Bovo Violin
user manual.

Bovo Violin is a free, physically modeled four-string instrument calibrated by experts using recordings of our S.A. Deroux violin. Bow strokes, finger contact, and shared string resonance shape its sound in real time.

Quick start#

1. Load Bovo Violin on a stereo software-instrument/MIDI track. Logic Pro uses AU; Ableton Live can use VST3 or AU.
2. Enable the keyboard's MIDI input and arm or monitor the track. Start with All MIDI channels in the plug-in.
3. In Play → Performance profile, choose Classical Cantabile. Choose Assisted to let expression, bow character and vibrato develop automatically.
4. Play within MIDI 55–105, G3–A7 when middle C is C4. The four open strings are G3/55, D4/62, A4/69 and E5/76.
5. Overlap notes for a connected melody. Play separate notes for separate bow strokes. A sustain pedal sending CC64 extends a slur through gaps between keys.
6. Move the mod wheel, CC1, to shape dynamics. It takes control of expression. Click that control's Auto button to return it to the performer.
7. Start with Solo Recital and Solo finish for space and output. The instrument uses its fixed Air & wood body model. Keep the DAW track pan centered.

Fresh instances already use Assisted Live Keyboard, Classical vibrato character, standard bow phrasing, the Air & wood body model, Solo Recital space and Solo finish. The named performance profiles provide additional starting points.

Reset defaults, in the top bar on every page, restores the complete factory setup: sound, performance, room, microphones, output and MIDI settings. It clears CC overrides, keyswitch selections, pedals and pitch bend, and stops sounding notes. The current page and window size stay in place. A single slider can still be reset by double-clicking it.

For a chord, select Chords on Play or tap MIDI 34, then hold the pitches together. The normal Melody selection is a single line.

Read the interface#

The violin shows each active string and planted finger contact. Multiple planted contacts can be visible together. The separate string display reads G, D, A, E from bottom to top and distinguishes bowed, held and ringing strings.

The bow remains visible when lifted. On string, Moving, Lifted and Retake indicate its actual contact state. A stationary martelé pressure catch should not look like a moving stroke.

The lower keyboard shows playable notes and the colored switch groups. You can audition notes and switches with the mouse; the same actions respond to incoming MIDI.

The Hand readout on Play shows the sounding vibrato width, rate and moving pitch offset. Detailed sliders show settings or incoming controller targets; they are not plots of every internal oscillation.

Hover a control to see its CC and automation name. Double-click a continuous slider to restore its factory value. Panic stops the current performance and clears its acoustic memory; use it for a stuck note, rather than as the normal end of a phrase.

Playing a Music Agent export#

Bovo Music Agent’s violin stems are performed with Bovo Violin. The exported MIDI carries CCs and keyswitches for dynamics, vibrato, bowing, and articulation changes.

1. Export your chosen violin performance as MIDI from Bovo Music Agent. Keep the original file as a reference.
2. Load a fresh Bovo Violin instance on a software-instrument track. Start with All MIDI channels, keyswitches enabled, and the default First live switch, MIDI 34.
3. Import the MIDI at the song’s tempo. Preserve its controller events, keyswitch notes, note-offs, and timing. Leave the keyswitch notes untransposed; the low notes select playing actions rather than sounding violin pitches.
4. Start playback from the beginning of the clip so its initial controller values and switches arrive before the affected notes. Incoming CCs can take control of settings shown in the interface. Avoid loading another performance profile after playback begins, because it resets performance controls.
5. Edit the notes and controller lanes in your DAW to refine expression, vibrato, and bowing. Keep articulation switches before the notes they affect, with their matching note-offs. Leave enough time after the last note for the instrument and room tail.

MIDI carries the performance; the plug-in’s tone, room, microphone, and output settings also affect the sound. Adjust these for your mix. For control assignments, see MIDI and automation reference. For playing actions, see Grouped keyswitches.

You can also import ordinary note MIDI and use Assisted for automatic expression, bow character, and vibrato. Prepared CCs and keyswitches give you direct control over more of the performance.

Installation and DAW setup#

Bovo Violin 0.2.19 is available as a macOS .pkg installer and a Windows .exe installer. Install the package for your system, then open your DAW and rescan its plug-ins. No recording-library drive is required to play the instrument.

System requirements and formats#

Download the current installers and their matching build-generated checksums from the Bovo Violin release page.

