses your head or your feet.
• Bone Colour - The colour the bones glow.
• Glow - How brightly the bones glow.
• AudioLink Band - Which part of the music this reacts to. On The Beat reveals the X-ray with it too.
• AudioLink Amount - How far the beat flashes the bones.
• Halo - A soft glow around each bone.
• X-Ray Body - How far the body around the bones turns into X-ray film: dark, with a faint glow along its edges.
• Film Colour - The colour of the X-ray film.
• See-Through - How clear the body gets around the bones. Needs Rendering Mode on Fade or Transparent.
• Flicker - Makes the X-ray flicker like an old screen.

Glitter Settings

• Anchor - Whether the flakes are fixed to the surface or to the world, so they can either travel with you or shimmer as you move past them. Options: UV, World Space
• Sharpness - How briefly each flake flashes as you move. High is a hard twinkle, low a softer shimmer. It changes the character, not how much glitter you get.
• Lit By - Which lights the flakes are allowed to catch. Options: Natural, Light Volumes, LTCGI, VRSL, Everything, Always Lit
• Brightness - How brightly the flakes flash. Each layer's Strength scales it again.
• Ambient Sparkle - How much the flakes catch the room around you rather than only direct light.
• Minimum Light - A floor under how dim the flakes go, so they still read in a dark room.
• Take Light Colour - How much each flake takes the colour of the light hitting it rather than its own.
• Over Clearcoat - Put the flakes on top of the clear coat rather than under it, so they look sprinkled on rather than sealed in.
• Mask - Where the flakes go. White carries glitter, black carries none.
• Mask Channel - Which channel of the mask says where the glitter goes.

Viewer Context Settings

• Show - Where the change shows: anywhere, only or never in mirrors, only or never in photos, only in VR, or only on desktop. Options: Anywhere, Only in Mirrors, Never in Mirrors, Only in Photos, Never in Photos, Only in VR, Only on Desktop
• Seen By - Which eye sees the change in VR. Pick one eye to show it to that eye only. Options: Both Eyes, Left Eye Only, Right Eye Only
• Distance - Whether it reacts to them coming closer or moving away. Options: Off, Closer is Stronger, Further is Stronger
• Near Distance - The distance it has fully reacted by.
• Far Distance - The distance it has stopped reacting by.
• Face-On Only - How square on they have to be looking before it counts.
• Hidden Level - How much of the effect stays where these rules hide it. 0 removes it there.
• Affects - What changes when that happens. Options: Emission, Decals, Emission and Decals
• Also Hide Outlines - Applies the same rules above to the outline passes, so a line stops showing up alone once what it traces is hidden.
• Also Apply To Wet And Goo - Applies the same rules above to the wet look and the goo, their drops and strands included, so they can show only in a mirror, only in photos, or only up close. Latex UltraWorld Surface
• Reaction Glow - A glow added wherever these rules let the effect show.
• Mask - Keeps the whole effect to part of the material. White is where it applies, black is left completely alone, so one patch can vanish in mirrors while the rest stays normal. The Reaction Glow follows the mask too.
• Mask Channel - Which channel of the mask says which parts react.

Flipbook Settings

• Is Spritesheet - Off reads an imported flipbook: a GIF or image sequence baked into one array. On reads a single sprite-sheet texture laid out in a grid, and you set the Columns and Rows.
• Frames - The frames to play, either as a texture array or as one sheet.
• Sheet - Your animation laid out as a grid of frames on one image. Set the rows and columns below to match it.
• Columns - How many columns the sheet is split into.
• Rows - How many rows the sheet is split into.
• Frame Count (0 = all cells) - How many frames are on that sheet.
• Speed (FPS) - How many frames play a second.
• Band - Which part of the music this reacts to.
• Rush - How far the beat hurries the frames along.
• Tint - Tints the frames. White leaves them alone.
• Position - Where the sequence sits on the surface.
• Rotation - Turns it, in degrees.
• Rotation Speed - Spins it on forever. 0 holds it still.
• Scale - How big it is. X: How wide it is. Y: How tall it is.
• Side Offset - Shifts that mirrored copy, for when the two sides differ. L: Pushes the left edge out. Below 0 pulls it in. R: Pushes the right edge out. Below 0 pulls it in. D: Pushes the bottom edge out. Below 0 pulls it in. U: Pushes the top edge out. Below 0 pulls it in.
• UV Source - Which set of texture coordinates places it. Options: UV0, UV1
• Coverage From - What decides where it shows: its own alpha, or a channel you pick. Options: Texture Alpha, Luminance, Luminance Inverted, Ignore Alpha
• Blend - How the frames mix with the material under them. Normal covers it, and the others blend like the layer modes in a paint program. Options: Normal, Darken, Multiply, Lighten, Screen, Add, Subtract, Overlay
• Opacity - How solid the sequence is over the material.
• Mirror UV - Flip it, for when it faces the wrong way on one side. Options: Off, Flip, Left Only, Right Only
• Symmetry - Place a matching copy on the other side. Options: Off, Symmetry, Flipped
• Tiled - Repeat it across the whole surface instead of placing one.
• Mask - Where the flipbook plays. White shows it, black hides it.
• Mask Channel - Which channel of the mask says where it plays.

Infinity Mirror Settings

• Pattern - What is reflected: a ring of lights, a grid of dots, or your own texture. Options: Ring of Lights, Dot Grid, Texture
• Ring Shape - Sets up the ring of light itself. Size: How big the ring is. Width: How thick the ring is. Lights: Breaks the ring into this many separate lamps instead of one solid band. Glow: Gives each lamp a soft halo.
• Pattern Texture - The shape repeated down the tunnel. It is read only when Pattern is set to Texture.
• Glow Colour - The colour of the lights inside the mirror.
• Reflections - How many reflections deep the mirror goes. More is deeper and costs more to draw.
• Depth - How far apart those reflections sit, which sets how long the tunnel reads.
• Fade Per Layer - How quickly they fade out as they recede.
• Recession - How quickly each reflection shrinks into the distance.
• Vanishing Point - Where the tunnel recedes to on the surface.
• Depth Reach - How far down the tunnel you can still see. Turn it down and the far reflections fade out, so the portal reads as shallow.
• Motion - Sets the whole stack moving. Drift slides it, and every layer deeper slides further, so it falls away from you. Spin turns it into a vortex. Flow falls the whole tunnel inward and never ends, so it keeps dropping into itself. Spin is in degrees per second, Flow in layers per second. Drift X: Slides the stack sideways. Each deeper layer slides further, so it falls away from you. Drift Y: Slides the stack up or down. Each deeper layer slides further. Spin: Turns the stack into a vortex, in degrees per second. Flow: Falls the whole tunnel inward forever, in layers per second.
• Opens Up Close - Makes the portal flat from across the room and deep once someone walks up to it.
• Full Depth Distance - How close someone has to be, in metres, before the portal is at full depth.
• Approach Curve - Low opens it gradually across the room. High keeps it flat until they are almost touching it.
• Rainbow Depth - Shifts each reflection's colour a little further round the wheel.
• Mask - Where the mirror opens. White is the window, black stays solid material.
• Mask Channel - Which channel of the mask says where the mirror shows.
• AudioLink Band - Which part of the music this reacts to.
• Beat Depth - The beat pushes the tunnel in and out instead of only brightening it. Negative pulls it the other way.
• Beat Twist - The beat kicks the vortex round.
• Beat Vortex - How the music moves through the tunnel. Travel: Sends each beat down the tunnel one ring at a time, so a hit lands at the mouth and falls inward. Spacing: How far apart the rings hear the beat. Pull: Lets the music drag the whole tunnel in. Punch: Flares each ring as the beat goes past.
• AudioLink Amount - How far the beat pushes this.

