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Manuals

Welcome

Thanks for joining fedDSP.

Our mission is simple: to capture the unpredictable, non-linear magic of analogue hardware and bring it into the digital domain without compromise. We don't just model circuits; we model the behaviour, the quirks, and the sound that makes hardware unique.

We hope these tools inspire you to create something new.

Free Trial

Every fedDSP plug-in can be tried free for 14 days, fully featured and without silence interruptions. No account is needed.

Install: Download and install the plug-in for your operating system (macOS or Windows) from our Downloads page.
Open: Open your DAW and load the plugin.
Try: On the first launch, click Trial.

Licence Key Activation

To keep using a plug-in after the trial, activate it with a valid licence key.

Purchase: After purchasing a plug-in from fedDSP.com, you will receive a licence key via email. You can also find this key at any time in your Account page, by creating an account using the same email used to make your purchase.
Install: Download and install the plug-in for your operating system (macOS or Windows) from our Downloads page.
Activate:
- Open your DAW and load the plugin.
- On the first launch, you will see an activation screen.
- Copy your full key including BEGIN and END lines and paste into the activation screen. It should look like this:
```
  -----BEGIN fedDSP LICENSE-----
  (full licence key)
  -----END fedDSP LICENSE-----
```
If either BEGIN or END line is missing, the licence will not work.
- Click Activate.
- You're ready to make music.

If you have any problems with installation, please see our installation FAQ.

Our End User License Agreement permits you to activate your licence on up to 3 separate machines.

KONVIKT

KONVIKT is a zero-latency, extremely CPU-light amp simulator that includes two amp heads, a dual cab section, three pedals, and three effect units.

FEATURES

KONVIKT is built around real playing and real feel. Instead of trying to replicate existing analogue circuits, we set out to find the most true-to-life response possible in a guitar plug-in, and refined the result the only way we know how: with hands and ears.

AMPS TAB

777

The 777 is the cleaner half of KONVIKT. It can stay pristine and modern, or be pushed into a mid-forward British crunch with the authentic harmonic resonance Kon uses to ground the band's more melodic, atmospheric moments. Expressive, flexible, and an excellent pedal platform, the 777 is just as useful for low-gain shaping as it is for full rhythm and lead setups that need a clearer touch.

VOL1 controls the first preamp stage, adding more front-end bite and attack saturation.
VOL2 controls the second preamp stage, in series after VOL1, adding more harmonic density and sustain.
BASS, MIDDLE, and TREBLE control the 3-band tone stack of the 777.
MASTER controls the power amp drive.
OUTPUT controls the amp output level.
PRESENCE controls the amount of post-power amp high-end boost.
DEPTH controls the amount of post-power amp low-end boost.
POWER toggles the amp bypass state. When the LED is on, the amp is active.

7170

The 7170 is the aggressive heart of the suite, delivering the high-gain saturation and barrel-chested low end that has become a staple of the Malevolence sound. The dual-gain structure is designed to keep complex, technical riffs audible under heavy saturation, allowing you to blend raw aggression with the specific bloom and low-end movement Kon demands from a touring head.

GAIN controls the main preamp gain and drives the majority of the 7170 saturation.
BLOOM controls a specific saturation stage designed to emphasise the bloom and low-end movement of the sound.
BASS, MIDDLE, and TREBLE control the 3-band tone stack of the 7170.
MASTER controls the power amp drive.
OUTPUT controls the amp output level.
PRESENCE controls the amount of post-power amp high-end boost.
DEPTH controls the amount of post-power amp low-end boost.
POWER toggles the amp bypass state. When the LED is on, the amp is active.
AMP ICON at the bottom right switches between 777 and 7170.

Advanced Panel

ADVANCED (+) PANEL shows or hides the advanced amp controls.
ADVANCED HPF toggles a high-pass filter before the amp. It is active by default, which is how the amp is intended to work. Turning it off lets more low end hit the preamp, increasing saturation.
ADVANCED TIGHT changes the low-mid response before the amp. On 777, it cuts some low mids to create more space. On 7170, it changes the preamp distortion character for a tighter, lower-gain, clearer response.
ADVANCED BRIGHT changes the high-end voicing before the amp. On 777, it adds a brighter top-end lift. On 7170, it adds an extra saturation stage before the preamp for a more aggressive sound.
ADVANCED SAG changes the feel and response of the amp for a softer, more power-amp-like push.
ADVANCED 6L6/EL84 switches between two power amp flavours: 6L6 for a tighter modern sound with more headroom, or EL84 for more midrange emphasis and a more saturated response.
ADVANCED SAFE toggles a transparent zero-latency limiter that prevents the full plug-in output from exceeding -0.003 dB.

PEDALS TAB

KAMI

KAMI is a streamlined compressor designed to manage dynamics before they hit the saturation stages.

COMP controls the amount of compression applied to the incoming signal. It includes a soft auto-gain behaviour so you can compare settings without large volume jumps.
LEVEL controls the pedal output level.
BYPASS toggles the pedal bypass state. When the LED is on, the pedal is active.

RAIJU

RAIJU is an overdrive pedal designed to tighten the low end before the 7170, or to push the 777 into a more aggressive voice.

DIST controls the amount of saturation applied to the incoming signal.
TONE controls an advanced tilt EQ, darker anticlockwise and brighter clockwise.
BARK controls an aggressive mid-range boost to add more attack and bite.
LEVEL controls the pedal output level.
BYPASS toggles the pedal bypass state. When the LED is on, the pedal is active.

SHI

SHI is a frequency-focused saturation pedal that lets you target a specific frequency range and saturate only that area before blending it back into the chain.

DRIVE controls the amount of saturation applied to the selected frequency range.
FREQUENCY selects the frequency range being targeted by the saturation stage.
LEVEL controls the balance between the dry signal and the saturated signal.
BYPASS toggles the pedal bypass state. When the LED is on, the pedal is active.

CABS TAB

The dual cab section lets you load two cabs at the same time. Each cab has its own controls.

CAB SELECTOR chooses the cab for that slot.
VOL controls the output level of the cab.
DELAY is a time-alignment control in milliseconds.
ON/OFF toggles the cab on or off.
PH flips polarity.
XY BLEND blends the two cabs together while keeping levels matched.
RANDO randomises both selected cabs.
ROOM controls the send to the room-style reverb.
8 BAND GRAPHIC EQ boosts or cuts each band by up to +/-12 dB. The bands are 60 Hz, 125 Hz, 250 Hz, 500 Hz, 1 kHz, 2 kHz, 4 kHz, and 8 kHz.
HPF controls the high-pass filter cutoff frequency.
LPF controls the low-pass filter cutoff frequency.
UNMUD controls a dynamic EQ that helps reduce low-frequency build-up, especially during palm-muted high-gain playing.

RACK/SFX TAB

TIME

TIME is an analogue-style delay/echo with dedicated vibrato and chorus modulation.

TIME controls delay time in milliseconds when SYNC is off, or rhythmic subdivisions when SYNC is on.
FEEDBACK controls the amount of delay repetition. The range runs from 1% (one repeat) to 150%, where values above 100% self-oscillate.
VIBRATO/CHORUS chooses the type of modulation applied to the repeats.
DEPTH controls the amount of modulation applied to the repeats.
M/S sets the delay mode: M for mono and S for stereo. In mono-to-mono, the delay is locked to M.
MIX controls the wet/dry balance.
LEVEL controls the output level of the rack unit.
POWER toggles bypass. When the LED is on, the unit is active.

FLOOD

FLOOD is a hall-style shimmer reverb built for cinematic scale and atmosphere.

PREDLY controls how long the signal waits before the reverb starts.
DECAY controls the length of the main hall reverb.
SHIMMER controls the balance between the hall reverb and the shimmer layer.
HPF controls the high-pass filter applied to the wet reverb signal after the reverb stage and before MIX.
LPF controls the low-pass filter applied to the wet reverb signal after the reverb stage and before MIX.
MIX controls the wet/dry balance.
POWER toggles bypass. When the LED is on, the unit is active.

CIRCLE

CIRCLE is a flexible modern chorus that adds spatial width and movement.

RATE controls chorus speed in Hz.
DEPTH controls the intensity and thickening of the chorus effect.
MIX controls the wet/dry balance.
PRE/POST changes the position of CIRCLE in the chain. PRE places it before TIME and FLOOD; POST places it last.
POWER toggles bypass. When the LED is on, the unit is active.