The macOS installer places the plug-ins in /Library/Audio/Plug-Ins/Components/ and /Library/Audio/Plug-Ins/VST3/. The Windows installer places VST3 in the standard system folder, normally C:\Program Files\Common Files\VST3\. Search your host for Bovo Violin.

The released installers provide the formats listed above. Intel Mac, Linux, AAX, and standalone CLAP downloads are not part of this release.

Logic Pro#

Create a Software Instrument track and choose AU Instruments → Bovo → Bovo Violin → Stereo. Enable the intended MIDI input and select the track for live playing.

If the instrument is missing, open Logic's Plug-in Manager, find the Bovo instrument and use Reset & Rescan Selection. Restart Logic after installation or replacing a plug-in. A plug-in instance already loaded into a project can continue running the previous binary until the host reloads it.

REAPER#

Create a track, open its FX browser, and search for Bovo Violin. Load the VST3 instrument, choose your keyboard as the track's MIDI input, arm the track, and enable input monitoring.

If it is missing, check Preferences → Plug-ins → VST, rescan the plug-ins, and restart REAPER if needed. The installer uses the standard VST3 location for your system.

The product owner has tested Bovo Violin in Logic Pro and REAPER. These instructions do not specify a tested DAW version.

Ableton Live#

In Settings → Plug-Ins, enable the relevant AU or VST3 system-folder option and use Rescan. AU is available on macOS; VST3 is available on macOS and Windows. Find Bovo Violin in the Plug-Ins browser and place it on a MIDI track.

Set the track's MIDI input to the keyboard, then enable monitoring or arm the track. On macOS, if an ordinary rescan does not find a replaced plug-in, hold Option while clicking Rescan for a full rescan. These menu labels can vary slightly with the Live version. This is setup guidance; Ableton Live is not included in the confirmed tested-host list.

Saved projects#

Bovo Violin uses the Air & wood body model, with the Open resonance setting fixed at 1, including in saved projects. Your saved performance, room and microphone settings still apply. Create a fresh instance to start with the complete factory setup.

Choose a playing setup#

Performance profiles#

Choose a profile before recording. It prepares the musical hand and bow setup, Live Keyboard, automatic string choice and automatic direction. It turns the three performance intentions to Auto and starts with audible portamento off.

A profile resets its performance controls, including finger/shift timing and vibrato settings. It preserves the selected body, tone, bow-hair sound level, room, microphones, master level, output finish and keyswitch bank.

Customize → Vibrato character changes the hand's expression. Customize → Bow phrasing selects Standard, Classical, Singing or Dolce bow support. You can combine them: for example, Singing bow phrasing with Baroque vibrato.

Current settings means the controls form a custom combination rather than an exact named profile. It is not an error. Profiles are starting points; they do not infer a score's bar accents, write rubato or quantize your playing.

Assisted, Expressive Live and Detailed MIDI#

Assisted and Expressive Live use the same grouped keyboard map. You can also keep just one or two intentions automatic by using their individual Auto buttons.

Connect a MIDI keyboard#

A practical KeyLab 88 setup#

Use the keyboard's User/MIDI configuration and send absolute CC values, 0–127. Configure the controls through the appropriate Arturia MIDI Control Center/User preset for your model. The plug-in does not require aftertouch or a proprietary keyboard script.

Send keyswitches and musical notes on an accepted input channel. Start with All MIDI channels and leave the keyboard untransposed; hardware transposition also moves the switch notes.

Aftertouch can be Off, Vibrato or Bow intensity. For predictable vibrato from a fader alone, choose Off and use CC17. Keep pitch bend assigned to pitch.

Do not use a relative encoder mode for these absolute controls. Avoid a DAW-control preset that redirects the wheel, faders or pedal away from the instrument track.

Grouped keyswitches#

The live bank is MIDI 34–54 by default. There is one grouped map and no layout selector.

MIDI numbers are authoritative. The note names here use middle C = C4/MIDI 60. Logic and other hosts may display a different octave number for the same key.

Articulations — terracotta#

Bow — lavender#

Strings — sage#

Harmonics — blue#

Tap selections persist after the switch key is released. Hold actions remain active only while held, unless an equivalent pedal/controller is also active. Switch notes themselves are silent.

Move the bank#

MIDI → First live switch moves all 21 switches together. Its range is MIDI 0–34, so the bank stays below the lowest violin note. After moving it, use the displayed map; all numbers in this manual assume the default first switch, 34.

Moving the bank clears old switch holds and preserves held musical notes and controller pedals. Prefer setting it before a take.