Chromatic Bloom Settings

• Layout - How the notes are arranged: round a wheel, stacked in rings, or lined up as bars. Options: Wheel, Rings, Bars
• Strength - How strongly this shows.
• Octave - Which octave to listen to. Low numbers are bass notes, high numbers are the top end.
• Sensitivity - Single notes are quiet next to a full mix. Turn this up until the notes you care about light.
• Note Spacing - Space between neighbouring notes, so twelve zones read as twelve.
• Offset - Turns the whole set round, so you choose which note sits where.
• Repeat - How many times it repeats across the surface.
• Placement - Where that arrangement is centred on the surface. Pos X: Moves it left or right. Pos Y: Moves it up or down. Scale: How big it is. Above 1 makes it bigger. Rot: How far it is turned, in degrees.
• Mask Source - Borrows an Emission layer's Map so this only shows where that layer does. Pick the layer, then the channel your mask sits in. That layer has to be switched on.
• Mask Channel - Which channel of the mask says where this applies.
• Invert Mask - Swap which side of the mask this shows on.

Note Swarm Settings

• Strength - How strongly this shows.
• How Many - How many of those lights there are at once.
• Note Spread - How far apart in the note list the blobs are picked from. Higher means more variety at once.
• Size - How big each one is.
• Softness - Low is a soft glow. High is a tight dot.
• Drift Speed - How much they wander.
• Wander - How far each blob strays from its home.
• Placement - Where they are centred on the surface. Pos X: Moves it left or right. Pos Y: Moves it up or down. Scale: How big it is. Above 1 makes it bigger. Rot: How far it is turned, in degrees.
• Mask Source - Borrows an Emission layer's Map so this only shows where that layer does. Pick the layer, then the channel your mask sits in. That layer has to be switched on.
• Mask Channel - Which channel of the mask says where this applies.
• Invert Mask - Swap which side of the mask this shows on.

Sonar Settings

• Comes From - Where the wave starts. The Speakers uses the position AudioLink publishes. If the world never set one, it falls back to you. Options: The Speakers, You, Whoever Is Looking
• Colour - The colour of the wave.
• Strength - How strongly this shows.
• Speed - How fast that wave travels.
• Rings - How many wavefronts are in the air at once.
• Edge - Low is a soft swell. High is a thin, hard ring.
• Faces The Sound - How much the far side of you stays dark.
• Range - How far away the speakers can be, in metres, before the wave stops reaching you.
• AudioLink Band - Which part of the music this reacts to.
• AudioLink Amount - How much the music drives it rather than it running on its own.
• Speaker Glow - The side of you facing the speakers glows with the beat. Glow: How brightly the side facing the speakers lights up. Rim: Lights your edges too. Rim Width: How thin that edge light is. Focus: Narrows the glow toward the speakers.
• Mask Source - Borrows an Emission layer's Map so this only shows where that layer does. Pick the layer, then the channel your mask sits in. That layer has to be switched on.
• Mask Channel - Which channel of the mask says where this applies.
• Invert Mask - Swap which side of the mask this shows on.

Spectrum Ribbon Settings

• Colour - The colour of the ribbon.
• Colour From The Music - Takes the colour from ColorChord instead of the swatch.
• Strength - How strongly this shows.
• Style - How that ribbon is drawn. Options: Bars, Line, Mirror
• Line Thickness - How thick its line is.
• Runs - Which way time runs across the ribbon. Options: Across, Up
• Flip Direction - Run it the other way across the surface.
• Height - How tall it stands.
• Trail Fade - Fades the oldest end out so the ribbon trails away instead of stopping dead.
• Placement - Where it sits on the surface. Pos X: Moves it left or right. Pos Y: Moves it up or down. Scale: How big it is. Above 1 makes it bigger. Rot: How far it is turned, in degrees.
• AudioLink Band - History is only kept for the four bands, so Volume is not offered here. Options: Bass, Low Mid, High Mid, Treble
• Mask Source - Borrows an Emission layer's Map so this only shows where that layer does. Pick the layer, then the channel your mask sits in. That layer has to be switched on.
• Mask Channel - Which channel of the mask says where this applies.
• Invert Mask - Swap which side of the mask this shows on.

Inner Cosmos Settings

• Deep Colour - The colour of the deep background.
• Bright Colour - The colour of the bright clouds in it.
• Brightness - How brightly the starfield glows.
• Density - How thick the clouds are.
• Contrast - How hard the difference is between the bright and dark parts of it.
• Swirl - How much it curls in on itself.
• Rotation - Where it starts turned to.
• Spin - How fast it turns.
• Scale - How big the whole field is.
• Warp - How much the field is pulled out of shape.
• Depth - How far back the field goes.
• Flow Speed - How fast it drifts.
• Stars - How many stars there are.
• Quality - How carefully it is drawn. Higher looks better and costs more, so lower it if your framerate suffers.
• Mask - Where the cosmos shows through. White is the window, black stays solid material.
• Mask Channel - Which channel of the mask says where the field shows.
• AudioLink Band - Which part of the music this reacts to.
• AudioLink Amount - How far the beat pushes this.
• Living Energy (AudioLink) - A separate layer that only wakes up with AudioLink, and turns the whole volume into cosmic energy that moves to the music. Comet tails stream off the stars along the way the galaxy spins, the arms whip out on the beat, the whole field breathes in and out, and the depths light up bass to treble from near to far. Pick the Reaction Band it listens to and a Flare Colour for the beats.
• Reaction Band - Which part of the music this reacts to.
• Comet Tails - How far the music moves this part of the field.
• Arm Whip - How far the music moves this part of the field.
• Cosmic Breath - How far the music moves this part of the field.
• Depth Spectrum - How far the music moves this part of the field.
• Flare Colour - The colour of the flares the music sets off.

