Tendergreen Studio logo ← Chop Machine

Chop Machine User Guide

Algorithmic Sample Sequencer

Chop Machine turns up to 8 samples into an evolving, algorithmically sequenced performance. Load your sounds, set a rate and a motion shape, dial in chaos, and the engine builds a pattern that chops between your slots. From there you refine it by hand with pins, silences and saved scenes.

Runs as VST3, Audio Unit (AU) and a Standalone app on macOS and Windows.

Version 1.1.0, what's new:

Key Features

Minor

Bug Fixes

Prefer it offline? Download the PDF. It is the same guide, also installed with Chop Machine.

Activating Chop Machine

Chop Machine is unlocked with a product key. On first launch a window asks for your key. Paste it in and click Activate. Your key is remembered on that machine and checked again at each launch, so the window won't come back. Until you activate, the instrument stays silent.

Quick Start (60 seconds)

  1. Add Chop Machine to an instrument or MIDI track in your DAW, or open the Standalone app.
  2. Load a sample. Press the ⤓ load button in a tile's header, or drag an audio file onto its waveform strip. Load a few across different tiles.
  3. Pick a rate. Set RATE, say 1/16, for how fast the engine chops.
  4. Play it. In Loop mode, which is the default, start the host transport in your DAW and the pattern follows the host tempo. In the Standalone, press ▶ Play and set the BPM.
  5. Make it move. Turn up CHAOS, change the MOTION shape, and hit RE-ROLL until you find a pattern you like.
  6. Refine. In the scope, click a step to pin it, or click the rail under a step to silence it.
  7. Save the moment. Click SET, then a SCENE pad, to store the whole engine state for instant recall. Use ⤒ Save in the top bar to write a .chop patch file, with your samples embedded so it is fully self-contained.

That's the loop. The rest of this guide explains every control.

Want to hear it working first? Press ⤓ Load and open one of the factory patches. They arrive with their samples, scenes and settings already in place. Hit RE-ROLL from there and you're off.

The Interface

Chop Machine has three regions:

Top Bar

Control What it does
Menu (three lines) Opens a small menu with Settings and About Chop Machine. A click anywhere else closes it.
Settings (in the menu) Opens the Settings screen. Tooltips turns on a short hint when you hover a control (off until you switch it on, and the same in every instance on this machine). Appearance switches the window between LIGHT and DARK (Light until you change it, and the same in every instance on this machine). Open windows change at once. License shows who the license belongs to (name and email) and its type: a full license, a demo with its expiry date, or a beta. While you are on a demo it is also where a full key goes in. MIDI notes sets the notes Chop Machine answers to (see Changing the notes). Under a line at the bottom, Current patch settings holds the one setting saved with the patch rather than with the machine: the Sequencer version (see Sequencer version). It closes from its close button or Esc, never from a click outside it.
About Chop Machine (in the menu) Version, the Chop Machine web page, and contact links (email, Discord and Reddit). Start the tutorial launches the built-in walkthrough, a short series of highlighted steps pointing out the main controls. The walkthrough also runs by itself the first time you open Chop Machine.
Section toggle (Mac and Windows) Click a pane to toggle the collapsed mode for the corresponding section.
LOOP / BURST toggle The master transport mode (see Transport Mode).
Export Click it to open the export card: the current loop as a clip you drag into your DAW, your file browser, or onto a tile's waveform to resample it into that slot, plus Save WAV... to save it with a file dialog instead. You can also drag the button itself. It dims while every slot is off, because there is nothing to export. See Drag-Out Loop Export.
Fill Fill multiple slots at once with auto chopping and folder fishing. See Fill.
Load Open a .chop patch file. Restores all samples, settings, scenes and scope edits.
Reset Return to Default Patch. Clears loaded samples, wipes all scenes and puts every setting back to the state a brand-new instance opens on.
Save Write the current state to a .chop patch file, with the audio embedded so it stays portable. It opens in your patch folder, where the factory bank lives too. See Where Your Files Live.
Patch name The name of the patch you're working on. Double-click it to rename.
BPM / sync pill The working tempo. In a DAW it follows the host, and the pill reads SYNC. In the Standalone it is editable: use the steppers, scroll, or double-click to type a value between 40 and 999.
Play / Stop In the Standalone, starts and stops playback. In Loop it runs the pattern continuously on the internal clock, and in Burst it fires one pass. In a DAW the host transport drives Loop instead.
Arm (DAW only) Arm and disarm the sequencer when hosted in a DAW.