GLOBAL SETTINGS

INPUT controls the level fed into the plug-in.
GATE controls the gate threshold. Attack and release are pre-set for transparency, so this is a single-knob gate.
OUTPUT controls the final output level leaving the plug-in.
TUNER shows or hides the tuner.
M/DM/S selects the operating mode. Mono-to-mono and mono-to-stereo are locked to M. Stereo-to-stereo lets you switch between DM (dual mono) and S (stereo).
ICONS indicate state by colour: white means active, dark grey means bypassed, and the selected icon appears white with a dot above it. Single-click an active icon to select it, and double-click it to bypass it.

TUNER

440 Hz sets the tuner reference frequency. Default is 440 Hz, with a range from 390 Hz to 470 Hz.
TUNER switches between relaxed mode (default, tuner text appears black) and fast mode (tuner text appears blue).
MUTE mutes the plug-in output while tuning.

fedZEP

fedZEP is a zero-latency, extremely CPU-light amp simulator that includes two amp heads, a dual cab section, three pedals, and three effect units.

FEATURES

fedZEP is built around real playing and real feel. Instead of trying to replicate existing analogue circuits, we set out to find the most true-to-life response possible in a guitar plug-in, and refined the result the only way we know how: with hands and ears.

AMPS TAB

CLEAN takes tone sculpting to a new level, from sparkly cleans to edge-of-breakup tones.

CRUNCH explores distortion from crunchy, chunky rhythm sounds to huge walls of rock guitar tone.

VOL1 controls the first gain stage of the preamp, with more front-end bite and attack saturation.
VOL2 controls the second gain stage, in series after VOL1, adding more harmonic density and sustain.
BASS, MIDDLE and TREBLE control the 3-band tone stack of the selected amp.
MASTER controls the power amp drive.
OUTPUT controls the amp output level.
PRESENCE controls the amount of post-power amp high-end boost.
DEPTH controls the amount of post-power amp low-end boost.
POWER toggles the amp bypass state. When the LED is on, the amp is active.
AMP ICON at the bottom right switches between CLEAN and CRUNCH.

Advanced Panel

ADVANCED (+) PANEL shows or hides the advanced amp controls.
ADVANCED HPF toggles a high-pass filter before the amp. It is active by default, which is how the amp is intended to work. Turning it off lets more low end hit the preamp, increasing saturation.
ADVANCED TIGHT toggles a low-mid cut before the amp. It is off by default. Turning it on gives a leaner character.
ADVANCED BRIGHT toggles a high-end boost before the amp. It is off by default. Turning it on gives a brighter, more percussive attack.
ADVANCED SAG changes the feel and response of the amp for a softer, more power-amp-like push.
ADVANCED EL84/6973 switches between two power amp flavours: EL84 for a slightly more modern British-style sound, and 6973 for thicker mids with a heavier vintage character.
ADVANCED SAFE toggles a transparent zero-latency limiter that prevents the full plug-in output from exceeding -0.003 dB.

PEDALS TAB

SNAPPER

SNAPPER is a compressor pedal designed to help you get more sustain and attack out of your signal.

SQUASH controls the amount of compression applied to the incoming signal. It includes a soft auto-gain behaviour so you can compare settings without large volume jumps.
SNAP controls the attack and release behaviour. Clockwise is slower; anticlockwise is faster.
LEVEL controls the pedal output level.
BYPASS toggles the pedal bypass state. When the LED is on, the pedal is active.

ELEGANTE

ELEGANTE is an overdrive pedal designed to push the front end harder and add bite.

DIST controls the amount of saturation applied to the incoming signal.
TONE controls an advanced tilt EQ, darker anticlockwise and brighter clockwise.
BARK controls a very aggressive mid-range boost.
LEVEL controls the pedal output level.
BYPASS toggles the pedal bypass state. When the LED is on, the pedal is active.

MORSO

Inspired by classic guitar pedals from the 70s and 80s, MORSO delivers thick, unruly distortion in two distinct flavours, with a switch between vintage fullness and a more aggressive top end.

DIST controls the amount of saturation applied to the incoming signal.
LEVEL controls the pedal output level.
MODE switches between MORSO (top position, thicker character) and MORSONE (bottom position, more aggressive tone).
BYPASS toggles the pedal bypass state. When the LED is on, the pedal is active.

CABS TAB

The dual cab section lets you load two cabs at the same time. Each cab has its own controls.

CAB SELECTOR chooses the cab for that slot.
VOL controls the output level of the cab.
DELAY is a time-alignment control in milliseconds.
ON/OFF toggles the cab on or off.
PH flips polarity.
XY BLEND blends the two cabs together while keeping levels matched.
RANDO randomises both selected cabs.
ROOM controls the send to the room-style reverb.
8 BAND GRAPHIC EQ boosts or cuts each band by up to +/-12 dB. The bands are 60 Hz, 125 Hz, 250 Hz, 500 Hz, 1 kHz, 2 kHz, 4 kHz, and 8 kHz.
HPF controls the high-pass filter cutoff frequency.
LPF controls the low-pass filter cutoff frequency.
UNMUD controls a dynamic EQ that helps reduce low-frequency build-up, especially during palm-muted high-gain playing.

RACK/SFX TAB

ECO

ECO draws from classic 70s tape echoes, where repeats carry tone, movement, and a little unpredictability.

TIME controls delay time in milliseconds when SYNC is off, or rhythmic subdivisions when SYNC is on.
FEEDBACK controls the amount of delay repetition. The range runs from 1% (one repeat) to 150%, where values above 100% self-oscillate.
VIBRATO/CHORUS chooses the type of modulation applied to the repeats.
DEPTH controls the amount of modulation applied to the repeats.
M/S sets the delay mode: M for mono and S for stereo. In mono-to-mono, the delay is locked to M.
MIX controls the wet/dry balance.
LEVEL controls the output level of the rack unit.
POWER toggles bypass. When the LED is on, the unit is active.

WHOLE LOTTA VERB

WHOLE LOTTA VERB sits between a classic plate and a hall reverb, combining two stages to create a distinctive sense of space and sustain.

PREDLY controls how long the signal waits before the reverb starts.
DECAY controls the length of the first reverb stage.
TAIL controls the dry/wet level of the second reverb stage, added in series after the first.
HPF controls the high-pass filter applied to the wet reverb signal after the reverb stage and before MIX.
LPF controls the low-pass filter applied to the wet reverb signal after the reverb stage and before MIX.
MIX controls the wet/dry balance.
POWER toggles bypass. When the LED is on, the unit is active.

DOUBLE DENIM

DOUBLE DENIM is a chorus that adds width, motion, and vintage character without blurring the performance.

RATE controls chorus speed in Hz.
DEPTH controls the intensity and thickness of the chorus effect.
MIX controls the wet/dry balance.
PRE/POST changes the position of DOUBLE DENIM in the chain. PRE places it before ECO and WHOLE LOTTA VERB; POST places it last.
POWER toggles bypass. When the LED is on, the unit is active.

GLOBAL SETTINGS

INPUT controls the level fed into the plug-in.
GATE controls the gate threshold. Attack and release are pre-set for transparency, so this is a single-knob gate.
OUTPUT controls the final output level leaving the plug-in.
TUNER shows or hides the tuner.
M/DM/S selects the operating mode. Mono-to-mono and mono-to-stereo are locked to M. Stereo-to-stereo lets you switch between DM (dual mono) and S (stereo).
ICONS indicate state by colour: white means active, dark grey means bypassed, and the selected icon appears white with a dot above it. Single-click an active icon to select it, and double-click it to bypass it.

TUNER

440 Hz sets the tuner reference frequency. Default is 440 Hz, with a range from 390 Hz to 470 Hz.
TUNER switches between relaxed mode (default, tuner text appears black) and fast mode (tuner text appears blue).
MUTE mutes the plug-in output while tuning.

PHATurator

PHATurator is a multi-stage saturation and tonal-shaping plugin designed to add weight, presence and musical character while staying light on CPU.

Multiple analogue-inspired stages (TUBE, TAPE, FET, PUNCH, PHAT, WARMTH) allow you to blend to taste, from subtle warmth to absolute madness.

MAIN INTERFACE

Multiple analogue-inspired stages (TUBE, TAPE, FET, PUNCH, PHAT, WARMTH) you can blend to taste, from subtle warmth to absolute madness.

FET, detector-driven FET dynamics (76 style feel) for punch and control.
TUBE, classic tube saturation to make everything fuller.
TAPE, great for vintage glue, tasty saturation and width.
PUNCH, fast and punchy large format British console saturation: tight low end, snappy transient and an assertive upper mid band.
PHAT, fuller low-mid punch and pleasing compression-like behaviour. This is a very loudness-friendly kind of saturation.
WARMTH, thick, transformer rich 70s British class A preamp vibe: bigger lows, creamy low mids and a sweet forward presence.
MIX (global), lets you do in-plugin parallel processing.
HPF, Butterworth HPF when in clean mode, PHAT and PHATTER add resonance to it. This HPF is pre-saturation, so it helps to shape the saturation character.
LPF, Butterworth LPF pre-saturation, so it helps to shape the saturation character.
DEPTH, subtle or not-so-subtle low end enlarger. It’s a combination of EQ and very kind saturation that enlarges (or thins out) the low end. Very powerful.
TONE, when CLARITY is ON this is a carefully fine tuned high shelf to brighten up any source without harshness, when CLARITY is OFF this becomes a tilt EQ to make the source brighter or darker.

