Endless Processor by Blukač Instruments

Continuing the discussion from In praise of big single-mode modules:

Now that multiple waves of this fascinating instrument are starting to show up in the marketplace I thought it deserved its own thread, which will make it easier for the folks who make it to respond to community questions, comments and good wishes.

If you’ve not yet had a chance to check out their Sound Sample series (see Insta link below) please do.

Blukač Instruments Homepage | Instagram


I missed the last drop due to misunderstanding time zones (:thinking:). I’m very intrigued by this module, some of the noisier drone samples and multiple-note resynthesized ones are quite inspiring.


It is a great module and I´m very happy with it.


I wanted to open a dedicated thread myself, I’ve probably never been so hyped about a module. I was planning a small case to play drone stuff alongside my Pulsar and this appeared out of nowhere. Luckily I managed to get one from the last batch, can’t wait for it to arrive, the sound demos with more textural materials sound amazing.
Whoever already got one, post examples please!


I’m so bad at posting demos but I definitely want to support this design so I’ll try to get some examples up. I was lucky to get one from the first batch.


I’m amazed that they’ve been able to design, build, release, and internationally ship what seems to be a pretty well-received first module in spite of everything going on around them. If Andrii finds his way over to lines, I hope we can avoid the mess that Joe created over at MW. Deleting and editing posts and telling a Ukrainian person they can’t talk about the war or its effects on module production or shipping delays because “no politics” is absurd.


I was pretty shocked by that as well.

Excited to receive mine. I have an EHX Superego, tried a Gamechanger Plus pedal (too much foot coordination / balance required of me), and really liked TimeFreezer VST so I’m the target audience. The demos sound great.


As I wrote in a now deleted message this is a low point even for MW.
I messaged Blukač on Instagram linking them this thread, I really hope to have then join this community.


I am happy to get one too from the last batch. Seeing how the module and the design, the website, manual etc come which such a good vibe makes me even more happy !
I am sure there will be more interesting modules in the future.


Hi! I’m the Andrii from Blukać. Thank you for creating this thread!

If someone have some questions related to the Endless Processor (or to us in general), I will be glad to help.


Yeah that was beyond bizarre on so many levels. Left me with a bum feeling.
Andrii has been nothing but wonderful to interact with. I’ve fallen in love with them and their module.
So happy to find this thread!!


I am one of the fortunate ones to receive one already. It really is one of my more accessible modules. You can feed anything into it and it will come out sounding epic. Everything about it just makes sense. I never needed to reach for a manual and I doubt you will either. Certain sounds definitely shine. For example I think short piano samples especially work well with it. Vocals are also really fun to work with as well. Though you can feed longer sounds into it, the fun for me at least, is short decay/sustain samples and letting the endless processor do the work from there. I am very tempted to make a small little portable palette around mine and just go around sampling things and feeding it to the endless processor.


Has anyone tried noisier sounds with it - field recordings, lofi sounds with artifacts, noise?

Was lucky enough to make it in the recent batch, really excited to make music with it.


got one in the last batch, too. excited to try and recreate the first few movements of haunt me, haunt me do it again by feeding some clean electric guitar and some buzzing noise into it!


This is something I recorded this morning:


Trigger warning: The loop I used to create this audio was from an air raid siren recorded in Kyiv. The audio is heavily processed, and I think you would be hard-pressed to identify the source, but I wanted to make people aware.

The use of that loop, and the title “Sorry to bother you,” are a response to the treatment @khladomysl received on Modwiggler. I wanted to show how transformative the Endless Processor can be while affirming the reality of the war in Ukraine.

About the patch:

I’m using the ADDAC 112 as my “sample player.” A few grains are random dispersed, and the pitch/speed of the loop is modulated by an LFO from Zadar. The 112 is fed into Endless Processor, and the two channels summed before being sent to a Typhoon, which just provides reverb.

An LFO from Zadar that’s modulated by another LFO from Zadar randomly triggers the loop/infinite input, another LFO from Zadar changes the layers around, and a fourth modulates the speed/pitch of the sample. One of the LFOs is also multed and sent to the memory input on Endless Processor. I change the channel every now and then, mostly when one channel grabs something nice and I want to preserve it.

The sample itself is noisy; that’s not a product of the Endless Processor.


Quite nice, thanks for sharing.

Is all of the audio from Endless Processor, or is some of the dry sample coming through? There aren’t too many sound example from the Endless Processor out there, but the ones that I have heard, including this, are very varied. Seems like there’s lots of potential here. In many ways, it’s the kind of sound I imagine getting out of granular synthesis, but I’m rarely able to achieve.


The audio is only from the output of the Endless Processor (plus some reverb). There is no dry audio passed to the output.

I can only give you the answer that is both helpful and not-helpful – the output of the Endless Processor depends a lot on its input. The memory setting also has some impact, as it determines how much of the input is captured, so if the attack/transient of a sound versus its sustained or decayed section is captured, it can have a more rhythmic quality. There’s always some sense of movement, because of (I’m guessing) how the crossfading of the loops works, so you can add more texture by varying the memory amount as well, even for the same source.


@chmjacques what a fabulous piece… listening to it right now. I’m so grateful for your reasoning behind it as well. I was involved very briefly in what went down on MW and it bummed me out to no end. This is beautiful.

I’m embarrassed that my Endless Processor hasn’t been racked still as I received it while in the middle of a terrible couple of weeks of sickness and then had to jump back into work, but I can’t wait to finally get it installed.

Your beautiful piece is the push I needed.
Thanks for sharing!


Thank you for sharing your recording!
It is a very nice example.
Looks like that siren, being very tonal slewed-oscillator-like, makes a good material for processing :slight_smile:

I think this is the correct answer.
If you give something very tonal and clean, timbral contents and pitch will be preserved.
If you give something noisy, the output will also be very noisy, because all of the contents will be preserved, it is just transients would be smeared into a constant stream.
I’ve recorded noisy examples here (with timecode):


Something a little different.


(Btw, I know Google Drive is clunky, but my Soundcloud account is full of legacy stuff I need to maintain and my YT channel is very single-focus at the moment – ZOIA stuff – so if anyone has a suggestion for a better, ideally free hosting site, send me a PM.)

I thought I would see how Endless Processor did resynthesizing a generative patch I wrote for the Empress Effects ZOIA, “Cheat Lake.”

The patch is pretty simple. The output of my Euroburo is multed and sent into EP and a mixer. I start with the “dry” signal muted and build up layers in each buffer, filling one, then the other. This is often how I use the Endless Processor, because it allows me to sort of form two voices, and it makes it easier for me to keep track of what sound is where. I’m flying blind, just grabbing loops without hearing what’s coming in, but I trust the EP to do something interesting. I make some adjustments to the memory size as I go along, but most are captured at the maximum memory. The two channels are summed and sent to the Typhoon for a dash of reverb.

After a while, I start mixing between the two “voices,” manually turning the volume knobs on the Endless Processor. Then, I bring in the dry signal being resynthesized and mix a little between all three elements. (Apologies – the pot on my mixer is scratch, and I need to clean it, so there is some crackle in the audio. This is not from the Endless Processor’s pot.)