Hyperspace Settings

• Style - Tunnel is a twisting pipe you fall down. Weave is a vortex of fine glowing threads winding away from you. Options: Tunnel, Weave
• Tint - Tints the tunnel.
• Colour - Shifts the tunnel's colours round the colour wheel.
• Colour Spread - How far the colour travels between the near end and the far end.
• Saturation - Turn it down for the raw colours the field makes on its own. Turn it up to pull everything toward the Colour you picked.
• Brightness - How brightly the tunnel glows.
• Clear Space - Raise it to burn off the haze between the structures and leave them sitting in black.
• Flow Speed - How fast you travel down it.
• Distance - How far in the ray gets before it runs out of steps. Raise it to see further down, at the cost of coarser steps.
• Spread - How wide a view the window gives. Low is a keyhole, high is a fisheye.
• Parallax - How much the inside swings as you move around it. Zero pins it flat to the surface.
• Twist - How much it spirals as it recedes.
• Turbulence - How churned up it is, from a clean tunnel to a storm.
• Detail - More layers of churn in the walls. Past four it starts to sparkle at a distance.
• Tunnel Width - How wide the tunnel is.
• Mirror - Folds the tunnel down the middle so the two sides match.
• Weave Scale - How tightly the threads are packed. Low is a few broad ribbons, high is fine lace.
• Cross Threads - Adds a second set of threads running the other way, so the weave reads as woven rather than combed.
• Quality - Steps taken per pixel, and the thing this effect costs you in framerate. Raise it only until the banding goes.
• AudioLink Band - Which part of the music this reacts to.
• Beat Rush - Beats shove you forward down the ride.
• Beat Churn - Beats stir up the turbulence.
• Mask Source - Borrows an Emission layer Map so this only shows where that layer does. Pick the layer, then the channel your mask sits in. That layer has to be switched on.
• Mask Channel - Which channel of the mask says where this applies.
• Invert Mask - Swap which side of the mask this shows on.

Cymatics Settings

• Style - Square Plate draws the classic figures of a square metal plate. Round Plate draws rings and spokes, like a drum head. Ripple Tank crosses the waves from three moving sources. Options: Square Plate, Round Plate, Ripple Tank
• Tint - Tints the figure.
• Brightness - How brightly the figure glows.
• Placement - Where the plate sits on the material, how big it is, and how far it is turned. Rotation is in degrees. Pos X: Moves the plate left or right. Pos Y: Moves the plate up or down. Scale: How big the plate is. Rot: How far the plate is turned, in degrees.
• Figure - Which figure the sand forms, and how it moves between figures. Mode: How busy the figure is. Range: How far the music and the drift can move it from there. Snap: Holds it on clean figures and moves quickly between them. Wander: How fast it drifts on its own.
• Lines - How the lines of sand look. Sharpness: How fine the lines are. Sand: Dusts the plate between the lines. Grain: Roughens the lines. Line Glow: How bright the lines are.
• Depth - Stacks more plates down into the surface, so the figure has depth and swings as you move around it. Each extra layer costs framerate. Layers: How many plates are stacked. Each extra one costs framerate. Spacing: How far apart the plates sit. Layer Shift: Changes the figure from one plate to the next. Fade: Dims the deeper plates.
• Motion - How the figure moves. Warp: Ripples the figure. Detail: Adds finer ripples on top. Twist: Winds it into a vortex. Speed: How fast it all moves.
• Colour - The colours of the figure. Hue: Turns the figure round the colour wheel. Spread: Shifts the colour from the middle out, and from one plate to the next. Saturation: How rich the colour is. Music Colour: Hands the colour over to the colour of the music, from the Color Source in the AudioLink section.
• AudioLink Band - Which part of the music this reacts to.
• Music - How the music drives the figure. Shake: How hard the beat throws the sand about. Steer: How far the music changes the figure. Pulse: Brightens it on the beat. Beat Clock: Lets the motion run with the track.
• Mask Source - Borrows an Emission layer Map so this only shows where that layer does. Pick the layer, then the channel your mask sits in. That layer has to be switched on.
• Mask Channel - Which channel of the mask says where this applies.
• Invert Mask - Swap which side of the mask this shows on.

Biofeedback Settings

• Heartbeat - How much of the pulse comes from the bass. This is the slow thump.
• Tension - How much comes from the mids. This is what keeps the pulse going through a busy passage.
• Spike - How much comes from the treble. This is the quick flick on a hat or a snare.
• Layer 1 Band Mix - How much the band you picked for Emission layer 1 feeds the heartbeat, against the bass. 0 is all bass.
• Breath - A slow rise and fall laid over the pulse so it never sits perfectly still.
• Subsurface - How much the pulse thins you, so more light soaks through. Raise Strength under Subsurface for this to show.
• Transmission - How much the pulse pushes light through the thin parts of you.
• Colour Drift - How far the pulse drags the AudioLink Color Blend hue as it beats.
• Emission Pulse - How hard the pulse swells Emission layer 1. That layer AudioLink Amplitude scales this, so both have to be up for it to show.
• Glitch Trigger - How big a treble spike it takes to set off Digital Glitch. Lower fires more often.

Cybernetic Modules

• Mask - Keeps the readouts to where this map is white, so they sit on a panel or a screen instead of spreading over the whole material. Leave it empty to cover everything.
• Hover Height - Floats the readouts off the surface so they read as projected in front of you rather than painted on.
• Hover Bob - How much they drift while they float. 0 holds them steady.

Cybernetic VU Meter

• Enable - A volume meter readout, the bar that climbs with loudness.

Cybernetic CC Meter

• Enable Spectrum - A spectrum readout, showing the notes AudioLink has picked out.

Cybernetic Waveform

• Enable - A waveform readout, the line that traces the sound itself.

Cybernetic DMX GRID

• Enable - A grid readout driven by the world's stage lighting data.

Cybernetic Autocorrelator

• Enable - A readout driven by the repeating structure AudioLink finds in the track, which moves with the groove rather than with loudness.

Cybernetic Autocorrelator Effects

• AC Shimmer Effect - Adds a moving sheen across it.
• AC Shimmer Band - Which part of the music this reacts to.
• AC Pop Effect - Makes it burst outward on a hit.
• AC Pop Band - Which part of the music this reacts to.
• AC Sizzle Effect - Adds a fine crackle over it.
• AC Sizzle Band - Which part of the music this reacts to.
• AC Electrify Effect - Adds arcs of light jumping across that readout.
• AC Electrify Band - Which part of the music this reacts to.