Dynamics and automatic control#

What changes the sound#

Live · Touch response / CC9 sets how strongly keyboard velocity influences the live response. Its factory setting is 0.85. A value of zero reduces the additional live sensitivity; it does not remove every velocity-dependent behavior in the instrument.

Dynamics do not require the master slider to move. A held note can grow through CC1 and bow work while Master stays fixed. Likewise, a MIDI clip can have little velocity variation but still contain a large dynamic shape in its expression and bow data.

Taking over and returning to Auto#

Moving a slider, sending its CC or changing its DAW automation takes ownership of that control or intention. The instrument does not immediately fight the new value.

The Auto buttons above Expression, Bow character and Vibrato amount return the corresponding intention to the performer. Vibrato Auto also restores musical automatic shaping.

After an independent sounding-point, hair or tremolo edit, the Bow page offers Automatic point, Automatic hair or Follow dynamics. Use those buttons to release the individual override.

Auto bow direction, MIDI 41, only changes direction policy. It does not erase a manual speed, force, sounding point or hair setting. Use the performance Auto buttons and independent Bow buttons for those controls.

The Play macro sliders show effective automatic values while Auto is active and incoming/manual targets when you take over. The Hand readout reports the evolving vibrato motion. Internal automatic motion is calculated in audio; it is not emitted as a stream of new MIDI CC events.

Bowing and legato#

Choose the stroke#

Legato / Melody is a single line. Overlapping notes keep a connected gesture; separate key attacks can make separate strokes. Last-note priority means lifting a newer key can return to an older key that is still held.

Arco / Chords retains independent string parts. Use it for drones, double stops and rolled chords.

Détaché gives separate on-string strokes. Short note lengths can produce a detached or staccato phrase without requiring another articulation switch.

Martelé prepares pressure while the bow is still, releases into travel and separates the following stroke. Use velocity for accents; holding a slur temporarily connects the passage.

Spiccato gives a bouncing contact. Spiccato length / CC4 allows 60–180 ms contact; Dancing Spiccato starts at 136 ms. Releasing a key can still end its contact earlier. A very long held key does not turn a bounce into a sustained legato stroke.

Make a slur#

For a simple melody, select MIDI 35 and overlap the next note before releasing the previous one.

For a passage with small keyboard gaps, hold Slur/MIDI 46 or CC64 throughout it. The last bowed pitch can remain held through the gap. Release both the Slur key and slur pedal when the phrase should end.

Continuous bow / CC66 keeps the stroke across notes and chords. It controls bow connection; the Keyboard slur pedal additionally bridges key gaps. A string crossing does not inherently require a direction change.

Retake versus change#

• Retake/MIDI 44/CC69 lifts and returns the bow near the frog for another down bow, or near the tip for another up bow. The next note uses the prepared direction.
• Change bow/MIDI 45/CC31 reverses on the string. At rest it prepares the opposite direction for the next note.
• Repeating Down/MIDI 42 or Up/MIDI 43 requests a retake in that direction.
• Auto bow/MIDI 41 keeps the current stroke and resumes automatic direction for later separate strokes.

A retake has an airborne interval. A note pressed during the return waits for contact while existing resonance continues. Trigger it just before an intended new same-direction stroke if you need a clean arrival.

Long sustained notes#

Automatic bow control conserves travel progressively during quiet and strong sustained playing, including held détaché. It can keep a long line developing without a fresh attack on every finger change.

Available bow travel is finite. Very long or forceful holds can still require a turn. If the bow runs out much too soon, check for a manual high speed/force command or a reduced Available bow travel / CC86. Return Bow character to Auto to restore automatic physical support.

In Bow → Direct, speed and force are independent. This is useful for authored gestures and extreme bow experiments; Musical mode is the practical starting point for keyboard performance.

Vibrato#

Musical automatic vibrato#

Keep Musical automatic vibrato enabled for the current phrase behavior. During a sustained stopped pitch, width and speed can bloom, retreat and change their relationship. Across a legato line, hand motion continues between notes. Separate contacts allow a brief settling of the hand.

Velocity, expression and phrase direction contribute to the result. The performer follows the actual note/touch history; it does not know a notated beat hierarchy or invent score accents. Supply important emphasis through velocity, expression and timing.

Open strings have no left-hand vibrato. A straight open note is expected.

Control it without aftertouch#

Assign a fader to CC17. Move it to emphasize or calm the hand while the profile continues shaping the sustained note. This is the normal live control.