ADVANCED PANEL

MODE, toggles three behaviours: CLEAN it does what it says on the can, PHAT subtle transformer like saturation + small resonance on the HPF frequency and PHATTER dual transformer saturation + accentuated resonance on the HPF frequency.
LIMITER MODE (OFF / SAFE / AGGRO), is a lightweight but mega powerful post-output limiter to avoid final clipping (-0.003 dB final clip). Use SAFE for transparent control, AGGRO for fast peak control.
CLARITY/TILT, changes the TONE character: when in CLARITY mode the TONE is more shelf-y, when it’s in TILT mode the tone behaves more like a fine tuned tilt, that helps make the source brighter or darker.
AUTO GAIN, RMS based auto trim that keeps perceived loudness steady after heavy processing, making A/B comparisons fast and reliable.
MIX (global), lets you do parallel processing in-plugin.
OUTPUT HPF/LPF (global), is a second set placed on the output of the plugin, right before the limiter in the wet path.

FIERY

FIERY is a modern compressor and saturator designed to add energy, punch and musical colour while staying easy on the CPU.

MAIN INTERFACE

IN/OUT, set the input and output levels.
ATTACK & RELEASE, let you fine tune the attack and release of the compressor. Attack goes from a lighting fast 0.05ms to 10ms, whilst release goes from a quicker-than-life 10ms to 250ms.
RATIO, this is a variable slider that lets you go from 3:1 to 50:1, plus an additional “ALL” buttons in mode that you can find at the end of the slider (after 50:1). ALL mode makes the compressor “overthink” and oversaturate.
DRIVE, an internal fet-style processing adds tasteful saturation and edge. Good for drums, parallel bus, guitars and bass.
DETAIL, this is a carefully fine tuned upward compression control, that allows you to bring up in volume low level details. It’s active when the signal doesn’t exceed the threshold.
DEPTH, subtle or not-so-subtle low end enlarger. It’s a combination of EQ and very kind saturation that enlarges (or thins out) the low end. Very powerful.

ADVANCED PANEL

CLASSIC / VINTAGE, fast, exciting gain reduction with two working styles. The CLASSIC mode is the representation of the plugin the way we’ve envisioned. The VINTAGE mode changes the dynamic response, adds extra warmth and fine tunes the tone-shaping behavior and compression style to get closer to what an old unit would sound like.
MONO / DUAL MONO / STEREO, behaves based on the track format. Mono instance: the MONO button is shown but it’s disabled. Stereo instance (2 channels): in DUAL MONO left and right channels are processed independently. In STEREO both channels are linked and the limiter will apply the same gain reduction, helping keep the stereo image stable.
LIMITER MODE (OFF / SAFE / AGGRO), controls the final output limiter, designed to prevent clipping at the end of the chain with a fixed final ceiling of -0.003 dB. Use SAFE for cleaner, more transparent peak control, or AGGRO for faster, more assertive limiting.
SIDECHAIN HPF / LPF, let you sculpt the signal before it reaches the detector. Use the SC HPF to stop low end from overtriggering the compression and SC LPF to reduce sensitivity to harsh highs.
TRAFO IN, gentle tube/trafotype colouring (subtle harmonic texture). This is processed BEFORE the compression stage.
TRAFO OUT, mid & air shaping (adds presence and character). This is processed AFTER the compression stage.
DC, lets you control the exact shape of the release. Not the time (that’s dictated by the release) but the shape and aggressiveness or smoothness of the compressor’s release.
MIX, global wet/dry blend for instant parallel processing. Push FIERY harder than you normally would, then blend the chain back until the colour, movement and density sit exactly where you want them.

SIGNAL FLOW

Input → TRAFO IN → SC HPF/LPF → CLASSIC / VINTAGE mode → main compressor + upward compression (in parallel) → DEPTH → DRIVE → DC Threshold / release shaping → TRAFO OUT → parallel Mix → final limiter → Output

FIERY shapes the compression first, adds weight and character around it, then blend and controls the result so the source stays punchy, alive, and exactly where it needs to sit.

leONE

leONE is a super lightweight limiter with multi-stage tonal shaping options to add body, character, and controlled grit with minimal CPU cost.

It is built around a simple idea: shape the tone first, control the level with CLAMP, then let the final limiter catch the last peaks and keep the output under control.

MAIN INTERFACE

Multiple analogue-inspired stages can be blended to taste: WARM, TRAFO, TUBE, CLARA, GRIT, and FX. Use them for anything from subtle musical glue to aggressive character.

TRAFO is a transformer-like output stage. It adds subtle iron-style density, a firmer low end, and a more grounded hardware-like finish. Useful when the signal needs more weight, mass, and attitude without becoming messy.
TUBE adds rich even-harmonic saturation for musical rounding.
WARM is a one-knob bass-frequency enhancer. The two modes make it behave differently, making it useful on bass, drums, and mix-bus duties.
CLARA adds clarity and presence to the signal.
GRIT is a dual-mono, detector-driven sag stage for aggressive colour and character. It rounds transients in a very unique way.
FX toggles a sculpting HPF/LPF pair to create the classic radio-style effect.
IN / OUT set the input and output levels.
CLAMP sets the hard ceiling for the primary limiter.
RELEASE (ms) controls the CLAMP limiter release behaviour. Slower settings are smoother.
MODE offers two global flavours: MODERN for a cleaner, HPF-based warmth, and VINTAGE for shelf and tape-head coloration with more character.

ADVANCED PANEL

MONO / DUAL MONO / STEREO changes behaviour based on the track format. On a mono instance, the MONO button is shown but disabled. On a stereo instance, DUAL MONO processes the left and right channels independently, while STEREO links both channels so the limiter applies the same gain reduction and helps keep the stereo image stable.
MODERN is a cleaner and more transparent voicing with a tighter low end, less harmonic push, and a more invisible limiter feel that preserves transient snap and stereo detail. It prioritises clarity and control.
VINTAGE is a thicker and more coloured voicing with more harmonic density, a touch more glue, and softer peak behaviour, with a slightly more forward and forgiving feel when driving into the character stages. It prioritises tone, weight, and attitude when pushed.
LIMITER MODE (OFF / SAFE / AGGRO) controls the final output limiter, designed to prevent clipping at the end of the chain with a fixed final ceiling of -0.003 dB. Use SAFE for cleaner, more transparent peak control, or AGGRO for faster, more assertive limiting.
OUTPUT HPF/LPF are two independent high-pass and low-pass filters on the output of the plugin, right before the limiter in the wet path.

SIGNAL FLOW

Input level -> WARM / CLARA / TUBE / TRAFO / FX -> CLAMP -> output filtering -> output level -> final limiter

bigBASS

bigBASS is a zero-latency low-end and harmonic enhancement chain designed to add focused weight, speaker translation, upper excitement and analogue-style attitude while staying light on CPU.

MAIN INTERFACE

A focused enhancement chain split into two main sections: LOW for weight, size and translation, and HI for shine, edge and upper harmonic movement. From subtle mix-bus confidence to heavy low-end enhancement.

FREQ LOW, selects the low-frequency area bigBASS focuses on. Use lower settings for sub weight, or higher settings for punch, body and upper-bass pressure.
RESO, focused low-end resonance stage. Adds a cleaner, more intentional low-end shape around the selected LOW frequency, helping the bass feel deeper and more controlled without spreading mud everywhere.
GRIT, generated low-end harmonic branch. Adds dirty, harmonically related bass information around the selected LOW frequency, helping the low end translate on headphones, laptops, cars, phones and smaller speakers where raw sub can disappear.
LOW DRIVE, proprietary low-end saturation stage. Pushes the focused low-frequency material into a custom saturation path designed to make the lows feel thicker, denser and more exciting without simply making them louder.
LOW DRIVE MIX, blends the driven LOW path back into the signal. Useful for anything from subtle weight and mastering-style confidence to more obvious bass enhancement.
FREQ HI, selects the upper-frequency area used by the HI side. It can focus anywhere from low frequencies up to 20 kHz, making the HI circuit useful for far more than just top-end shine.
WIDTH, controls how focused or wide the HI enhancement is. Use narrower settings for precise bite or detail, and wider settings for broader excitement and movement.
HI DRIVE, saturation stage for the selected HI frequency range. Adds brightness, edge, definition, attack, string noise, pick detail, vocal presence, drum crack, synth fizz or mix clarity.
HI DRIVE MIX, blends the HI driven path back into the signal. Lets you add just enough upper harmonic energy without overdoing the brightness.
OUT, set the output level.