Outline 1 Settings

• Color - The colour of the line.
• Emission - How much the line glows on its own, so it stays visible in a dark room.
• Width - How thick the line is. It is a real thickness, so it gets thinner on screen as you move away, like a real object.
• Mask - Where the outline draws. Black leaves that part of the model without one.
• Width Channel - Which channel of the mask sets the thickness per area, so you can thin the line on the face and keep it heavy elsewhere. Options: None, R, G, B, A
• Fade Channel - A second channel of the same Mask texture, this one fading the line rather than thinning it. Black takes the line away completely. Options: None, R, G, B, A
• Tint From Texture - Pulls the line toward the colour of the material underneath it, so one outline can follow a multi-coloured texture.
• Lighting - At 0 the line stays flat and unlit. Turn it up and the line sits in the room lighting with the rest of the material.
• Light Volumes - Lets the line take its room light from the world's Light Volumes, like the rest of the material, instead of only the light probes. At 1 it matches you. 0 lights it from the light probes only.
• Opacity - How solid the line is. Lower lets the background through it.
• Texture - Colours the outline from an image instead of a flat colour.
• Texture Scroll - Slides the outline texture along the line, forever. Scroll X: Slides the outline texture sideways, forever. Scroll Y: Slides the outline texture up or down, forever.
• AudioLink Band - Which part of the music the line glows with.
• AudioLink Emission Boost - How far the beat pushes that glow up.
• AudioLink Width - The beat pushes the outline wider.
• AudioLink Hue - The beat shifts the outline colour round the wheel.
• AudioLink Scroll - The beat drives the outline texture along faster.
• Music Colour - How much the colour of the music takes over the line. It follows the Color Source in the AudioLink section.
• Pulse Direction - Which way each beat runs along the line, following your UV layout. Outward and Inward travel from the middle, and Around sweeps in a circle. Options: Up, Down, Left, Right, Outward, Inward, Around
• Travelling Pulse - Runs each beat along the line instead of flashing all of it at once. Volume or Peak Hold fall back to Bass. Amount: How much of the line the pulse takes over. Length: How long the pulse takes to cross. Sharpness: Tightens the beat into a thin pulse. Glow: Flares the beat at its crest.
• Beat Reveal - Keeps the line tucked away until a beat pushes it out, so the outline appears with the music. At 1 it is gone completely between beats.
• Equaliser Silhouette - Turns the line into an equaliser drawn up your body, bass at your feet and treble at Height. Width: How far each part of the music pushes the line out. Glow: How much each part of the music brightens the line. Height: Where the treble sits, in metres from your feet. Low Octave: Skips the deepest rumble.

Outline 2 (Outer) Settings

• Color - The colour of the second line.
• Emission - How much the second line glows on its own.
• Width - How thick the second line is. It sits outside the first, for a two tone edge.
• Mask - Where this outline draws. Black leaves that part of the model without one.
• Width Channel - Which channel of the mask sets the second line's thickness per area. Options: None, R, G, B, A
• Fade Channel - A second channel of the same Mask texture, this one fading the line rather than thinning it. Black takes the line away completely. Options: None, R, G, B, A
• Tint From Texture - Pulls the line toward the colour of the material underneath it, so one outline can follow a multi-coloured texture.
• Lighting - At 0 the line stays flat and unlit. Turn it up and the line sits in the room lighting with the rest of the material.
• Light Volumes - Lets the line take its room light from the world's Light Volumes, like the rest of the material, instead of only the light probes. At 1 it matches you. 0 lights it from the light probes only.
• Opacity - How solid the second line is.
• Texture - Colours this outline from an image instead of a flat colour.
• Texture Scroll - Slides the second line's texture along it, forever. Scroll X: Slides the second line's texture sideways, forever. Scroll Y: Slides the second line's texture up or down, forever.
• AudioLink Band - Which part of the music the second line glows with.
• AudioLink Emission Boost - How far the beat pushes that glow up.
• AudioLink Width - The beat pushes the outline wider.
• AudioLink Hue - The beat shifts the outline colour round the wheel.
• AudioLink Scroll - The beat drives the outline texture along faster.
• Music Colour - How much the colour of the music takes over the line. It follows the Color Source in the AudioLink section.
• Pulse Direction - Which way each beat runs along the line, following your UV layout. Outward and Inward travel from the middle, and Around sweeps in a circle. Options: Up, Down, Left, Right, Outward, Inward, Around
• Travelling Pulse - Runs each beat along the line instead of flashing all of it at once. Volume or Peak Hold fall back to Bass. Amount: How much of the line the pulse takes over. Length: How long the pulse takes to cross. Sharpness: Tightens the beat into a thin pulse. Glow: Flares the beat at its crest.
• Beat Reveal - Keeps the line tucked away until a beat pushes it out, so the outline appears with the music. At 1 it is gone completely between beats.
• Equaliser Silhouette - Turns the line into an equaliser drawn up your body, bass at your feet and treble at Height. Width: How far each part of the music pushes the line out. Glow: How much each part of the music brightens the line. Height: Where the treble sits, in metres from your feet. Low Octave: Skips the deepest rumble.

Placement & Motion

• Placement - Where the map sits on the material, how big it is, and how far it is turned. Rotation is in degrees. Pos X: Moves the map left or right. Pos Y: Moves the map up or down. Scale: How big the map is. Above 1 makes it bigger. Rot: How far the map is turned, in degrees.
• Movement - Drift slides the map across the material. Spin turns it, in degrees per second. Set Drift X and Drift Y together to pick any direction you like. Drift X: Slides the map sideways on its own, forever. 0 holds it still. Drift Y: Slides the map up or down on its own, forever. 0 holds it still. Spin: Turns the map on its own, in degrees per second.
• On The Beat - How the layer moves when a beat lands: a pulse in place, or a wave that runs across you. Push X: How far a beat pushes the layer sideways. Push Y: How far a beat pushes the layer up or down. Twist: How far a beat turns the layer, in degrees. Hue: How far a beat shifts the layer's colour round the wheel.

Beat Travel

• Direction - Which way a beat runs across the layer. Outward and Inward travel from the middle, and Around sweeps it in a circle. Options: Up, Down, Left, Right, Outward, Inward, Around, Custom Angle
• Angle - Which way a beat travels across the surface, in degrees.
• Travel - Runs each beat across the layer in the Direction above. It listens to this layer's AudioLink Band, and Volume or Peak Hold fall back to Bass. Amount: How much of the layer the moving beat takes over. Length: How long one beat takes to cross the layer. Sharpness: Tightens the beat from a smear into a pulse. Glow: Flares the beat at its crest.