Load, Save and Reset grey out while playback is running. Stop the transport to use them. Fill stays available, so you can swap samples live (see Fill from One Sample).

Sample Tiles

Each of the 8 tiles is one independent sample slot. From top to bottom a tile holds a file load button and enable toggle, a waveform strip and a bottom control row.

Enabling and muting a slot

A small enable toggle sits at the top of each tile and is on by default. Switch it off to drop that slot out of the pattern. The whole tile dims as a visual cue, the engine chops only between the slots that are still enabled, and the slot's lane disappears from the scope. Turn it back on to bring the slot back. Each slot's enable state is captured by scenes and saved with your .chop patch.

Loading a sample

The waveform strip

Playhead. While the slot is sounding, a line tracks playback across the waveform, both during preview and live sequencing.

Start-point nub. A small downward triangle with a vertical line marks where BEGIN and the Legato types start playing. Drag it to move the start point.

Fine scrubbing. Hold Shift while dragging the nub and it moves at a much finer scrub rate. A small readout appears beside the nub giving the start position in seconds and milliseconds. You can press or release Shift part-way through a drag and the nub carries on from where it is rather than jumping.

Start-point audition. While playback is stopped, dragging the nub plays a short burst from the new start point, so you hear where you're landing as you move it.

Bottom control row

Control What it does
Preview Plays the sample one time, beginning from the start point, so you can audition it without sequencing. Follows the set attack and decay, along with the gate size so you can preview how it will sound in the sequence.
Level This slot's volume.
Pitch Transposes this slot up to ±36 semitones by playing back at a higher or lower speed.
Attack A fade in at the start of each hit, to soften the transient. It is a share of the hit: at 50 the fade in takes the first half of the hit, whatever the rate, the gate or the sample's length. At 0 the hit starts instantly; at full, marked HOLD, it swells across the whole hit.
Decay The fade out of each hit, as a share of what follows the attack: at 50 the hit is silent halfway through, and near the top it fades out just as the hit ends. At full, marked HOLD, the slot holds at Level for the whole gate. Lower it for a plucky, decaying tail.
Playback type Where the slot plays from on each hit. Four options, below.
Reverse The round toggle plays this slot backwards. When it is on, the waveform display mirrors as a visual cue, and the start nub and controls behave as they do going forward.

Playback types

Name What it does
BEGIN Every hit starts from the slot's start-point nub, which sits at the very beginning until you move it.
RANDOM Every hit starts from a random position in the sample.
LEGATO CONT A free-running cursor walks through the sample across hits, and keeps going across loop cycles, so the slot evolves endlessly. Good for turning a loop into a moving texture.
LEGATO RESET Like LEGATO CONT, but the cursor returns to the start at the top of each loop, so every cycle repeats the same evolving sweep instead of drifting away.

Recalling a scene resets all legato slots to their start points.

Tip: BEGIN is tight and percussive, RANDOM is glitchy and unpredictable, and the two Legato types are smooth and evolving. Experiment with mixing playback types across slots for dynamic chop patterns, and let Decay take you from sharp stutters at the low end to sustained pads at HOLD.

The Engine

This is the algorithmic heart of Chop Machine. The engine generates a step pattern from your settings, and you can steer or override it. The sections below follow the engine panel from top to bottom.

The Scope (pattern editor)

The scope sits at the top of the engine and shows the pattern it has generated. Each step is plotted at the height of the slot it will play, and the current step lights up as it plays. Only slots that are switched on get a lane, so with every slot off the scope stays empty. You can override the algorithm directly here.

Reading the scope: articulation SKIP steps appear as a gap with no node, REPEAT steps re-fire on the previous sound's lane, HOLD steps draw a rounded sustain bar where that sound rings on, and the ✕ is reserved for steps you silenced by hand.

Pins and silences are saved with your patch and your scenes. They are part of the performance.

Rate, Motion, Amplitude & Phase

The row directly under the scope.

RATE is the step speed, given as a musical division: 1/4, 1/8, 1/8T (triplet), 1/16, 1/16T, 1/32. Faster rates mean more chops per bar. Use the ◀ value ▶ stepper to change it.

MOTION is the shape of the sweep the algorithm uses to move across your slots: Ramp, RampDown, Triangle, InvTriangle, Sine, Random. It shapes the contour of which slots get chosen as the pattern progresses. Ramp climbs through the slots, Sine swings back and forth, Random scatters. Each shape sweeps once per bar at every rate, triplets included.