For a straight stopped tone, send CC17=0 and set the aftertouch route to Off. Aftertouch routed to Vibrato can otherwise add motion.

For a precisely authored contour, use CC76 rate and CC77 width. These direct controls take over the automatic shape. Use Vibrato Auto to return to phrase-based development.

The Left Hand page also exposes onset, development, asymmetry, variation, fingertip motion and phrasing amount. A fixed width/rate target need not make the Play amount slider oscillate; look at the Hand readout to see the actual motion.

Shifting and portamento#

Normal finger changes, an anchored reach and an audible position shift are different gestures.

Enable Portamento/CC65 when you want a shift to be audible. Overlap notes on the same string. Latch that string first if Auto would choose a crossing instead.

Position shift time / CC5 sets 15–300 ms. Finger change time / CC83 sets 2–24 ms for the smaller contact transition. Shift contact motion / CC30 controls the contact change that lightens a shift.

Start with Light shift and a moderate time. Use Singing slide for a deliberate expressive connection. Leave portamento off for a discreet phrase unless you want an audible glide; a pitch interval alone does not establish a same-finger position shift.

Pizzicato, tremolo and harmonics#

Pizzicato#

Tap MIDI 39. Note velocity shapes the pluck. Pizzicato projection / CC8 adds 0–12 dB of displacement strength; it is useful for a concluding accent without raising the whole instrument.

Pluck point / CC84 changes the location along the speaking string. Finger damping and string position influence the release. High-register pizzicato naturally has a shorter body-supported decay than low pizzicato; holding a MIDI key is not a request for an indefinite plucked sustain.

Return to a bowed articulation for the next arco phrase. Pizzicato does not consume an automatic bow stroke.

Tremolo#

Tap MIDI 40 and hold the musical pitch. Tremolo rate / CC82 spans 3–16 individual strokes per second. A down-and-up pair therefore counts as two strokes.

Automatic tremolo can respond to dynamics. Sending CC82 gives a fixed manual rate; Bow → Follow dynamics releases that override.

Use Hair tilt / CC23 to change the contact: 0 is full hair, 1 is edge hair. Sounding point and pressure also influence the texture. Keep Acoustic pizzicato / tremolo and Refined articulation response enabled for the current behavior.

Natural harmonics#

Hold MIDI 53, then play an open-string base key:

Release the harmonic hold to return to ordinary touch. The open input identifies its physical string even if a different string was previously latched. This dedicated natural-harmonic hold requires Refined articulation response.

Artificial and selected harmonics#

Hold MIDI 54, or turn on Harmonic touch/CC87, and select the harmonic type on Left Hand or with CC96.

Input the base pitch, not the resulting harmonic. For example, artificial fourth touch on A4/69 produces A6/93; you do not need to enter both finger pitches as a chord.

The dedicated MIDI 53 hold defaults to a natural octave; the natural twelfth and double octave selections choose the higher partials. If using latched CC87, send 0 to restore normal touch.

Harmonics are modeled approximations. Bow point, load and touch can make their response more or less stable; they should not be treated as ordinary stopped notes with the same aggressive bow settings.

Strings, chords and ringing#

Automatic and explicit strings#

Auto string weighs the current hand position, finger reach, string crossings and held voices. It remembers a recent hand position across short releases and open strings. It uses the played history without future-note lookahead, so it cannot know an upcoming phrase before you play it.

Tap a string switch when color or fingering requires a specific string. For F♯5/MIDI 78 on A, tap MIDI 50, then play 78. Tap MIDI 52 to return to Auto.

A latched string must be able to produce the requested pitch. A note below that string's open pitch cannot be stopped on it. A large pitch jump may require a high position; use an adjacent string when that is the intended fingering.

The current model accepts these per-string input ranges:

Hold one part while another moves#

For a drone and melody:

1. Select Chords/MIDI 34 and Auto string/MIDI 52.
2. Hold A4/MIDI 69.
3. Play E5/76 → F♯5/78 → G5/79, releasing the outgoing upper note as the next arrives.
4. Hold Slur or CC64 if you want the changing upper part to remain in one bow.
5. Release the phrase and the slur hold deliberately.

For a lower-string example, hold G3/55 and move E♭4/63 → D4/62 → E♭4/63 above it. Chords retains the G drone while the changing finger stays on D.