Music Reactions

• Note - Which note Note Trigger listens for. Options: C, Db, D, Eb, E, F, Gb, G, Ab, A, Bb, B
• Note Trigger - The layer lights up only while its note is playing. Pick the note with Note above. Amount: How dark the layer goes while its note is not playing. Octave: How high the note sits. Gain: How easily it triggers. All Octaves: Listens for the note at every height at once.
• Beat Strobe - The layer flashes on each hit and goes dark in between. It listens to this layer's AudioLink Band. Amount: How much the strobe takes over. At 1 the layer goes fully dark between hits. Threshold: How hard a hit has to be. Hold: How long each flash lingers. Softness: Rounds off the edges of each flash.
• Waveform Warp - The live sound wave bends the layer's pattern, like the trace on an oscilloscope. Amount: How far the wave bends the pattern. Length: How much of the wave spans the layer. Angle: Which way the wave runs, in degrees. Glow: Brightens the peaks of the wave.

Placement & Motion

• Placement - Where the map sits on the material, how big it is, and how far it is turned. Rotation is in degrees. Pos X: Moves the map left or right. Pos Y: Moves the map up or down. Scale: How big the map is. Above 1 makes it bigger. Rot: How far the map is turned, in degrees.
• Movement - Drift slides the map across the material. Spin turns it, in degrees per second. Set Drift X and Drift Y together to pick any direction you like. Drift X: Slides the map sideways on its own, forever. 0 holds it still. Drift Y: Slides the map up or down on its own, forever. 0 holds it still. Spin: Turns the map on its own, in degrees per second.
• On The Beat - How the layer moves when a beat lands: a pulse in place, or a wave that runs across you. Push X: How far a beat pushes the layer sideways. Push Y: How far a beat pushes the layer up or down. Twist: How far a beat turns the layer, in degrees. Hue: How far a beat shifts the layer's colour round the wheel.

Beat Travel

• Direction - Which way a beat runs across the layer. Outward and Inward travel from the middle, and Around sweeps it in a circle. Options: Up, Down, Left, Right, Outward, Inward, Around, Custom Angle
• Angle - Which way a beat travels across the surface, in degrees.
• Travel - Runs each beat across the layer in the Direction above. It listens to this layer's AudioLink Band, and Volume or Peak Hold fall back to Bass. Amount: How much of the layer the moving beat takes over. Length: How long one beat takes to cross the layer. Sharpness: Tightens the beat from a smear into a pulse. Glow: Flares the beat at its crest.

Music Reactions

• Note - Which note Note Trigger listens for. Options: C, Db, D, Eb, E, F, Gb, G, Ab, A, Bb, B
• Note Trigger - The layer lights up only while its note is playing. Pick the note with Note above. Amount: How dark the layer goes while its note is not playing. Octave: How high the note sits. Gain: How easily it triggers. All Octaves: Listens for the note at every height at once.
• Beat Strobe - The layer flashes on each hit and goes dark in between. It listens to this layer's AudioLink Band. Amount: How much the strobe takes over. At 1 the layer goes fully dark between hits. Threshold: How hard a hit has to be. Hold: How long each flash lingers. Softness: Rounds off the edges of each flash.
• Waveform Warp - The live sound wave bends the layer's pattern, like the trace on an oscilloscope. Amount: How far the wave bends the pattern. Length: How much of the wave spans the layer. Angle: Which way the wave runs, in degrees. Glow: Brightens the peaks of the wave.

Placement & Motion

• Placement - Where the map sits on the material, how big it is, and how far it is turned. Rotation is in degrees. Pos X: Moves the map left or right. Pos Y: Moves the map up or down. Scale: How big the map is. Above 1 makes it bigger. Rot: How far the map is turned, in degrees.
• Movement - Drift slides the map across the material. Spin turns it, in degrees per second. Set Drift X and Drift Y together to pick any direction you like. Drift X: Slides the map sideways on its own, forever. 0 holds it still. Drift Y: Slides the map up or down on its own, forever. 0 holds it still. Spin: Turns the map on its own, in degrees per second.
• On The Beat - How the layer moves when a beat lands: a pulse in place, or a wave that runs across you. Push X: How far a beat pushes the layer sideways. Push Y: How far a beat pushes the layer up or down. Twist: How far a beat turns the layer, in degrees. Hue: How far a beat shifts the layer's colour round the wheel.

Beat Travel

• Direction - Which way a beat runs across the layer. Outward and Inward travel from the middle, and Around sweeps it in a circle. Options: Up, Down, Left, Right, Outward, Inward, Around, Custom Angle
• Angle - Which way a beat travels across the surface, in degrees.
• Travel - Runs each beat across the layer in the Direction above. It listens to this layer's AudioLink Band, and Volume or Peak Hold fall back to Bass. Amount: How much of the layer the moving beat takes over. Length: How long one beat takes to cross the layer. Sharpness: Tightens the beat from a smear into a pulse. Glow: Flares the beat at its crest.

Music Reactions

• Note - Which note Note Trigger listens for. Options: C, Db, D, Eb, E, F, Gb, G, Ab, A, Bb, B
• Note Trigger - The layer lights up only while its note is playing. Pick the note with Note above. Amount: How dark the layer goes while its note is not playing. Octave: How high the note sits. Gain: How easily it triggers. All Octaves: Listens for the note at every height at once.
• Beat Strobe - The layer flashes on each hit and goes dark in between. It listens to this layer's AudioLink Band. Amount: How much the strobe takes over. At 1 the layer goes fully dark between hits. Threshold: How hard a hit has to be. Hold: How long each flash lingers. Softness: Rounds off the edges of each flash.
• Waveform Warp - The live sound wave bends the layer's pattern, like the trace on an oscilloscope. Amount: How far the wave bends the pattern. Length: How much of the wave spans the layer. Angle: Which way the wave runs, in degrees. Glow: Brightens the peaks of the wave.

Placement & Motion

• Placement - Where the map sits on the material, how big it is, and how far it is turned. Rotation is in degrees. Pos X: Moves the map left or right. Pos Y: Moves the map up or down. Scale: How big the map is. Above 1 makes it bigger. Rot: How far the map is turned, in degrees.
• Movement - Drift slides the map across the material. Spin turns it, in degrees per second. Set Drift X and Drift Y together to pick any direction you like. Drift X: Slides the map sideways on its own, forever. 0 holds it still. Drift Y: Slides the map up or down on its own, forever. 0 holds it still. Spin: Turns the map on its own, in degrees per second.
• On The Beat - How the layer moves when a beat lands: a pulse in place, or a wave that runs across you. Push X: How far a beat pushes the layer sideways. Push Y: How far a beat pushes the layer up or down. Twist: How far a beat turns the layer, in degrees. Hue: How far a beat shifts the layer's colour round the wheel.