AMPLITUDE is the height of that motion wave, meaning how far it reaches across your slots, scaled around the center of the pool. At 100 the sweep spans as many enabled slots as possible. Turn it down to squeeze the motion into a tighter band around the middle slots, which narrows Random too. Amplitude shapes the clean motion only. Chaos still reaches everywhere regardless, so you can keep an orderly core and let chaos roam over the top of it.

PHASE slides the whole pattern back and forth in whole-step increments. The engine rotates the resolved step pattern, so the selection, the articulation and your pins and silences all ride along together, and you can shift the groove earlier or later without re-rolling. At 0 the pattern is unchanged, and changing RATE returns PHASE to 0.

Sequencer version

Every patch remembers which version of the sequencer engine it plays. Change it in Settings, under Current patch settings: pick V1 or V2. It is saved with the patch and with your DAW project, not with the machine, so each patch keeps its own.

Articulation (SKIP / REPEAT / HOLD)

The next row down. Articulation periodically alters steps to add groove and variation. One mode is active at a time.

Mode What it does
SKIP The affected steps are dropped, as though those chops had been deleted.
REPEAT The affected steps re-fire the most recent sample, giving rolls and re-triggers.
HOLD The affected steps let the previous sample ring on without re-triggering.

Two controls shape it. EVERY STEPS (1 to 4) is the number of untouched steps before an articulation begins, and the amount knob (0 to 4) sets how many steps in each articulation are affected before the pattern repeats. At 0 articulation is off. The knob's caption changes to show the active mode.

Chaos, Tune, Gate, Swing & Volume

The knob row.

CHAOS modulates numerous parameters. It has its own section below.

TUNE is a global transpose of ±24 semitones, two octaves either way, applied on top of each slot's own Pitch. Use it to move the whole instrument in key. At 0 nothing is transposed.

GATE sets how long each chop sounds. Low gives short, stuttery, gated hits. Higher values let each chop ring out more. The Attack/Decay settings for each sample slot operate within this gate.

SWING adds groove by delaying the offbeat steps. At 0 the pattern is dead straight. Turn it up toward a hard 3:1 swing. Swing is captured by scenes and saved with your patch.

VOLUME is the overall output level of the plugin.

The Chaos Engine

Chaos is one of Chop Machine's key features. It is there so you can find something sonically interesting quickly, by discovery rather than by editing steps one at a time. The knob sits at 0 to begin with, so a fresh instance has no chaos at all. Turning it up does more than add randomness. It moves the instrument through stages, where the character of the disorder changes along with the amount.

Low on the knob, only a few steps ignite. The disorder is light and your pins and silences stay intact. As you climb, more steps catch and the effects deepen continuously. There are no hard switches anywhere on the knob, only a smooth gradient.

Climbing further, ignited steps light up, grow and vibrate in the scope. They take on a pitch shift (unless the PITCH switch below is off) that stays consonant at first, using octaves, fifths and fourths, so it has a melodic character. Dynamics arrive early too, as accents and ghost note dips. This range is the sweet spot for melodic movement.

Past the middle the modulation stacks. Ignited steps pick up attack and decay shaping. Some steps begin to flip their playback, re-firing randomly or sliding into a legato run, and a little higher some hits play in reverse. The pitch palette widens to take in thirds, sixths and sevenths. Each layer is rolled from the seed, so some steps get more influence than others.

Near the top, dissonant intervals such as tritones and half steps arrive, along with a touch of microtonal detune. It is meant to feel wrong and dissonant on purpose, but still controlled.

Two switches beside the knob decide how far chaos reaches.

Four key concepts to remember about the Chaos knob:

Watch for it: ignited steps shimmer in the scope, and a tile's knob glows in its slot color on the hits chaos is modulating.

Chaos Seed & Re-roll

The pattern is deterministic. The same seed with the same settings always produces the same pattern, which is what makes a pattern you like reproducible and savable.

The CHAOS SEED chip shows the seed value currently driving the pattern. RE-ROLL generates a new random seed, and with it a fresh pattern. Keep pressing it until something grabs you, then save the scene. To go back to a specific seed, double-click the chip, type a number from 0 to 9999 and press Enter (Esc cancels). The pattern follows at once. How much changes each time scales with CHAOS, so at zero chaos the seed has little effect beyond the Random sample playback mode and motion setting.

Scene Pads (SYNC + 8 pads + SET)

The bottom row. The 8 SCENE pads store complete snapshots of the sample slots and engine for instant recall. Recalling a scene restores the whole instrument rather than just the engine. Only the loaded audio stays put between scenes.