ADVANCED PANEL

LIMITER MODE (OFF / SAFE / AGGRO), controls the final output limiter, designed to prevent clipping at the end of the chain with a fixed final ceiling of -0.003 dB. Use SAFE for cleaner, more transparent peak control, or AGGRO for faster, more assertive limiting.
TRAFO, transformer-like output stage. Adds subtle iron-style density, firmer low end and a more grounded hardware-like finish. Useful when the signal needs more weight, mass and attitude without becoming messy.
PH, toggles the polarity. The button shows “PH 0” for normal polarity or it shows “PH 180” for reverse polarity (180°).
DELAY, a time alignment tool that adjusts the signal delay in milliseconds (ms).
HEADROOM, sets the internal headroom of the processor. It changes how hard bigBASS is driven internally, helping the chain feel cleaner, more open, thicker or more saturated while keeping gain staging easy alongside IN and OUT.
IN, sets the input level.
MIX, global wet/dry blend for instant parallel processing. Push bigBASS harder than you normally would, then blend the chain back until the colour, movement and density sit exactly where you want them.

SIGNAL FLOW

Input → LOW FREQ → LOW DRIVE → GRIT → RESO → HI FREQ / WIDTH → HI DRIVE → TRAFO → limiter → global Mix / Output

bigBASS is built around a simple idea: focus the low end first, decide whether it should be cleaner, thicker or dirtier, add upper harmonic life when needed, then keep the whole thing controlled at the output.

TnT

TnT is a zero-latency tube, tape and transformer saturation chain designed to add movement, density, glue and hardware-style attitude while staying light on CPU.

FEATURES

A compact analogue-inspired chain you can drive and blend to taste: TUBE, TAPE, TRAFO, TONE, MIX and final output control. From subtle "make it feel recorded" colour to heavy saturation that earns the TNT name.

MAIN INTERFACE

TUBE is rich harmonic saturation for musical rounding results and midrange push. It adds body, harmonic density, and a more forward feel, helping sources sound less flat before the rest of the chain takes over.
TAPE is a dynamic tape-inspired saturation stage. It adds density, transient rounding, top-end smoothing, head-bump weight and subtle movement. It is not just a static saturator: it reacts to the source, helping sharp digital edges feel smoother and more expensive.
TONE is a powerful master voicing control. At the centre it is neutral. Turn left for bigger low-end depth and body. Turn right for clarity, presence and forward push. It can make the same Tube/Tape/Trafo setting feel darker, bigger, brighter or more aggressive without reaching for an external EQ.
IN/OUT set the input and output levels.

ADVANCED PANEL

LIMITER MODE (OFF / SAFE / AGGRO) controls the final output limiter, designed to prevent clipping at the end of the chain with a fixed final ceiling of -0.003 dB. Use SAFE for cleaner, more transparent peak control, or AGGRO for faster, more assertive limiting.
TRAFO is a transformer-like output stage. It adds subtle iron-style density, firmer low end and a more grounded hardware-like finish. Use it when the signal needs more weight, mass and attitude without becoming messy.
MIX is a global wet/dry blend for instant parallel processing. Push TnT harder than you normally would, then blend the chain back until the colour, movement and density sit exactly where you want them.
OUTPUT HPF/LPF are two independent high-pass and low-pass filters on the output of the plugin, right before the limiter in the wet path.

SIGNAL FLOW

Input -> TUBE -> TAPE -> TRAFO -> TONE / output filtering -> limiter -> global Mix / Output

TnT is built around a simple idea: shape the colour first, steer the attitude with TONE, then keep the output under control.

VCA

VCA is a fast, punchy compressor designed for clean control, aggressive gain reduction and analogue-style movement while staying light on CPU.

FEATURES

A VCA-style compressor built for speed, grip and punch, with extra colour when the source needs more attitude. Use it for buses, drums, bass, vocals, loops and parallel compression.

MAIN INTERFACE

IN/OUT set the input and output levels.
THRESH sets the threshold level. Lower settings make VCA work harder and produce more gain reduction.
ATK stands for attack and controls how fast the compressor grabs the transient. Faster settings clamp peaks and make the source tighter, whilst lower settings let more transients through for punch, movement and impact.
RLS stands for release and controls the compressor's recovery speed after gain reduction. Faster settings feel more energetic, animated and obvious, whilst lower settings are smoother, more relaxed and more levelled.
RATIO sets the compressor's ratio. Lower ratios give gentle control, whilst higher ratios move into tighter, more limiting-style behaviour. SMASH is the most aggressive mode designed for dramatic compression and explosive character.
PUSH adds harmonic saturation and forward density. It pushes the signal and makes the compression feel more driven and exciting.
GLOW adds richer harmonic colour, warmth and density, useful especially when the compressor is working harder.

ADVANCED PANEL

CLASSIC / VINTAGE changes the compressor behaviour. CLASSIC is the tighter, cleaner VCA response. VINTAGE changes the dynamic shape, tone and movement for a warmer, more coloured and "dated" feel.
MONO / DUAL MONO / STEREO changes behaviour based on the track format. On a mono instance, the MONO button is shown but disabled. On a stereo instance, DUAL MONO processes the left and right channels independently, while STEREO links both channels so the limiter applies the same gain reduction and helps keep the stereo image stable.
LIMITER MODE (OFF / SAFE / AGGRO) controls the final output limiter, designed to prevent clipping at the end of the chain with a fixed final ceiling of -0.003 dB. Use SAFE for cleaner, more transparent peak control, or AGGRO for faster, more assertive limiting.
HARD / SOFT KNEE changes how the compressor enters gain reduction: HARD is more direct and obvious, and SOFT is smoother around the threshold and can feel more natural on vocals, bass, bus and mastering-style control.
SIDECHAIN HPF is a variable control that filters low end out of the detector so bass energy does not overtrigger compression.
TRAFO IN is input transformer-style colour before the compressor. It adds subtle weight, rounding and harmonic texture before the gain reduction stage.
TRAFO OUT is output transformer-style colour after the compressor. It adds density, firmer low end and a more grounded hardware-like finish.
DC controls the shape and attitude of the release. It does not simply change the release time: it changes how the compressor lets go, from smoother recovery to more energetic movement.
MIX is a global wet/dry blend for instant parallel compression. Push VCA harder than you normally would, then blend the compressed signal back until the punch and control sit exactly where you want them.

CLIPPERITO

CLIPPERITO is a versatile clipper and loudness tool designed for peak control, harmonic edge, mid/side shaping and multiple clipping flavours while staying practical for mixing and mastering.

FEATURES

A creative clipper that goes from clean peak shaving to full-on destruction. Ten clipping styles let you shape loudness, density and colour around the source instead of forcing one sound onto everything.

MAIN INTERFACE

IN/OUT set the input and output levels.
DRIVE pushes the signal harder into the selected clipping mode. Low settings add subtle density and peak management, while higher settings add more harmonic character, loudness and obvious distortion.
CEILING sets the clipping ceiling. Lower the ceiling to catch peaks earlier and create more clipping control before the output stage.
MODE selects the clipping flavour: HARD (direct peak clipping with firm control and a more obvious edge), SOFT (smoother clipping for rounder control and less aggressive peak shaping), TUBE (warmer harmonic clipping with more midrange density and musical rounding), TAPE (tape-inspired clipping with smoother top end, thicker low-mid weight and softer transient shape), DIODE (brighter and more forward clipping with extra bite and harmonic edge), FET (fast and aggressive clipping with attack, crack and energy), IRON (heavier clipping with more weight and transformer-style attitude), CONSOLE (controlled clipping with a mix-console style push and broad tone), EXCITER (brighter clipping designed to add harmonic lift and upper energy) and CRUSH (the most destructive clipping style, designed for obvious colour, density and attitude).
MID / SIDE adjust the mid and side levels.