Beat Travel

• Direction - Which way a beat runs across the layer. Outward and Inward travel from the middle, and Around sweeps it in a circle. Options: Up, Down, Left, Right, Outward, Inward, Around, Custom Angle
• Angle - Which way a beat travels across the surface, in degrees.
• Travel - Runs each beat across the layer in the Direction above. It listens to this layer's AudioLink Band, and Volume or Peak Hold fall back to Bass. Amount: How much of the layer the moving beat takes over. Length: How long one beat takes to cross the layer. Sharpness: Tightens the beat from a smear into a pulse. Glow: Flares the beat at its crest.

Music Reactions

• Note - Which note Note Trigger listens for. Options: C, Db, D, Eb, E, F, Gb, G, Ab, A, Bb, B
• Note Trigger - The layer lights up only while its note is playing. Pick the note with Note above. Amount: How dark the layer goes while its note is not playing. Octave: How high the note sits. Gain: How easily it triggers. All Octaves: Listens for the note at every height at once.
• Beat Strobe - The layer flashes on each hit and goes dark in between. It listens to this layer's AudioLink Band. Amount: How much the strobe takes over. At 1 the layer goes fully dark between hits. Threshold: How hard a hit has to be. Hold: How long each flash lingers. Softness: Rounds off the edges of each flash.
• Waveform Warp - The live sound wave bends the layer's pattern, like the trace on an oscilloscope. Amount: How far the wave bends the pattern. Length: How much of the wave spans the layer. Angle: Which way the wave runs, in degrees. Glow: Brightens the peaks of the wave.

Placement & Motion

• Placement - Where the map sits on the material, how big it is, and how far it is turned. Rotation is in degrees. Pos X: Moves the map left or right. Pos Y: Moves the map up or down. Scale: How big the map is. Above 1 makes it bigger. Rot: How far the map is turned, in degrees.
• Movement - Drift slides the map across the material. Spin turns it, in degrees per second. Set Drift X and Drift Y together to pick any direction you like. Drift X: Slides the map sideways on its own, forever. 0 holds it still. Drift Y: Slides the map up or down on its own, forever. 0 holds it still. Spin: Turns the map on its own, in degrees per second.
• On The Beat - How the layer moves when a beat lands: a pulse in place, or a wave that runs across you. Push X: How far a beat pushes the layer sideways. Push Y: How far a beat pushes the layer up or down. Twist: How far a beat turns the layer, in degrees. Hue: How far a beat shifts the layer's colour round the wheel.

Beat Travel

• Direction - Which way a beat runs across the layer. Outward and Inward travel from the middle, and Around sweeps it in a circle. Options: Up, Down, Left, Right, Outward, Inward, Around, Custom Angle
• Angle - Which way a beat travels across the surface, in degrees.
• Travel - Runs each beat across the layer in the Direction above. It listens to this layer's AudioLink Band, and Volume or Peak Hold fall back to Bass. Amount: How much of the layer the moving beat takes over. Length: How long one beat takes to cross the layer. Sharpness: Tightens the beat from a smear into a pulse. Glow: Flares the beat at its crest.

Music Reactions

• Note - Which note Note Trigger listens for. Options: C, Db, D, Eb, E, F, Gb, G, Ab, A, Bb, B
• Note Trigger - The layer lights up only while its note is playing. Pick the note with Note above. Amount: How dark the layer goes while its note is not playing. Octave: How high the note sits. Gain: How easily it triggers. All Octaves: Listens for the note at every height at once.
• Beat Strobe - The layer flashes on each hit and goes dark in between. It listens to this layer's AudioLink Band. Amount: How much the strobe takes over. At 1 the layer goes fully dark between hits. Threshold: How hard a hit has to be. Hold: How long each flash lingers. Softness: Rounds off the edges of each flash.
• Waveform Warp - The live sound wave bends the layer's pattern, like the trace on an oscilloscope. Amount: How far the wave bends the pattern. Length: How much of the wave spans the layer. Angle: Which way the wave runs, in degrees. Glow: Brightens the peaks of the wave.

Red Path

• Type - The shape the light takes as it runs: a chasing dash, a comet, a steady line. Options: Off, Fill, Path, Loop, Dashed
• Color - The colour this path glows.
• Speed - How fast the light runs along the path. Negative runs it backwards.
• Start Offset - Where along the path the run starts, so two paths can be staggered.
• Width - How wide the running light is.
• Softness - How soft the ends of each dash are. 0 is a hard edge.
• Gap - How much dark sits between one dash and the next.
• Steps - How many dashes run the path at once.
• AudioLink - What the beat does to the path: brightens it, or drives it along. Options: Off, Brightness, Beat Travel, Waveform, Autocorrelator, ColorChord
• AudioLink Band - Which part of the music this path reacts to.
• AudioLink Amount - How far the beat pushes this path.

Green Path

• Type - The shape the light takes as it runs: a chasing dash, a comet, a steady line. Options: Off, Fill, Path, Loop, Dashed
• Color - The colour this path glows.
• Speed - How fast the light runs along the path. Negative runs it backwards.
• Start Offset - Where along the path the run starts, so two paths can be staggered.
• Width - How wide the running light is.
• Softness - How soft the ends of each dash are. 0 is a hard edge.
• Gap - How much dark sits between one dash and the next.
• Steps - How many dashes run the path at once.
• AudioLink - What the beat does to the path: brightens it, or drives it along. Options: Off, Brightness, Beat Travel, Waveform, Autocorrelator, ColorChord
• AudioLink Band - Which part of the music this path reacts to.
• AudioLink Amount - How far the beat pushes this path.

Blue Path

• Type - The shape the light takes as it runs: a chasing dash, a comet, a steady line. Options: Off, Fill, Path, Loop, Dashed
• Color - The colour this path glows.
• Speed - How fast the light runs along the path. Negative runs it backwards.
• Start Offset - Where along the path the run starts, so two paths can be staggered.
• Width - How wide the running light is.
• Softness - How soft the ends of each dash are. 0 is a hard edge.
• Gap - How much dark sits between one dash and the next.
• Steps - How many dashes run the path at once.
• AudioLink - What the beat does to the path: brightens it, or drives it along. Options: Off, Brightness, Beat Travel, Waveform, Autocorrelator, ColorChord
• AudioLink Band - Which part of the music this path reacts to.
• AudioLink Amount - How far the beat pushes this path.