To capture, click SET. The button reads PICK and the pads start blinking. Click a pad to store the current state there. To recall, click a stored pad.

SYNC sits to the left of the pads and quantizes switching. Arm it, and while playing, clicking a pad queues the switch rather than applying it. The pad blinks amber and the change lands on the next loop boundary, so transitions stay in time. Click another pad to re-queue, or click the current scene to cancel. When playback is stopped, switches apply at once. SET and SYNC are mutually exclusive, so arming one disarms the other. A queued switch is live only and is not saved, but the SYNC setting itself is: it travels with your patch and your project, and your DAW can automate it. It is not part of a scene.

From the keyboard and MIDI. Two more ways to recall a scene follow SYNC exactly like clicking the pad. In the Standalone, press 1 to 8. Keys do nothing while you are typing in a field or while a card such as Settings is open. In any host, MIDI notes 48 to 55 recall scenes 1 to 8, on any channel. Those are the defaults; you can move any of them in Settings. A note for an empty pad is ignored, and only a note-on counts, so releasing the key does nothing. If several scene notes land in the same instant, the last one wins.

Scenes are saved inside your .chop patch, so a saved patch carries all 8.

Building Progression: the scenes are a perfect way to build a progression in your chop patch. Create a scene, then fiddle with settings to derive a new variation, and save to the next scene. Layer it up with an evolving beat and you have the foundation for a full track. Switching pads rapidly with SYNC armed is its own effect, too.

Transport Mode: Loop vs Burst

Chop Machine has two transport modes, set by the LOOP / BURST toggle in the top bar. This setting can only be changed when playback is stopped.

LOOP runs the pattern continuously. In a DAW it syncs to the host transport, so you start your DAW playing and Chop Machine chops along in time. In the Standalone it runs on its own internal clock: press ▶ Play to start and ❚❚ to stop, and set the tempo with the editable BPM control. In the Standalone, the Burst note (60, middle C, unless you change it in Settings) also starts the loop.

The Standalone picks its own audio output and MIDI input. Both live under Options at the top left of the window, in Audio/MIDI Settings…. That is where you choose your interface, and where a MIDI keyboard has to be ticked on before it can trigger anything.

BURST is a one-shot pass. Press Play in the Standalone, or play the Burst note (60 by default), and the engine fires a single pattern pass and stops. Playing the note again restarts it from the top. This is the mode for triggering fills and hits from a keyboard or a clip.

MIDI notes. These are always on, on any channel, and nothing else is mapped.

Default note What it does
48 to 55 Recall scenes 1 to 8 (see Scene Pads).
60 Fires a Burst. In the Standalone it also starts the loop.

DAWs name the same note differently: 60 is C3 in some and C4 in others, so go by the number.

Changing the notes. Open Settings from the menu. Under MIDI notes, double-click a note number to type a new one (0 to 127), or press LEARN on its row and play the key on your controller. While a row is learning its note blinks; press LEARN again or Esc to cancel. The key you play to learn only sets the note: it does not recall a scene or fire a Burst. Every target keeps a note of its own, so picking a note another row already uses swaps the two, and a short line under the table says which row moved. Reset to defaults puts all nine back at once.

The notes belong to this machine, not to a patch or a project. Every open instance follows a change at once; an app already running separately (the Standalone beside your DAW) picks it up the next time it starts.

Drag-Out Loop Export

Click Export in the top bar and a small card opens under it with the current loop, rendered and ready to go:

The card closes when you drop the clip, save, or click anywhere else. Dragging the Export button itself still works too, without opening the card.

Where dragged loops go. Every loop you drag out is kept in Music/Chop Machine/Exports, in a folder for the day. Some DAWs play the clip from that file instead of copying it into the project, so keep the loops a project still uses.

What you get is the whole current pattern as one seamless loop, fully processed. What you hear is what you drag: all applied settings are baked in.

The format is 24-bit WAV at the host sample rate. In a DAW it renders at the host tempo so it drops in tempo-locked, and in the Standalone it uses the internal loop BPM. The tempo and seed are written into the filename, followed by the time of the render, as ChopMachine_<bpm>bpm_seed<seed>_<HHMMSS>.wav (for example ChopMachine_119bpm_seed4821_143205.wav), so you can re-stretch it later if you need to, and several exports from one seed never share a name.