ADVANCED PANEL

MONO / DUAL MONO / STEREO changes behaviour based on the track format. On a mono instance, the MONO button is shown but disabled. On a stereo instance, STEREO links the channels for more stable imaging, while DUAL MONO lets left and right react independently for wider, more animated clipping.
LIMITER MODE (OFF / SAFE / AGGRO) controls the final output limiter, designed to prevent clipping at the end of the chain with a fixed final ceiling of -0.003 dB. Use SAFE for cleaner, more transparent peak control, or AGGRO for faster, more assertive limiting.
M/S POSITIONING (PRE CLIPPING / POST CLIPPING) controls where the Mid and Side level controls sit in the chain. PRE CLIPPING changes what hits the clipper, POST CLIPPING changes the stereo balance after the clipping stage.
OVERSAMPLING (ZERO / HQ / ULTRA) controls the internal clipping quality mode. ZERO is zero-latency and fastest, HQ uses higher internal resolution and ULTRA is the highest-quality mode for the cleanest clipping behaviour when latency is acceptable.
OUTPUT HPF/LPF are two independent high-pass and low-pass filters on the output of the plugin, useful for removing unwanted low rumble or shaping the top end after clipping.

OPTO

OPTO is an opto-inspired compressor and tone shaper with four distinct flavours, built for smooth levelling, musical movement, controlled weight and colourful saturation.

MAIN INTERFACE

IN/OUT set the input and output levels.
THRESH sets the threshold level. Lower settings make OPTO work harder and produce more gain reduction.
RELEASE controls the compressor's recovery speed after gain reduction. Faster settings feel more energetic, animated and obvious, whilst lower settings are smoother, more relaxed and more levelled.
CLARITY adds or removes presence and definition. Use it to bring vocals, drums, guitars and buses forward without reaching for a separate EQ, or to darken and round up a sound by taking away some high-end energy.
TONE is the master voicing tilt. At the centre it is neutral, turn left for darker, fuller tone or turn right for brightness, presence and forward energy.
DEPTH is the low-end weight control. Positive settings add body and size, negative settings can tighten or thin the low end.
DETAIL is an upward detail control for low-level information. It brings forward ambience, sustain, room tone and quieter texture when the signal is below the threshold, while backing away when the compressor is working harder.
DRIVE pushes the internal character stage. It adds harmonic density, low-end excitement and colour before the levelling circuit, helping OPTO feel more analogue and forward.
MODE (3A / 2A / 1B / 0C) changes the compressor model and response. 3A is faster and more forward. 2A is smoother and more levelled. 1B is controlled and modern. 0C is slower, heavier and more characterful.
AUTO RELEASE adapts OPTO's release behaviour to the incoming material, instead of using a fixed manual release time. When enabled, it disables the RELEASE knob.
DETECTOR lets you choose how OPTO reacts to the source. PEAK gives quicker peak control, while RMS gives a smoother, more natural response.
HARD / SOFT KNEE changes how the compressor enters gain reduction: HARD is more direct and obvious, and SOFT is smoother around the threshold and can feel more natural on vocals, bass, bus and mastering-style control.

ADVANCED PANEL

MONO / DUAL MONO / STEREO changes behaviour based on the track format. On a mono instance, the MONO button is shown but disabled. On a stereo instance, DUAL MONO processes the left and right channels independently, while STEREO links both channels so the limiter applies the same gain reduction and helps keep the stereo image stable.
LIMITER MODE (OFF / SAFE / AGGRO) controls the final output limiter, designed to prevent clipping at the end of the chain with a fixed final ceiling of -0.003 dB. Use SAFE for cleaner, more transparent peak control, or AGGRO for faster, more assertive limiting.
TRAFO is a transformer-style colour stage. It adds subtle asymmetry, low-end firmness, harmonic density and a more hardware-like finish.
SIDECHAIN HPF is a variable control that filters low end out of the detector so bass energy does not overtrigger compression.
AUTO GAIN compensates for level changes caused by compression and tone shaping, helping you judge the compression without being fooled by volume.
MIX is a global wet/dry blend for instant parallel processing. Push OPTO harder than you normally would, then blend the chain back until the colour, movement and density sit exactly where you want them.
OUTPUT HPF/LPF is a second set placed on the output of the plugin, right before the limiter in the wet path.

quadCHO

quadCHO is a zero-latency dual-engine chorus, doubler and stereo movement processor designed to move from subtle width and classic modulation to dense ensembles, diffused spaces and controlled feedback effects.

Its two independent chorus engines can be layered, detuned, tempo-synchronised, panned or used separately. Each engine combines multi-lane modulation with optional QUAD chorus layers, an expandable WEAVE voice cloud and a SWIRL feedback path.

Use it for clean vocal doubling, guitar and bass chorus, moving synths, wider drums, mix-bus depth, vintage ensemble colours, rhythmic modulation or extreme animated textures.

MAIN INTERFACE

CHORUS ONE / CHORUS TWO

CHORUS ONE and CHORUS TWO are two independent chorus engines with identical controls. They can create one focused modulation sound, two contrasting layers, a left/right pair or a wide combination of different rates, spaces and waveforms.

POWER toggles the individual chorus engine on and off. Turning one engine off removes only that engine from the processed signal, allowing the other engine to continue working.
PHASE reverses the polarity of the individual chorus engine. Use it to change how CHORUS ONE and CHORUS TWO reinforce or cancel each other, especially when they use similar settings. It can also change the perceived centre, width and movement of the combined effect.
Hz / BPM selects how RATE is controlled. Hz provides free-running modulation from 0.01 Hz to 50 Hz. BPM synchronises the modulation to the host tempo, offering musical divisions from 1/64 to 2 Bar, including straight, dotted and triplet values. "D" indicates a dotted division and "T" indicates a triplet division.
WAVEFORM selects the shape of the modulation. Click the waveform button to cycle through the available shapes, or right-click it to select one directly from the menu. SINE gives the smoothest and most traditional chorus movement. TRIANGLE gives more linear, clearly defined movement while remaining musical. SAW creates directional ramping motion with a more obvious reset and a sharper character. SQUARE switches between two modulation positions for abrupt, rhythmic or intentionally mechanical movement. RANDOM creates unpredictable stepped movement for unstable pitch, drifting textures and less repetitive modulation.
QUAD activates two additional parallel chorus layers inside that engine. It makes the sound thicker, wider and denser, adding extra movement around the main modulated voice. Use it for ensemble-style chorus, richer doubling and larger stereo textures.
RATE sets the speed of the modulation. Slow settings create gradual drift, widening and tape-like movement, medium settings produce traditional chorus, and faster settings move toward rotary, vibrato, flutter and special-effect territory. The range is 0.01 Hz to 50 Hz in Hz mode.
DEPTH sets the amount of delay modulation for the individual chorus engine. Lower settings add subtle motion and width, while higher settings create stronger pitch movement, deeper chorus and more obvious wobble.
DETUNE increases the pitch and timing separation between the internal modulation voices. Low settings gently prevent the layers from moving together, while higher settings create a wider, less stable and more obviously detuned ensemble sound. It also helps CHORUS ONE and CHORUS TWO move in complementary directions when both engines are active.
WEAVE builds an additional cloud of moving voices and diffuses short reflections around the main chorus sound. Low settings add width and gloss, medium settings create a larger, more dimensional ensemble, and high settings introduce a dense swarm, diffusion, extra motion and light recirculation for pad-like or space-like textures.
SPACE sets the central delay time and spacing of the individual chorus engine, from 0 ms to 500 ms. Short settings create tight chorus and flanging-style movement, medium settings produce wider doubling and ADT-style separation, and long settings create audible repeats and spacious, echo-like effects, especially when combined with SWIRL.
SWIRL controls the feedback, stereo circulation and additional delay movement of the individual engine. Low settings add gentle sustain and animation, medium settings create deeper, more liquid modulation, and high settings produce strong feedback, wider pitch movement, saturated repeats and controlled near-runaway textures. SWIRL becomes increasingly dramatic when SPACE is set to longer delay times.
PAN places the output of the individual chorus engine in the stereo field, from -100% (left) to +100% (right). Pan the two engines in opposite directions for a wider left/right pair, or keep them closer to the centre for a denser, more unified chorus.
LEVEL sets the output level of the individual chorus engine after its modulation, QUAD and WEAVE processing, from -24 dB to +24 dB. Use the two LEVEL controls to balance the engines before they enter the global section.