Alpha Path

• Type - The shape the light takes as it runs: a chasing dash, a comet, a steady line. Options: Off, Fill, Path, Loop, Dashed
• Color - The colour this path glows.
• Speed - How fast the light runs along the path. Negative runs it backwards.
• Start Offset - Where along the path the run starts, so two paths can be staggered.
• Width - How wide the running light is.
• Softness - How soft the ends of each dash are. 0 is a hard edge.
• Gap - How much dark sits between one dash and the next.
• Steps - How many dashes run the path at once.
• AudioLink - What the beat does to the path: brightens it, or drives it along. Options: Off, Brightness, Beat Travel, Waveform, Autocorrelator, ColorChord
• AudioLink Band - Which part of the music this path reacts to.
• AudioLink Amount - How far the beat pushes this path.

Car Paint Settings

• Amount - How much car paint is laid over the material.
• Band - Which part of the music the paint reacts to.
• Flare - How far the beat pushes the flakes.
• Mask - Where the flake coat sits. White is painted, black stays bare.
• Mask Channel - Which channel of the mask says where the paint goes.
• Base Colour - The base colour of the paint, under the flakes and the flip.
• Flip Colour - The colour the paint turns as you look at it from a shallower angle. This is what makes a car look purple from the side and green head on.
• Flip Amount - How far the paint shifts toward that second colour.
• Flip Falloff - How sharply it turns over. High keeps the second colour to the very edges.
• Flake Colour - The colour of the metal flakes in the paint.
• Flake Sparkle - How brightly each flake catches the light.
• Flake Density - How many flakes there are.
• Flake Sharpness - How briefly each flake flashes as you move. High is a hard glitter, low is a softer shimmer.
• Gloss Smoothness - How glossy the paint is.
• Gloss Metallic - How metallic the paint is, apart from the flakes in it.

Matcap 1 Settings

• Source - Texture reads the sphere image you drop in. Packed Atlas splits that one image into a grid so it holds several matcaps at once, and a mask picks which one shows where. Procedural builds the look from maths and needs no image at all. Options: Texture, Packed Atlas, Procedural
• Texture - The matcap image. It is read as a ball, so the middle shows face on and the edges show at grazing angles.
• Mask - Where this matcap shows. Black hides it.
• Mask Channel - Which channel of the mask says where this matcap shows.
• Tint - Tints the matcap. White keeps its own colours.
• Intensity - How strong this matcap is.
• Blend Mode - How this layer sits on what is under it. Add lays highlights on top. Multiply and Replace cover the skin underneath, which is what reads as latex. Base Colour paints the matcap on as the material itself and then lets the light fall on it, so the Surface sliders below do something. Screen, Overlay, Soft Light, Subtract, Lighten and Darken blend with the material under the layer, like a paint program. Boost brightens what is already there instead of adding its own colour. Car Paint feeds the Car Paint section above, so it needs Car Paint on. Options: Add, Replace, Multiply, Car Paint, Screen, Overlay, Soft Light, Subtract, Lighten, Darken, Boost, Base Colour
• Opacity - How much of the material underneath still shows through it.
• Lighting Mix - At 0 the layer glows the same in a dark room as a bright one. At 1 it dims with the light on you, so it sits in shadow with the rest of the material.

Matcap 2 Settings

• Source - Texture reads the sphere image you drop in. Packed Atlas splits that one image into a grid so it holds several matcaps at once, and a mask picks which one shows where. Procedural builds the look from maths and needs no image at all. Options: Texture, Packed Atlas, Procedural
• Texture - The matcap image. It is read as a ball, so the middle shows face on and the edges show at grazing angles.
• Mask - Where this matcap shows. Black hides it.
• Mask Channel - Which channel of the mask says where this matcap shows.
• Tint - Tints the matcap. White keeps its own colours.
• Intensity - How strong this matcap is.
• Blend Mode - How this layer sits on what is under it. Add lays highlights on top. Multiply and Replace cover the skin underneath, which is what reads as latex. Base Colour paints the matcap on as the material itself and then lets the light fall on it, so the Surface sliders below do something. Screen, Overlay, Soft Light, Subtract, Lighten and Darken blend with the material under the layer, like a paint program. Boost brightens what is already there instead of adding its own colour. Car Paint feeds the Car Paint section above, so it needs Car Paint on. Options: Add, Replace, Multiply, Car Paint, Screen, Overlay, Soft Light, Subtract, Lighten, Darken, Boost, Base Colour
• Opacity - How much of the material underneath still shows through it.
• Lighting Mix - At 0 the layer glows the same in a dark room as a bright one. At 1 it dims with the light on you, so it sits in shadow with the rest of the material.

Matcap 3 Settings

• Source - Texture reads the sphere image you drop in. Packed Atlas splits that one image into a grid so it holds several matcaps at once, and a mask picks which one shows where. Procedural builds the look from maths and needs no image at all. Options: Texture, Packed Atlas, Procedural
• Texture - The matcap image. It is read as a ball, so the middle shows face on and the edges show at grazing angles.
• Mask - Where this matcap shows. Black hides it.
• Mask Channel - Which channel of the mask says where this matcap shows.
• Tint - Tints the matcap. White keeps its own colours.
• Intensity - How strong this matcap is.
• Blend Mode - How this layer sits on what is under it. Add lays highlights on top. Multiply and Replace cover the skin underneath, which is what reads as latex. Base Colour paints the matcap on as the material itself and then lets the light fall on it, so the Surface sliders below do something. Screen, Overlay, Soft Light, Subtract, Lighten and Darken blend with the material under the layer, like a paint program. Boost brightens what is already there instead of adding its own colour. Car Paint feeds the Car Paint section above, so it needs Car Paint on. Options: Add, Replace, Multiply, Car Paint, Screen, Overlay, Soft Light, Subtract, Lighten, Darken, Boost, Base Colour
• Opacity - How much of the material underneath still shows through it.
• Lighting Mix - At 0 the layer glows the same in a dark room as a bright one. At 1 it dims with the light on you, so it sits in shadow with the rest of the material.

Matcap 4 Settings

• Source - Texture reads the sphere image you drop in. Packed Atlas splits that one image into a grid so it holds several matcaps at once, and a mask picks which one shows where. Procedural builds the look from maths and needs no image at all. Options: Texture, Packed Atlas, Procedural
• Texture - The matcap image. It is read as a ball, so the middle shows face on and the edges show at grazing angles.
• Mask - Where this matcap shows. Black hides it.
• Mask Channel - Which channel of the mask says where this matcap shows.
• Tint - Tints the matcap. White keeps its own colours.
• Intensity - How strong this matcap is.
• Blend Mode - How this layer sits on what is under it. Add lays highlights on top. Multiply and Replace cover the skin underneath, which is what reads as latex. Base Colour paints the matcap on as the material itself and then lets the light fall on it, so the Surface sliders below do something. Screen, Overlay, Soft Light, Subtract, Lighten and Darken blend with the material under the layer, like a paint program. Boost brightens what is already there instead of adding its own colour. Car Paint feeds the Car Paint section above, so it needs Car Paint on. Options: Add, Replace, Multiply, Car Paint, Screen, Overlay, Soft Light, Subtract, Lighten, Darken, Boost, Base Colour
• Opacity - How much of the material underneath still shows through it.
• Lighting Mix - At 0 the layer glows the same in a dark room as a bright one. At 1 it dims with the light on you, so it sits in shadow with the rest of the material.