Exporting never interrupts playback. It renders offline in the background. While every slot is off there is nothing to export, so the button dims, the card does not open, and the drag is refused instead of writing a silent file. Hover it to see why.

Resampling. The drag doesn't have to leave Chop Machine. Drop the loop clip (or the Export button) onto a tile's waveform strip and the loop you just made becomes that slot's sample, ready to be chopped again. The whole pattern folds down into one slot, so you can build a dense layer, capture it, and let the engine cut it up as a single sound. Do it twice and you're chopping a chop. The slot takes its name from the export, so it carries the tempo, seed and time it came from. Rename it if you'd rather.

Fill from One Sample

The ⧉ Fill button in the top bar loads one sample into several slots at once, which is how you slice a single loop or layer one hit across slots. Clicking it opens a small popup.

  1. Pick the source. Browse for a file, or drop an audio file onto the popup card.
  2. Choose the slots. Eight chips, all on by default. Click to include or exclude any slot. The play button on a chip plays what that slot would get.

  3. Set auto-chop. Three choices sit under the waveform:

    • OFF (default): every chosen slot gets an identical copy of the sample, starting at the beginning.
    • SPREAD STARTS: every slot gets the whole sample, with start points spread evenly across it in slot order.
    • SPLIT FILE: the sample is cut into equal pieces, one per chosen slot.

    Both chop modes switch Reverse off on the filled slots.

  4. Hit Fill.

Filling replaces whatever was in the selected slots and switches those slots on.

Filling while playing. Fill works while the pattern runs, so you can swap samples live. With SYNC on, the new samples land together on the next bar line, and each waiting slot's number badge blinks until they do. With SYNC off, they go live at once. The popup's Play buttons only preview while playback is stopped, because a preview would play through the same output as your beat.

The top bar's play button (arm in a DAW) stays lit and clickable while the panel is open, so you can start, stop or disarm the loop without closing it. Everything else behind the panel waits until you close it, which you do with the close button, Cancel or Esc.

Fill from a folder

The Fill panel is called the Fill Machine, and it has a second mode. SAMPLE SLICING is the one-sample fill above. FOLDER FISHING fills the slots with random samples from a folder.

  1. Choose a folder. With ONE FOLDER, every slot draws from the same folder, subfolders included. With FOLDER PER SLOT, each slot gets its own folder, and a slot with no folder is skipped. A folder field shows the end of the path, so folders with the same start stay easy to tell apart. Rest the pointer on one to see the whole path. The line under the folder counts its audio files as it reads the folder, and a slot whose folder is still being read says "scanning...". When nothing matches it says "No matching files", and Fill stays off until a slot has a pick.
  2. Add search words if you want them. A file qualifies when its name contains any one of the words, whatever the case: kick snare finds both. In FOLDER PER SLOT a slot's own words win, and an empty one uses the all-slots words, which show in grey in its box.
  3. Roll. Each slot's dice button picks a random file for it, and Roll all does every selected slot. Play on a row previews its pick while playback is stopped. A roll opens its pick to check it, and the row says "checking..." meanwhile. A file that will not open is passed over and another is drawn, so a broken file never loads as silence. If none of the matches open, the row says "no valid file" and that slot is left as it was.
  4. Hit Fill, then Done.

A file over 20 seconds is marked "trims to 20s" and is trimmed when it is filled in. Two slots can get the same file.

Your folders are remembered. The folders you choose are saved on your computer, and they come back the next time you open the Fill Machine, so you do not have to find your sample folder every session. They are kept with Chop Machine's own settings, not in your DAW project or in .chop patches, so a project you share does not carry your folder paths. Search words are not remembered. If a saved folder is gone (a drive that is unplugged, say), its row stays empty until you choose a folder. The saved path is kept, so it comes back the next time you open the Fill Machine with the drive plugged in.

Big folders. A folder can hold any number of samples, so you can point it at a whole sample drive. While a folder is read, the line under it counts the audio files found so far, beside a Stop button, and after ten seconds it adds that a large folder can take a few minutes. Stop whenever you like: the files found so far are kept, Fill works from them, and Continue carries on from where it stopped. In FOLDER PER SLOT, a slot still reading its folder has a small Stop of its own. You can also choose a smaller folder at any time. If a drive stops answering while it is read (a network drive that dropped, say), the line says so: press Stop and choose again.

