Scenes

Aconite gives you two scenes, A and B — think of them as two independent voices you activate and combine freely. Each scene is a whole second instrument, so two completely different patches can play together. Play A alone, B alone, or both at once; when both are live, a Routing choice decides how they share the keyboard — Layer (stacked on every note), Split (the keyboard divided), or Channel (each scene on its own MIDI channel, making Aconite multitimbral). Each scene carries its own complete voicing, character, effects, and sequencer settings, so the two can behave — and sound — entirely differently.

Think of it this way: every preset you load lives in Scene A. Activate Scene B and it becomes a complete second instrument (its own oscillators, its own filters, its own envelopes, its own FX rack, and — if you choose — its own sequence) running inside the same plugin window. You can play it alongside A, or on its own.

What a scene captures

Each scene is a completely independent instrument. It carries its own:

• Oscillator, filter, and envelope settings.
• Its own source mix — the mixer faders, mutes, per-source trigger odds, and Mix Drive, so Scene B can balance its oscillators, sub, and noise completely differently from Scene A. (The sympathetic Return lane stays shared, since it rides the combined master bus.)
• Voicing controls: play mode, polyphony cap, note priority, glide.
• Unison stacking and detune.
• Analog character settings: Voice Detune, Drift, Variance, and Transient.
• Scene Pan position.
• Its own full effects rack — reverb, delay, chorus, distortion, and the rest. Scene A can be dry while Scene B swims in a long modulated delay; each scene runs its own effects before the two are mixed together.
• Its own sequencer, arpeggiator, chord lane, and probability filter — when you set Sequencer: Per-Scene (see below).

What stays shared across both scenes is only the master section — the master gain, the brickwall limiter, and the sympathetic-string / grand-air resonance — which processes the combined mix, plus oversampling Quality, MPE, and MIDI routing (applied before the scenes split). This keeps the overall mix coherent while still letting each scene be its own instrument.

Scenes are saved and recalled with presets, so a split or layer you build — including both effects racks and both sequences — is completely portable.

Shared vs Per-Scene sequencer

By default the sequencer, arpeggiator, chord lane, and probability filter are Shared: one engine drives both scenes, so a pattern you build plays through Scene A and Scene B alike. This is the classic behaviour and the default.

Set SEQ: Per-Scene (in the Voice panel) and Scene B gets its own sequence: its own arp, clip notes, chord lane, and probability curve, edited independently of Scene A. A small chip by the sequencer header tells you what you are editing — Shared (one sequence for both) or Scene B (Scene B’s own sequence) — so it is never ambiguous.

Activating scenes: the A | B pair

Two lit pills — A and B — sit in the header, next to the Edit: Scene A / B box. A lit pill means that scene is live. Click a pill to turn its scene on or off:

• A only (the default) — Aconite behaves as a single-patch instrument exactly as it always has. Scene B is ready but silent.
• B only — Scene B plays on its own, with the whole keyboard to itself and no split. Great for auditioning Scene B’s patch, or for flipping between two full patches live by toggling the pair.
• Both live — A and B play together; the Routing choice (below) decides how they share the keyboard.

At least one scene always stays live, so you can never mute the patch by accident. When you turn one scene solo, the Edit: Scene A / B box follows to that scene, so the panels you are editing are the panels you are hearing.

Routing: how two live scenes share the keyboard

When both scenes are live, the Routing selector — in the Voice panel — sets how they combine. (With only one scene live, Routing is dimmed, since there is nothing to share.)

Layer

Both scenes play together on every note. The two voices stack, useful for combining a pad in Scene A with a lead in Scene B, or a sub layer with a bright top end. Each scene has its own Scene Pan, so you can separate them in the stereo field.

A classic use: set Scene A to a warm, slow-attack pad, Scene B to a plucked lead with short decay. Playing a chord gives you the instant attack of the lead with the slow bloom of the pad underneath: one key, two personalities.

Split

The keyboard is divided between the two scenes at a split point you set. Below the split point Scene A sounds; above it Scene B sounds. This turns Aconite into a two-zone keyboard instrument: bass in the left hand from Scene A, chords or melody from the right hand in Scene B.

Adjust the split point by dragging the divider on the on-screen keyboard, or by setting the value directly. Each scene independently handles its own voicing, glide, and character, so the two zones can have entirely different playing feels.

Channel

Each scene listens on its own MIDI channel, making Aconite multitimbral. Scene A receives on its assigned channel; Scene B receives on its own. Your DAW or external controller drives each scene independently: sequence a bassline on one channel, a pad on another.

This mode is useful for scoring, for live rigs with a MIDI controller that transmits on multiple channels, or for combining Aconite with a step sequencer lane per scene.

Scene Pan

When both scenes are live (Layer or Split routing), each scene has a Scene Pan control that places that scene’s output in the stereo field independently of the other. Pan Scene A left and Scene B right for a split-stereo layer, or keep both centred and let the oscillator and unison settings do the spreading.

Switching between scenes

The Edit: Scene A / B selector in the header brings that scene’s controls into focus for editing; the panels update to show that scene’s patch. This now re-points everything that is per-scene — the oscillator / filter / envelope / modulation panels, the mixer, the effects rack, and (with Per-Scene) the Keys / piano-roll sequencer — so switching to Scene B lets you edit its source mix, its FX, and its sequence in place. The other scene keeps playing as you edit.

Under Shared the sequencer stays on the one shared pattern even while you edit Scene B’s sound; only under Per-Scene does the Keys editor follow to Scene B’s own sequence (the header chip confirms which you are editing).

How to: two completely independent scenes

To build two fully independent instruments in one patch — different sound, different effects, different sequence:

1. Light the B pill in the header A | B pair so both scenes are live, then set Routing (in the Voice panel) to Layer (both stack on every note) or Split (a two-zone keyboard).
2. Click Edit: Scene B in the header and dial a different patch — its own oscillators, filter, and envelopes.
3. With Scene B still selected, open the Effects rack and give Scene B its own effects (say, Scene A dry with a short plate, Scene B a long modulated delay and shimmer reverb).
4. In the Voice panel, set SEQ: Per-Scene. The header chip now reads Scene B.
5. Still editing Scene B, open the Keys / piano-roll editor and author a different arp, clip, or chord progression for Scene B.
6. Play. Both scenes sound together, each with its own tone, its own effects, and its own sequence. Save it as a preset and the whole two-scene setup recalls exactly.

Tip

Scenes are the fastest way to build a rich live rig. Load a filter-heavy pad into Scene A, a percussive pluck into Scene B, light both pills and set Split routing, and you have an expressive two-hand keyboard instrument in seconds: no parallel tracks. Save the preset and the whole setup comes back exactly as you left it.