GLOBAL SECTION

LEVEL controls the final output level after the dry/wet mix, from -24 dB to +24 dB. The final limiter, when enabled, is processed after this control.
MIX controls the global blend between the original signal and the combined processed output of CHORUS ONE and CHORUS TWO. Use lower values for subtle parallel movement, 50% for an equal dry/effect blend, or 100% for a fully processed signal.
DEPTH controls the low-frequency weight of the processed chorus signal, separate from the modulation DEPTH controls in CHORUS ONE and CHORUS TWO. Positive settings make the wet signal feel deeper and fuller, negative settings remove low-frequency movement for a thinner wet sound. The range is -24 dB to +24 dB.
TILT changes the overall tonal balance of the processed signal around the midrange: turn it left for a darker, warmer and heavier chorus colour, or right for a brighter, lighter and more present effect. Centre is neutral.
S (Saturation) controls saturation on the processed signal. Lower settings add subtle harmonic density, while higher settings create stronger midrange colour, compression and drive, helping the chorus feel thicker and more obvious. Automatic level compensation controls the increase in energy as saturation is raised.
W (Width) controls the stereo width of the processed signal. 0% collapses the wet signal to mono, 100% preserves its natural stereo width, and settings up to 200% exaggerate the side information. W affects only the processed signal, so the dry centre can remain stable when MIX is below 100%. On a mono-in/mono-out instance, W is disabled because no stereo output is available.
HPF adjusts the high-pass filter applied only to the processed signal, from 10 Hz to 20,000 Hz with an OFF position. Use it to remove low-frequency modulation, protect the centre of a mix or create a lighter parallel chorus.
LPF adjusts the low-pass filter applied only to the processed signal, from 10 Hz to 20,000 Hz with an OFF position. Use it to soften bright modulation, imitate darker analogue or BBD-style chorus, or place the effect behind the original source.

Note: because HPF and LPF process only the wet path, the original signal remains full-range when MIX is below 100%. This makes it possible to create filtered parallel width without removing frequencies from the dry source.

ADVANCED PANEL

VINTAGE adds a warmer, darker and denser character to the processed path. It gently increases low-end body, softens the upper frequencies, adds analogue-style saturation and introduces extra ensemble density. Use it when the clean chorus feels too precise or when the source needs a rounder, more aged modulation colour.
LIMITER MODE (OFF / SAFE / AGGRO) is a lightweight but powerful post-clamp output limiter that prevents final clipping (-0.003 dB final ceiling). Use SAFE for transparent control, AGGRO for fast peak control.

ECO

ECO is a zero-latency delay, modulation and reverb processor designed to move from clean rhythmic repeats and tight slapback to dark analogue echoes, worn tape textures, diffused spaces and controlled feedback effects.

Its twelve delay modes combine different tonal characters, saturation, modulation and stereo behaviour. Tempo synchronisation, chorus or vibrato modulation, stereo spread, ducking and a dedicated reverb send make it possible to build anything from a focused vocal delay to a wide, evolving soundscape.

Use it for vocal throws, guitar and bass echoes, rhythmic synths, wider drums, vintage delay colours, spacious doubling, ambient textures or extreme feedback effects. ECO can do it all.

MAIN INTERFACE

TIME / NOTE sets the delay time. When tempo synchronisation is off, TIME provides a range of 1 ms to 8000 ms, with 500 ms at the centre of the control. Short settings create tight doubling and closely spaced reflections, medium settings produce distinct echoes and long settings create spacious repeats and extended rhythmic patterns. When tempo synchronisation is enabled, the control changes to NOTE and offers musical divisions from 1/32 to 2 Bars, including straight, dotted and triplet values. "D" indicates a dotted division and "T" indicates a triplet division. Note: synchronised delay times are limited to 8000 ms. slap uses its own dedicated range of 30 ms to 250 ms, including when tempo synchronisation is enabled.
SYNC selects how TIME is controlled. When disabled, TIME provides a freely adjustable delay in milliseconds. When enabled, NOTE synchronises the delay to the host tempo. Use synchronised settings for rhythmic repeats that follow the session, or manual settings for slapback, doubling and delays that sit between the beats.
FEEDBACK controls how much of the delayed signal returns to the delay input. Low settings create short echo patterns, medium settings produce longer repeat trails and high settings create sustained, increasingly coloured feedback. The range is 0% to 150%. Settings above 100% enter creative feedback territory and can produce growing repeats, saturation and self-oscillation, depending on the selected mode and other controls.
MODE selects the character of the delay. Each mode changes the way the repeats are filtered, coloured or modulated:
- clean gives open, clear repeats with minimal built-in colour. Use it for precise echoes, subtle doubling and delays that retain more of the original source.
- digital adds a more deliberately digital character, with reduced resolution and a shaped frequency response. Use it for defined repeats with a slightly grainier, older digital-delay feel.
- slap creates short, focused echoes with a forward midrange character. Its dedicated 30 ms to 250 ms range makes it useful for vocal slapback, guitar doubling and compact rhythmic reflections.
- analog gives warmer, darker repeats with gentle compression and a rounded character. Use it when the delay should sit behind the source rather than compete with it.
- tape adds low-frequency body, softened highs, saturation and tape-style movement. Use it for warm vocal throws, guitar echoes and repeats that become more coloured as they circulate.
- old tape produces a darker, more worn tape colour, with stronger high-frequency loss and aged movement. Use it for vintage echoes, unstable textures and repeats that gradually disappear into the background.
- rich mod adds a denser modulation character to the repeats. Use it for lush chorus delays, moving synth echoes and wider, more animated trails.
- phasey introduces phaser-style movement into the delay colour. Use it for sweeping repeats, hollow textures and more obviously moving echoes.
- bbd creates dark, bandwidth-limited repeats with compander-style behaviour, saturation and a grainier character. Use it for vintage pedal-style echoes and dense, rounded feedback.
- lo-fi combines reduced resolution, sample-rate-style degradation, restricted bandwidth and stronger saturation. Use it for rough echoes, broken textures and deliberately degraded repeats.
- diffused spreads the delayed signal into a denser cloud of reflections. Use it to soften the separation between repeats and move toward ambient, space-like textures.
- quartz folds the repeats into harmonically rich, resonant textures, with DRIVE pushing its wavefolding character further.
PING PONG circulates the repeats between the left and right channels in any delay mode, and lets you choose whether the first repeat starts on the left or the right. Use it for moving stereo echoes, rhythmic width and delays that travel around the original source.
MIX controls the global blend between the original signal and the processed delay output, including its modulation and reverb return. Use lower values for subtle parallel movement, 50% for an equal dry/effect blend, or 100% for a fully processed signal.
WIDTH controls the stereo width of the processed signal. 0% collapses the wet signal to mono, 100% preserves its natural stereo width and settings up to 200% exaggerate the side information. WIDTH affects only the processed signal, so the dry centre can remain stable when MIX is below 100%. On a mono-in/mono-out instance, WIDTH is disabled because no stereo output is available.
SEND controls how much of the processed delay signal enters the reverb. Lower settings add space around the repeats, while higher settings create larger, more continuous ambient trails. The reverb is added alongside the delay rather than replacing it. At 0%, no new signal is sent to the reverb, allowing an existing tail to decay naturally.