A folder is read once. Chop Machine keeps a list of what it found, so the next time you open the Fill Machine, even after restarting your DAW, the files are there at once. The first time you open it after starting your DAW, only the parts of the folder that changed are read again, while the line says "checking for changes...". To pick up files added since then, press Rescan beside the count, or choose the same folder again. Choosing a folder inside one already read takes its files from that list, and every Chop Machine in your project shares it. The lists are kept in your computer's cache folder, never in your sample folders, projects or patches, and a list nobody has used for 30 days is removed.

Every instance shares your folders. With several Chop Machines in a project, a folder you choose in one is the folder in all of them: an instance with its Fill Machine open switches straight away, and the others have it the next time you open their Fill Machine. Search words and the samples you have already rolled stay with each instance.

Saving Your Work

Chop Machine saves state in two complementary ways.

  1. Inside your DAW project or plugin preset. Your full state, including the embedded sample audio, is stored automatically with the host project and with the host's own plugin presets. After saving, reopen the project and everything comes back.
  2. .chop patch files. Use ⤒ Save and ⤓ Load in the top bar to write portable patch files. The audio is embedded and FLAC-compressed.

Factory Patches

Chop Machine ships with a set of hand-authored factory patches, each with its audio embedded.

Alongside them is Default Patch, a simple patch with synthesized tones. This is the state that new instances open with, and what ↺ Reset returns you to.

Default Patch uses sequencer version V2. The hand-authored patches use V1, exactly as they shipped.

The bank reaches you in three ways.

  1. Chop Machine's own Load dialog. The first time Chop Machine runs it copies the bank into your patch folder, so ⤓ Load lists the factory patches beside your own.
  2. Your host's preset browser, where the host provides one. That means the preset menu at the top of the plugin window in Logic Pro and GarageBand for the Audio Unit, or your DAW's VST3 preset browser. Selecting one loads it as the live patch. Some hosts put this menu elsewhere, or don't offer one at all. If you don't see a list, use ⤓ Load instead, which reads the same bank.
  3. A shared, read-only copy that the installer leaves on the machine. This is where the first-run copy comes from, and you can always copy patches out of it by hand.

Both the patch bank and the preset browser files are optional components in the installer, so if one of them is missing it may simply have been unticked at install time.

The patches are yours to edit. The copy in your patch folder is an ordinary .chop file, so change it and save over it if you want. Chop Machine never overwrites a file that is already in your patch folder, which means your version of a factory patch stays your version, including through updates. The flip side is that a factory patch you have saved over will not be restored on its own. Take a fresh copy from the shared bank folder if you want the original back.

Where Your Files Live

What macOS Windows
Your patches (.chop), where the factory bank is copied on first run ~/Library/Chop Machine/Patches %APPDATA%\Chop Machine\Patches
Factory presets (.vstpreset / .aupreset), installed read-only /Library/Audio/Presets/TendergreenStudio/Chop Machine Documents\VST3 Presets\TendergreenStudio\Chop Machine
Your own presets, plus the generated Default Patch ~/Library/Audio/Presets/TendergreenStudio/Chop Machine (the same folder)
Loops you drag out, in a folder for each day ~/Music/Chop Machine/Exports Music\Chop Machine\Exports
Shared factory bank (installed, read-only) /Library/Application Support/Chop Machine/Factory Patches C:\ProgramData\Chop Machine\Factory Patches
Settings + product key ~/Library/Application Support/Chop Machine/Chop Machine App.settings %APPDATA%\Chop Machine\Chop Machine App.settings
VST3 /Library/Audio/Plug-Ins/VST3 C:\Program Files\Common Files\VST3
Audio Unit /Library/Audio/Plug-Ins/Components (no AU on Windows)
Standalone app /Applications C:\Program Files\Chop Machine

Uninstalling leaves your work alone. On macOS, run the bundled uninstaller from Terminal: sudo bash "/Library/Audio/Presets/TendergreenStudio/Chop Machine/uninstall-chop-machine.sh". On Windows, use Add or Remove Programs. Either way it clears the plugins, the app and the shared factory bank, while your patch folder, your product key and anything you saved into the preset folder stay exactly where they are.

Tips & Workflow Ideas

Troubleshooting

Specifications

Feedback & Support

Found a bug, want a feature, or something doesn't work the way you expected? Get in touch:

Tracks made with Chop Machine are always welcome too.

Trademarks

VST is a registered trademark of Steinberg Media Technologies GmbH. Audio Unit (AU) is a trademark of Apple Inc. Chop Machine is built with the JUCE framework.

Thanks for using Chop Machine. Questions or feedback? See About Chop Machine in the top bar's menu for contact and community links. 🔪🎛️