Double, triple and quadruple stops#

The instrument has four physical strings, rather than unrestricted keyboard polyphony. Chords allocate feasible notes to them. Brief finger overlaps can replace a moving voice while preserving an unrelated held voice.

The upper voice is normally favored in a double stop. In a two-note octave, the lower voice is favored. Preferred chord voice / CC27 sets the balance difference, 0–6 dB.

Chord roll / CC28 sets the lower-to-upper progression of larger chords, 10–1000 ms. The lower contact can continue ringing after the bow has moved to the upper pair. Increase the roll for a deliberate slow chord arrival; shorten it for a quick gesture. The one-second maximum allows an especially deliberate lower-to-upper spread. The slider gives more travel to shorter values for fine adjustment; MIDI CC28 remains linear across the full range.

Shared string resonance and body response remain active during runs and string crossings. Lower stopped positions generally ring more than very high stopped positions; open strings and harmonic relationships can add stronger sympathetic support. Finger damping / CC72 controls release damping. Higher values shorten stopped-string release.

One track with explicit string channels#

For prepared polyphony, enable MIDI → Channels 2–5 select G / D / A / E and preserve the MIDI event channels:

A single MIDI track can contain all four channels. Make sure the DAW does not force its events onto one output channel. Keep the plug-in's input accepting the channels you use.

Use this when you need explicit string placement, separate channel bends or detailed per-string preparation. The ordinary grouped map remains the live keyboard workflow.

Body and tone#

The instrument uses the Air & wood body model, with fuller lower radiation and open upper projection. The Open resonance setting is fixed at 1. These settings apply to every instance.

Choose Resonance → Tone to adjust the overall sound:

Tone changes blend smoothly during playback. The choice is saved with your project and can be automated using Tone in your DAW. It leaves the performance profile and MIDI controls in place. Reset defaults returns it to Preset. There is no dedicated Tone keyswitch or CC.

Use Body resonance / CC113, limited to 0.8–1.2 × with a default of 1 ×, for the body contribution and Shared string resonance / CC71 for interaction and ringing between strings. These have different roles.

G-string depth / CC114 adds warmth and weight to low G-string notes. Try G3 (MIDI55) to hear the range. At 0 it preserves the factory tone; increasing it supports the lower overtones without changing pitch. The effect gradually withdraws in higher positions and does not recolor other strings or harmonics. Upper E response / CC118 controls the dedicated upper response. Body brightness / CC74 is a broad tonal adjustment. Raise them gradually while listening to both held notes and runs.

Bow hair sound / CC24 adjusts the audible contact layer; its factory level is 0.08. Finger force / CC25 changes physical contact. For a rougher bow experiment, combine speed, force, point and hair instead of only increasing the noise slider.

Con sordino / CC67 applies the mute.

Rooms, microphones and output#

Choose a space#

Selecting a venue changes the room model while keeping your microphone and return controls. Click Load [venue] setup to apply that venue's recommended complete microphone, reflection, diffusion and tail-EQ settings.

Solo recital loads the concert-hall solo perspective, enables distance level compensation, and sets Body resonance=1 and G depth=0.

Freeplay space loads the lighter Freeplay room/microphone settings. Room off sets Reverb amount to 0. It does not disable instrument resonance, microphone color or output finishing.

Shape the room#

• Reverb amount / CC91 sets the return level.
• Early reflections / CC93 adds the nearby reflected structure around an attack.
• Late reverb / CC94 controls the diffuse tail.
• Decay length / CC92 scales the room's decay; Treble decay / CC107 shapes high-frequency persistence.
• Pre-delay / CC95 separates the reflected return from the direct arrival.
• Diffusion / CC110 fills the tail; Reverb width / CC108 changes its stereo spread.
• Reverb low-cut / CC111 and high-cut / CC112 filter the room return.

For running passages that become cloudy, reduce Late reverb or Decay length before removing the instrument's own resonance.

Microphones#

Distance, pair spacing, height, off-axis angle and pattern change the modeled perspective. Pattern runs from 0 figure-eight, through 0.5 cardioid, to 1 omni.

Match level with distance / CC89 keeps the direct level steady while moving the microphones; the room becomes more prominent with distance. Turn it off when you want distance to reduce the direct level naturally.

Leave the DAW track pan centered. String image width and room width create a stereo image around it. CC10 is not the plug-in's pan control: it controls Refined articulation response. Standard center-pan CC10=64 keeps that response enabled.