ADVANCED PANEL

TONE changes the tonal balance of the delayed signal. Lower settings produce darker, warmer repeats, while higher settings create brighter, more present echoes. The centre default position is neutral for the additional tonal adjustment, while the selected delay mode retains its own character. Use TONE to place the repeats behind the source or make them stand out more clearly.
DRIVE increases saturation within the delay's colour and feedback processing. Lower settings retain more definition, whilst higher settings create stronger harmonic density, compression and distortion as the repeats circulate. At 0%, DRIVE adds no extra user-controlled drive, but the selected mode can still contribute its own saturation and character.
HPF adjusts the high-pass filter applied only to the processed signal, from 10 Hz to 20,000 Hz with an OFF position. Use it to remove low-frequency echoes, protect the centre of a mix or create a lighter parallel delay.
LPF adjusts the low-pass filter applied only to the processed signal, from 10 Hz to 20,000 Hz with an OFF position. Use it to soften bright repeats, imitate darker analogue or BBD-style echoes, or place the effect behind the original source. Note: because HPF and LPF process only the wet path, the original signal is not filtered by these controls when MIX is below 100%. Both filters also shape the reverb return.
RATE sets the speed of the modulation. Slow settings create gradual drift, widening and tape-like movement, medium settings produce traditional chorus, and faster settings move toward vibrato, flutter and special-effect territory. The range is 0.01 Hz to 5 Hz. RATE remains independently adjustable when the delay time is synchronised to the host tempo.
DEPTH sets the amount of modulation applied to the delayed signal. Lower settings add subtle motion and width, while higher settings create stronger pitch movement, deeper chorus and more obvious wobble. Its character depends on the selected delay mode. In diffused mode, it also increases the movement within the diffused reflections.
CHORUS / VIBRATO selects the character of the modulation applied to the repeats. CHORUS combines moving voices for a thicker, wider and more layered delay sound. VIBRATO creates more direct pitch movement for drifting echoes, wobble and less stable delay textures. Use RATE, DEPTH and DETUNE to shape either mode.
SPREAD adjusts the timing separation between the left and right delay channels, from -100 ms to +100 ms. The centre position adds no timing offset. Positive and negative settings reverse which side arrives first, allowing the repeats to lean in either direction. Small offsets add subtle width, while larger offsets create more obvious left/right separation. SPREAD changes timing rather than level or pan. Its stereo effect requires a stereo output.
DETUNE increases the pitch and timing separation within the modulation voices. Low settings add gentle variation, while higher settings create a wider, less stable and more obviously detuned sound. Use it with DEPTH and the CHORUS / VIBRATO selector to move from subtle animation to richer, more unsettled echoes.
DUCK reduces the level of the processed delay and reverb while the input signal is active, allowing the effect to become more audible as the source falls away. Higher settings also reduce feedback recirculation during the ducking action. Use it to keep vocals, lead instruments and rhythmic parts clear while allowing their echoes to fill the spaces between phrases.
REVERB MODE selects the character of the reverb fed by SEND:
- SMOOTH gives a smooth, plate-style tail that blends closely with the repeats.
- DENSE creates a fuller, denser hall-style response for richer ambient trails.
- LARGE produces a spacious hall-style character for expansive echoes and longer soundscapes.
- STUDIO adds a studio-ambience character for placing the repeats in a more defined space.
- ECO selects a lighter reverb engine for adding space with lower processing demand.
DECAY sets the length of the reverb tail, from 0.30 seconds to 20 seconds. Short settings add compact space around the repeats, while longer settings create sustained ambience and larger, more continuous textures. DECAY controls the reverb tail separately from FEEDBACK, which controls the recirculation of the delay.
DAMP controls the high-frequency damping and darkness of the reverb return. Lower settings retain more brightness, while higher settings produce a softer, darker tail. Use it to keep long reverberant echoes behind the original source or reduce high-frequency build-up.
TUBE adds tube-style saturation to the combined dry/wet signal. Lower settings add subtle harmonic density, whilst higher settings create stronger midrange colour, compression and drive, helping the sound feel thicker and more obvious. Automatic level compensation helps control the increase in energy as the saturation is raised.
LEVEL controls the final output level after the dry/wet mix, from -24 dB to +24 dB. The final limiter, when enabled, is processed after this control.
LIMITER MODE (OFF / SAFE / AGGRO) is a lightweight but powerful post-clamp output limiter that prevents final clipping (-0.003 dB final ceiling). Use SAFE for transparent control, AGGRO for fast peak control.

ELEGANTE

ELEGANTE is a zero-latency, CPU-light saturation and utility plugin that can be used for mixing, tracking and creative duties.

Loosely inspired by the classic TS-style overdrive, this plugin is built around an original circuit that captures the legendary mid warmth and amp-pushing feel. From there, it goes further with expanded controls for deeper tone shaping, flexible EQ, pre and post filtering, polarity flip, and precise high pass and low pass filters. The result is a guitar overdrive with true TS soul that also shines as a creative mixing tool for tracking and sound design. Classic character with modern versatility.

MAIN INTERFACE

DIST controls the amount of saturation injected in the signal.
TONE controls a clever tilt/LPF with variable Q to shape the EQ of the source before saturation.
LEVEL boosts or reduces the volume post saturation stage.
BARK adds some "bark-y" mid range, to make every source feel more in your face.
INPUT controls the signal coming into the effect and OUTPUT controls the signal coming out of the effect.
POWER TOGGLE toggles the effect on and off.

ADVANCED PANEL

MONO / DUAL MONO / STEREO changes behaviour based on the track format. Mono instance: the MONO button is shown but it's disabled, because there is no option available. Stereo instance (2 channels), you may select between: DUAL MONO, where left and right channels are processed independently - or STEREO, where both channels are linked and the limiter will apply the same gain reduction, helping keep the stereo image stable.
LIMITER MODE (OFF / SAFE / AGGRO) is a post-clamp lightweight but mega powerful post-output limiter to avoid final clipping (-0.003 dB final clip). Use SAFE for transparent control, AGGRO for fast peak control.
PH toggles the polarity. The button shows "PH 0" for normal polarity or "PH 180" for reverse polarity (180°).
FILTERS toggles the position of HPF and LPF in the signal chain. The button shows "FILTERS: PRE" to indicate that the HPF andLPF are processed before the pedal, or "FILTERS: POST" to indicate that the HPF and LPF are processed after the pedal.
MIX controls the mix between the dry signal and the processed signal.
TIME OFFSET applies a micro-delay (0 to 6ms) to the processed sound. This allows you to time-align the wet and dry paths, ensuring optimal phase coherency when blending them together with the MIX control.
HPF adjusts the cutoff frequency of the HPF. The range is 20Hz to 2,000Hz.
LPF adjusts the cutoff frequency of the LPF. The range is 2,000Hz to 20,000Hz.

SHI

SHI is a saturation and tone-focusing plug-in that features targeted harmonic enhancement across a selected frequency range.

Inspired by the immediacy of small-format hardware, this plug-in is built to bring sounds into focus by adding harmonic energy exactly where it matters. It features zero latency, minimal CPU load, and a simple three-knob layout. Controlled with AMOUNT, DRIVE, and FREQUENCY, SHI can move from subtle bloom and lift to bold weight, midrange punch, or top-end urgency. It goes further as a creative mixing tool for guitars, drums, bass, loops, and sound design, adding size and character without getting in the way of the mix.

MAIN INTERFACE

DRIVE controls the amount of saturation applied to the selected frequency range.
FREQUENCY selects the frequency range being targeted by the saturation stage.
AMOUNT controls the blend between the dry and processed signal.
INPUT controls the signal coming into the effect.
OUTPUT controls the signal coming out of the effect.
POWER TOGGLE toggles the effect on and off.

ADVANCED PANEL

MONO / DUAL MONO / STEREO behaves based on the track format. Mono instances show MONO disabled. Stereo instances can run DUAL MONO, where left and right channels are processed independently, or STEREO, where both channels are linked and the limiter will apply the same gain reduction to help keep the stereo image stable.
LIMITER MODE (OFF / SAFE / AGGRO) is a post-clamp lightweight but powerful post-output limiter to avoid final clipping (-0.003 dB final clip). Use SAFE for transparent control and AGGRO for fast peak control.
PH toggles the polarity. The button shows PH 0 for normal polarity or PH 180 for reverse polarity (180°).
FILTERS toggles the position of HPF and LPF in the signal chain. The button shows FILTERS: PRE to indicate that HPF and LPF are processed before the pedal, or FILTERS: POST to indicate that HPF and LPF are processed after the pedal.
MIX controls the mix between the dry signal and the processed signal.
HPF adjusts the cutoff frequency of the HPF. The range is 20Hz to 2,000Hz.
LPF adjusts the cutoff frequency of the LPF. The range is 2,000Hz to 20,000Hz.

RAIJU

RAIJU is KON's overdrive of choice: a focused drive pedal built to tighten the low end, push the mids forward and add bite where a source needs to cut.

Built with the immediacy of a pedal but shaped for mixing, RAIJU brings saturation, forwardness and controlled aggression into a simple four-knob workflow. Use MODERN for a tighter, faster response when guitars need precision and attack, or VINTAGE for a fuller, more classic drive with extra body and grind. It can push an amp, bring a DI to life, add teeth to bass, sharpen overheads, or give vocals, loops and synths the extra attitude they need to sit forward in a mix.

MAIN INTERFACE

DIST sets how hard the signal hits the overdrive stage, moving from controlled edge to full, aggressive saturation.
TONE shapes the colour of the driven signal, letting the overdrive sit darker, brighter, smoother or more open.
LEVEL boosts or reduces the volume post saturation stage.
BARK adds upper-mid bite and extra harmonic focus, helping the source feel more present and in your face.
MODERN mode delivers a tighter, more focused overdrive response with a firmer low end.
VINTAGE mode gives a fuller, rounder drive response with more body and classic grind.
INPUT controls the signal coming into the effect.
OUTPUT controls the signal coming out of the effect.
POWER TOGGLE toggles the effect on and off.

ADVANCED PANEL

MONO / DUAL MONO / STEREO changes behaviour based on the track format. On a mono instance, the MONO button is shown but disabled. On a stereo instance, DUAL MONO processes the left and right channels independently, while STEREO links both channels so the limiter applies the same gain reduction and helps keep the stereo image stable.
LIMITER MODE (OFF / SAFE / AGGRO) is a post-clamp lightweight but powerful post-output limiter to avoid final clipping (-0.003 dB final clip). Use SAFE for transparent control and AGGRO for fast peak control.
PH toggles the polarity. The button shows PH 0 for normal polarity or PH 180 for reverse polarity (180°).
FILTERS toggles the position of HPF and LPF in the signal chain. The button shows FILTERS: PRE to indicate that HPF and LPF are processed before the pedal, or FILTERS: POST to indicate that they are processed after the pedal.
MIX controls the mix between the dry signal and the processed signal.
HPF adjusts the cutoff frequency of the HPF. The range is 20Hz to 2,000Hz.
LPF adjusts the cutoff frequency of the LPF. The range is 2,000Hz to 20,000Hz.

stereo2mono

stereo2mono is a batch file utility app designed for clean delivery prep. It scans a folder of audio files and automatically detects stereo files that contain mono audio, converts them to true mono, and keeps real stereo files stereo.

