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Message: [QUOTE="Bombastus, post: 92257, member: 2178"] Transfigure can run as an AUv3 effect on iPad and supports multiple instances inside any host that accepts Audio Unit v3 plug-ins. Once it is loaded there, the DAW handles the audio and MIDI connections instead of Transfigure behaving as a self-contained app. Standalone mode has its own audio player, transport, recording controls, and tempo setting, but those controls are specifically marked as standalone features. Inside a host, the practical center of gravity shifts to the session itself, where tempo, routing, automation, and project recall already live. For anyone using [B][URL='https://goldmidi.com/community/threads/sugar-bytes-has-brought-transfigure-to-ipad.77643/']Transfigure’s iPad AUv3 version[/URL][/B], this difference matters more than the plug-in label. Loading it as an insert is only the first step. The useful part is deciding which jobs belong to Transfigure and which ones should stay with the DAW. [HEADING=2]AUv3 moves session control into the host[/HEADING] The host decides where its Audio Unit menu appears, so the exact loading process changes from one DAW to another. Transfigure itself is presented as an AU effect, and Sugar Bytes says you can open multiple instances when the host supports AUv3. Project recall is more useful than it sounds. Parameters and presets are saved automatically within DAW sessions and banks, which means a carefully mangled vocal or drum channel can return with the project instead of relying on you to rebuild the patch by hand. Session behavior therefore becomes part of the workflow, not an extra housekeeping task. Tempo-sensitive modulation also benefits from being hosted. Transfigure’s random generator and multi-breakpoint envelopes can follow the host clock, so rhythmic movement can stay tied to the project tempo rather than a separately entered BPM value. The standalone tempo panel is no longer the control you should be watching. Audio buffering still matters when a session grows dense. Smaller buffers reduce response delay but leave less processing time before the next audio block is due, while larger buffers give the system more breathing room at the cost of latency. The role of buffering in [B][URL='https://discovery.ucl.ac.uk/id/eprint/1388184/']real-time computer music timing[/URL][/B] is one reason a stable host setting matters once several effects and instruments are running together. [HEADING=2]MIDI routing adds a second layer of control[/HEADING] Transfigure has a MIDI variant for host setups where the DAW needs to send control data as well as audio. Once that route exists, the plug-in can respond to the DAW’s virtual keyboard or performance controls, while supported parameters can also be driven through host automation or MIDI CC messages. MIDI Learn is deliberately simple. Long-press a control to reach the assignment function, then map the incoming controller message you want. This makes the XY pad workflow less dependent on touching the screen, especially when you want a physical knob, fader, or controller to handle a performance move. Program Change goes further. Presets can be copied into Transfigure’s MIDI Programs folder, then recalled from a mobile DAW or controller that sends Program Change messages. The Ignore Program Change setting has to be disabled, the MIDI route must actually reach Transfigure, and the resulting program list is limited to 128 presets arranged in alphabetical order. A copied preset may require Transfigure to restart before it appears in the MIDI Programs folder. Small detail, big troubleshooting saver. If Program Change seems dead while ordinary CC control works, preset placement and the ignore setting are better places to look than the audio insert itself. [HEADING=2]Host clock modes change how modulation behaves[/HEADING] Transfigure’s Host Clock and Host Play modes sound similar on paper, but they react differently while the transport is running. Host Clock stays tied to the DAW’s transport position, which keeps the envelope position aligned even after a speed change but can create a jump when you alter that speed during playback. Host Play starts an internal clock when the DAW transport starts. Changing an envelope speed then adjusts that internal timing without the same positional jump, which can make live movement feel smoother even though the modulation still begins with the project transport. Ableton Link sits beside those host-driven options rather than replacing them. When enabled, it synchronizes tempo across Link-compatible apps on the same network, which is useful when Transfigure is part of a wider iPad setup instead of living only inside one DAW session. Host automation, MIDI control, session recall, and Link can coexist, but they solve different problems. The cleanest AUv3 setup keeps audio processing on the channel, MIDI control on a deliberate route, and tempo behavior matched to the way you perform. Transfigure becomes much easier to manage once those three paths are treated separately instead of being folded into one vague idea of “plug-in control.” [/QUOTE]

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