Output finishing#

Output polish / CC19 adjusts the finishing amount. Peak protection remains active in the enabled finishing modes even with low polish. Raw is a finishing bypass; use Room off separately if you also want no reverb return.

Finishing is for the instrument's own output. It does not master the rest of your DAW session. If the host bus overloads after other effects or instruments are added, adjust the session levels.

Solo finish and Mix headroom report a small look-ahead latency to the host. Keep the DAW's plug-in delay compensation enabled and choose a suitable audio buffer for live playing.

Record and replay a performance#

Record the musical notes, their velocity, your wheel/fader gestures, pedals, switches and intentional bends. Automatic playing develops the audio internally; it does not write generated bow or vibrato CC data into the clip.

Save the plug-in state with the project or a host preset. Include:

• Plug-in version and performance mode.
• Performance profile/custom bow and vibrato choices.
• Which intentions and independent bow controls are Auto or manual.
• The First live switch setting.
• String-channel settings, pitch-bend range and aftertouch route.
• Body, room, microphones, master and output finish.

For reliable clip playback, place required articulation/string switches and controller values before the first affected note. Include note-offs for switches and musical notes. Release slur/harmonic pedals at the intended ending and leave time for the instrument and room tail.

Do not initialize every CC by habit in an Assisted clip: a stored CC1, CC16, CC17, CC20, CC21, CC76 or CC77 event can take ownership even if the value looks like a default.

Use DAW automation when you want an editable parameter lane. Use recorded MIDI CC when the gesture belongs to the keyboard performance. The interface shows the active result; merely receiving MIDI does not guarantee that the host will record it as parameter automation.

Reset MIDI controllers/CC121 returns MIDI controller values to the current GUI/automation settings, resets bends and releases pedal holds while preserving articulation and string selections. It is not a factory-preset reset. Auto buttons are the focused way to return an intention to automatic control.

MIDI and automation reference#

Controller values are 0–127. Unless specified otherwise, continuous CCs map linearly to their physical ranges. DAW automation uses the named parameter and its host range.

CC113 is the exception: MIDI value 64 gives exact Body resonance=1; 0–64 spans 0.8–1 and 64–127 spans 1–1.2.

Pitch bend defaults to ±2 semitones, with a configurable range of 0–12 in each direction. MIDI RPN 0 can set a per-channel bend range with CC101/100 selection and CC6/38 data entry; deselect the RPN afterward. Ordinary use needs only the pitch wheel.

High-resolution MSB/LSB pairs are supported for applicable continuous controls below CC32. The basic keyboard setup uses ordinary absolute 7-bit CCs.

Switches and actions#

Advanced fingering preparation uses CC3 for a guide pitch, accepting 0 or MIDI 55–105, and CC70 for arriving finger, accepting 0–4. Their instructions apply to the next prepared note on that channel. These are optional authoring tools rather than required live controls.

Continuous controls#

The following tables list the exact automation identifiers and base factory settings. Loading a performance or space profile can change these settings. Auto and live macros can produce an effective physical value different from a stored base target.

Dynamics#

Live macros#

Touch response#

Bow controls#

Left-hand controls#

Resonance controls#

Room controls#

Microphone controls#

Output polish#

Additional host parameters#

These settings use host automation or the actions described above. Input-channel and keyswitch-bank settings are setup parameters rather than real-time automation lanes.

Further reference#

• Grouped keyswitch guide
• Performance profile reference
• Bovo Violin release page

This manual covers Bovo Violin 0.2.19. Keep the project's saved state with its MIDI when exchanging performances.

Copyright © 2026 Bovo Music, Inc. All rights reserved.

AI training is prohibited. Bovo-owned software, documentation and supplied assets may not be used to train or fine-tune artificial intelligence or machine learning models, or to create datasets for those purposes.

Under the Free Plug-in License Supplement effective November 7, 2026, Bovo’s prior written permission is required to use recordings, rendered audio, or derived data for AI or machine learning training, or to create or distribute output-based virtual instruments and playable sample or instrument libraries for use by others. These restrictions apply to commercial and non-commercial uses, including free instruments and libraries. You may not authorize prohibited uses or knowingly supply material for them. You may privately create and use sampler patches for your own music performances and audio productions, including commercial productions; this permits neither sharing those patches or playable libraries for others’ use nor AI training. Written exceptions are limited to the approved project, uses, and conditions. You retain ownership of your output and may use it in commercial music releases and other audio productions, subject to those restrictions. Earlier accepted license grants are not changed retroactively.

Troubleshooting#