Matcap 5 Settings

• Source - Texture reads the sphere image you drop in. Packed Atlas splits that one image into a grid so it holds several matcaps at once, and a mask picks which one shows where. Procedural builds the look from maths and needs no image at all. Options: Texture, Packed Atlas, Procedural
• Texture - The matcap image. It is read as a ball, so the middle shows face on and the edges show at grazing angles.
• Mask - Where this matcap shows. Black hides it.
• Mask Channel - Which channel of the mask says where this matcap shows.
• Tint - Tints the matcap. White keeps its own colours.
• Intensity - How strong this matcap is.
• Blend Mode - How this layer sits on what is under it. Add lays highlights on top. Multiply and Replace cover the skin underneath, which is what reads as latex. Base Colour paints the matcap on as the material itself and then lets the light fall on it, so the Surface sliders below do something. Screen, Overlay, Soft Light, Subtract, Lighten and Darken blend with the material under the layer, like a paint program. Boost brightens what is already there instead of adding its own colour. Car Paint feeds the Car Paint section above, so it needs Car Paint on. Options: Add, Replace, Multiply, Car Paint, Screen, Overlay, Soft Light, Subtract, Lighten, Darken, Boost, Base Colour
• Opacity - How much of the material underneath still shows through it.
• Lighting Mix - At 0 the layer glows the same in a dark room as a bright one. At 1 it dims with the light on you, so it sits in shadow with the rest of the material.

Room Sense

• Busier Room, Wilder - Turns the whole reaction up as the instance fills. AudioLink reports how many people are in the world and nothing has ever used it. Needs Mode set to Calibrated.
• Quiet Room - How many people counts as empty.
• Packed Room - How many people counts as full.

Smoothing

• Bands - Eases each band in and out instead of letting it snap. 0 is instant. Turn it up for a slow pulse, leave it down for a sharp one. Bass: How slowly the bass eases in and out. Low Mid: How slowly the low mids ease in and out. High Mid: How slowly the high mids ease in and out. Treble: How slowly the treble eases in and out.
• Volume & Peak - The same easing for the Volume and Peak Hold bands.

Manual Levels

• Levels - Drives the bands by hand instead of from the music. Animate these and you get audio-style motion in a world that has no AudioLink. Anything set to Volume follows the average of the four, and Peak Hold the loudest. Bass: The bass level to use. Low Mid: The low mid level to use. High Mid: The high mid level to use. Treble: The treble level to use.

Environment & Media Settings

• Reaction Mask - Keeps the audio reactions to part of the material. The Thin Film, Parallax, Coat and Digital Glitch reactions, Audio Scanlines, Chromatic Bloom, Note Swarm, Sonar and Spectrum Ribbon only show where this is white. Leave it empty and they cover everything.
• Mask Channel - Which channel of the mask says where the reactive effects are allowed.

Chronotensity Settings

• Index - Which of AudioLink's beat clocks to follow. They run at different rates, so try a few and keep the one that fits the track. Options: Idx 0, Idx 1, Idx 2, Idx 3, Idx 4, Idx 5, Idx 6, Idx 7

Kinetic Modules

Vortex Settings

• Band - Which part of the music this reacts to.
• Strength - How strongly this shows.
• Transform - Which point it twists around. Pos X: Moves that point left or right. Pos Y: Moves that point up or down. Scale: Scales the effect around that point. Above 1 makes it bigger. Rot: Turns the effect around that point, in degrees.
• Mask Source - Borrows an Emission layer's Map so this only shows where that layer does. Pick the layer, then the channel your mask sits in. That layer has to be switched on.
• Mask Channel - Which channel of the mask says where this applies.
• Invert Mask - Swap which side of the mask this shows on.

Pump Settings

• Band - Which part of the music this reacts to.
• Bounce - How strongly this shows.
• Transform - Which point it pushes out from, across and up the surface. Pos X: Moves that point left or right. Pos Y: Moves that point up or down. Scale: Scales the effect around that point. Above 1 makes it bigger. Rot: Turns the effect around that point, in degrees.
• Mask Source - Borrows an Emission layer's Map so this only shows where that layer does. Pick the layer, then the channel your mask sits in. That layer has to be switched on.
• Mask Channel - Which channel of the mask says where this applies.
• Invert Mask - Swap which side of the mask this shows on.

Fracture Settings

• Band - Which part of the music this reacts to.
• Strength - How strongly this shows.
• Transform - Which point the pieces break away from. Pos X: Moves that point left or right. Pos Y: Moves that point up or down. Scale: Scales the effect around that point. Above 1 makes it bigger. Rot: Turns the effect around that point, in degrees.
• Mask Source - Borrows an Emission layer's Map so this only shows where that layer does. Pick the layer, then the channel your mask sits in. That layer has to be switched on.
• Mask Channel - Which channel of the mask says where this applies.
• Invert Mask - Swap which side of the mask this shows on.

Surface Ripples

• Surface Waveform Ripple - How much the raw waveform moves the material.
• Autocorrelator Ripple (Surface) - How much the shape of the sound moves your emission, which reads as texture in the sound rather than volume.

DFT Note Tracking

• DFT Note Mod (0-11) - Which musical note this listens for. AudioLink picks the twelve notes out of the track, so this reacts to a note rather than to loudness.
• DFT Note Emission Amount - How far that note brightens Emission layer 1 when it sounds.
• Mask Source - Borrows an Emission layer's Map so this only shows where that layer does. Pick the layer, then the channel your mask sits in. That layer has to be switched on.
• Mask Channel - Which channel of the mask says where this applies.
• Invert Mask - Swap which side of the mask this shows on.

Digital Glitch

• Band - Which part of the music this reacts to.
• Tear - How hard the picture tears and shifts on the beat.
• Mask Source - Borrows an Emission layer's Map so this only shows where that layer does. Pick the layer, then the channel your mask sits in. That layer has to be switched on.
• Mask Channel - Which channel of the mask says where this applies.
• Invert Mask - Swap which side of the mask this shows on.