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// liquid memory relayEverything is on one page: the screen above, the six character knobs and MEMORY DRIFT in the middle, MELT, GHOST SIGNAL and OUTPUT below.
warm curtains, blue glass, snowfall beyond the television
MEMORY SCREEN is an ambient instrument. It plays slow, soft, dreamlike sounds and surrounds them with a moving screen of footage, photographs and light. I built it for stillness and distance first: most of its controls take something away, so the sound drifts further into memory.
It was designed for expression and pure inspiration, a way to quickly land on a beautiful sound without worrying about heavy sound design work, and just as quickly find yourself lost in it.
Recorded in MEMORY SCREEN with its own Rec.
A memory is one complete sound: its voice and everything around it, akin to a preset. I created every one of them to reflect a different moment in my life, alongside a different engine inside. They live in five distinct archives.
Soft, dark, warm synthesis. The heart of the instrument.
Recorded instruments blended with synthesis, a sampler and a synthesizer layered together.
Deep, rich sounds with wide unison, grain and a long, moving space. Slow and cinematic. My three reese basses live here: Deep Space, Frostcore and Trapped Under Ice.
Brighter, harmonically fuller sounds through a resonant filter. The accents: use them for contrast.
Clean, clear, warm sounds with very little mud or harshness. Dreamy and nostalgic, with sounds I built from my own recordings and sampled instruments.
Press it and a different memory melts in, chosen for you, with no hard cut. Linger keeps the voice and remembers it a slightly different way. Keep saves it and names it for you.
Two memories split across the keyboard. drift low and drift high re-roll one side and leave the other where it is.
Every few seconds a reversed note that belongs with what you just played rises out of nowhere and cuts away. It never becomes constant, and your own notes are left untouched.
Built-in arrangements that play the instrument for you, with tape-style Varispeed. Drag one into your music software as editable MIDI.
Hold one note and a loop memory repeats it in a steady pattern, so a single key becomes a whole figure. The division beside it sets how fast the repeats run.
Record exactly what you hear, every effect and the field recording, then drag the WAV straight onto an audio track.
Everything is on one page: the screen above, the six character knobs and MEMORY DRIFT in the middle, MELT, GHOST SIGNAL and OUTPUT below.
MELT and GHOST SIGNAL sit on the main page. The EFFECTS page holds five more treatments, each bypassed until you switch it on, and every one is kept with your memories.
The long reverberant wash I built the instrument around. Short is a room; long is a held breath.
A delayed, detuned echo, like a faint radio playing your sound back to you late. Ether thins it into air.
Shimmer folds an octave-up copy back into the wash, so the tail rises and glows. FREEZE holds the wash exactly where it is until you let go.
Widens one voice into several slightly detuned ones, so it feels choral.
Smears the start of every note, so nothing arrives sharply: every note fades in rather than strikes.
Gentle tape warmth that tames the peaks. Tone tilts it from dark and dull to bright and open.
Lifts the very top, so the sound breathes without becoming harsh.
A slow tape echo in time with your track. Each repeat comes back softer, darker and further away, and it never covers what you play.
Field FX lays a recording of a real place under everything you play: rain on a roof, winter wind, a stream, a river, a thunderstorm, a forest. It sits quietly below the instrument, on a fader of its own.
Time River and the four environments are each built from ten separate layers, every fader named for the part of the place it holds. Raise one to bring that part forward; lower it to let it fall back.
Ready-made balances of the ten layers. Choosing one moves the faders, and each environment remembers its own mix.
The faders drift up and down on their own, so the place never sits still. Soft wanders, Hard picks extremes, and Solo through Quad keep one to four layers forward at a time.
Play the recording slower or faster, its pitch moving with it, or let Alternate drift it like a tape machine. Set how wide it spreads and how loud it sits.
Set the key Mystic Forest plays in. REMIX gives every layer its own transposition; RESET brings them home.
Keep the recording out of the effects so it stays plain while the instrument is processed, or take the top off so it sits further back.
With AUTO / FOLLOW MEMORY, each memory brings its own place with it.
Above the controls, footage and photographs play under still water that ripples and follows your mouse. Your notes throw colour across it. It never changes the sound; it is there to be looked at.
The clips under moving water, a slow slideshow of photographs, or one frozen frame melting into the next.
Each note throws a coloured splash, or breathes into one slow smoke of colour. Signal trace draws your sound as a phosphor line.
While music plays, the screen cuts through the footage and the photographs, half the cuts on the beat and one on every bar. When the music stops it settles back into slow fades.
Hide the controls and leave only the scene, for playing to a room or recording video. Add your own clips and photographs too.
FLASH STEP uses rapid cuts and flashing images. It can be switched off with one click.
Standalone app (Windows, macOS)
VST3 plug-in (Windows, macOS)
AU plug-in (macOS)
Windows 10 or 11, 64-bit
macOS 10.15 or later, Intel and Apple silicon
The moving screen takes real computer power. LOW GRAPHICS is on by default, and none of the display settings change the sound.
Delivered digitally; all sales are final. Read the license agreement.
I'm kirk flood, also known professionally as goodbye, and I created MEMORY SCREEN.
instagram.com/goodbye · l0fi.com · goodbyeproduction@gmail.com