It can also detect panned mono and one-sided stereo files and convert them to mono, join matching mono left/right files into stereo, standardise sample rate, convert bit depth, peak-normalise to a chosen dBFS target, and write everything into a predictable output folder with a detailed run log.

WHAT IT DOES

Detects stereo files that contain mono audio, where left and right carry the same signal.
Converts detected dual-mono stereo files to true mono by keeping the LEFT channel.
Keeps real stereo files stereo.
Optionally detects panned mono stereo (correlated L/R at different levels) and converts it to mono by averaging L+R.
Optionally detects stereo files with one silent side and converts them to mono using the active side.
Optionally joins matching mono L/R file pairs into true stereo files.
Optionally resamples all outputs to a chosen sample rate, from 44.1k up to 192k.
Optionally converts bit depth: Preserve, 16-bit, 24-bit, or 32-bit float.
Optionally normalises peak level to a selectable dBFS target.
Optionally detects clipped files and applies a tiny safety attenuation during processing.
Optionally scans and processes subfolders as well as the selected parent folder.
Writes everything into an output folder named s2m inside the selected folder, preserving subfolder structure.
Generates a detailed run log in the s2m folder, shows live progress and a summary inside the app, and lets you save the visible terminal log as a .txt file at any time.

OPTIONAL UTILITIES

Prefix index prepends filenames with 001-style numbering, based on processing order.
Append _MONO adds _MONO to files that were converted to mono.
Detect byte-identical duplicates and empty files during preflight, with the option to skip them during processing.
SAVE LOG saves the visible terminal log as a .txt file at any moment.
Join L/R mono pairs joins matching mono left/right files into stereo.
Strip silent stereo side converts one-sided stereo files to mono.
Pan Bias detects correlated panned mono and converts it to mono.

SYSTEM REQUIREMENTS AND SUPPORTED FILES

Supported audio formats: WAV (.wav, .wave) and AIFF (.aif, .aiff).
Supported channels: mono (1 channel) and stereo (2 channels).
Multi-channel files over 2 channels are skipped.

QUICK START

Launch stereo2mono.
Drag a folder onto the Drag & Drop area, or click the area to choose a folder.
The app runs a Preflight Scan first, showing a file list and a Preflight Summary that previews exactly what will happen.
Review your settings, including sample rate, bit depth, and normalisation.
Click START to process.
When finished, you will hear a completion sound and see a completion dialog. Click SHOW FOLDER to open the output location.

MAIN INTERFACE

DRAG & DROP AREA accepts a folder or an audio file. If an audio file is selected, stereo2mono uses its parent folder. Starting a new folder selection automatically clears previous preflight results and runs a fresh preflight.
START / STOP controls scanning and processing. When the button reads START, it acts as a smart continue button: if no folder is selected, it opens the folder picker; if a folder is selected but no preflight has run, it launches the Preflight Scan; if preflight results already exist, it begins processing.
STOP immediately stops whichever process is running, preflight or processing, and returns the app to the "Files ready..." state so you can adjust settings and start again.
SHOW FOLDER stays disabled until a processing run has finished, since there is no output folder to reveal yet. Once enabled, it opens the newly created output folder: s2m, s2m_2, s2m_3, and so on.
SAMPLE RATE lets you choose Preserve, 44.1k, 48k, 88.2k, 96k, or 192k. Preserve keeps each file's original sample rate, while a specific rate resamples every output file to that target.
BIT DEPTH offers Preserve, 16-bit, 24-bit, or 32-bit float. Preserve keeps the original bit depth when a file has to be rewritten. If the source bit depth is unavailable or unknown, the app falls back to a safe practical choice, typically 24-bit.
SAVE LOG appears after preflight or processing has produced terminal output, and saves the visible terminal log as a .txt file whenever you choose.
Add sequential number prefix prepends a three-digit index to output filenames, for example 001, 002, 003, based on processing order.
Skip empty files and duplicates hashes files and reports byte-identical duplicates or empty files during preflight. When enabled, it skips empty files and duplicates during processing.
Mono & stereo files in the same folder changes output organisation. When off, the app creates s2m/Mono Files/... and s2m/Stereo Files/.... When on, it creates only s2m/... and writes mono and stereo outputs into the same mirrored folder tree.
Normalise to X dBFS enables peak normalisation to the selected target, defaulting to -3.0 dBFS peak.
Normalise target ranges from -24.0 dBFS to 0.0 dBFS in 0.1 dB steps. In this build, the numeric box is display-only and the slider is the actual control. Moving the slider automatically turns normalisation on, so you can't set a target without it being applied.

ADVANCED PANEL

Open the Advanced panel by clicking the large hit area over the top-left logo; it opens a settings panel containing detection controls, output routing, additional settings and licensing. Most settings are already fine-tuned for ideal results, but they can be adjusted depending on your workflow.

CORRELATION THRESHOLD (default 0.99) controls how strictly the app decides that left and right are effectively the same. Higher values are stricter, so fewer files get flagged as dual-mono, while lower values are more permissive. If true stereo files are being incorrectly converted, raise the threshold slightly. If obvious dual-mono is not being detected, lower it slightly and re-test.
SIDE MID TRIGGER (dB) (default -50.0 dB) is the median Side/Mid ratio in dB used by the detector. More negative values mean "more mono." If dual-mono files contain tiny L/R differences (noise, dither, encoding quirks) and are not detected, try a less strict value, for example -45 dB. If you only want extremely clean dual-mono conversions, make it stricter, for example -60 dB.
CHUNK SECONDS (default 3.0 s) sets the analysis window length used during detection; the app analyses the file in chunks and uses the median of the measured values to make a stable decision. Shorter chunks react more to short-term changes, sometimes increasing false positives or negatives on busy material, while longer chunks smooth things out but can blur small stereo differences.
PAN BIAS (default OFF) detects correlated stereo files where left and right carry the same mono source at different levels. Higher values allow a wider L/R level difference, up to 24 dB. When detected, stereo2mono converts the file to mono by averaging L+R and adds a _MONO_panL or _MONO_panR suffix with the estimated pan amount.
Append _MONO adds _MONO before the extension when files are converted to mono, including dual-mono and other mono-conversion outputs.
Join L/R mono pairs detects matching mono left/right files and joins them into a true stereo file. Supported suffixes include L/R, _L/_R, -L/-R, .L/.R, and bare L/R endings. Both files must be mono, use the same sample rate, and be within 10 ms of each other. Joined outputs are named with _ST before the extension.
Strip silent stereo side detects stereo files where one side is active and the other side is silent, then converts the file to mono using the active side. This is separate from dual-mono detection.
Detect duplicates and empty files hashes files and reports byte-identical duplicates or empty files during preflight. If Skip empty files and duplicates is enabled, those files are skipped during processing.
Detect clipped files reports clipped files during preflight. During processing, clipped files receive a tiny safety attenuation of -0.01 dB.
Scan and process subfolders controls whether stereo2mono scans the whole folder tree or only the top level of the selected folder. When enabled, subfolders are included and mirrored in the output. When disabled, only audio files directly inside the selected folder are processed.

LICENSE SECTION

On first launch without a license, stereo2mono shows the license splash and asks for a license key.

Paste the license key into the box and press AUTHORISE.

OUTPUT BEHAVIOUR

OUTPUT ROOT creates an output folder called s2m inside the chosen folder. If that name already exists, the app creates s2m_2, then s2m_3, and so on to avoid overwriting previous runs.
PATH MIRRORING preserves the original folder structure under the output root. For a source file at ROOT/Sub/Path/File.wav, the default split mode outputs to ROOT/s2m/Mono Files/Sub/Path/File.wav for mono results and ROOT/s2m/Stereo Files/Sub/Path/File.wav for stereo results. If "keep same folder" is enabled, both mono and stereo outputs go to ROOT/s2m/Sub/Path/File.wav.
COPY vs REWRITE decides whether files can be copied bit-perfectly or must be rewritten. A file is copied only when no resampling is requested, no bit depth conversion is requested, normalisation is off, and, for stereo files, the file is not flagged as dual-mono. If any of those conditions are not met, the file is rewritten.
STEREO2MONO CONVERSION OUTPUT makes a mono file from the LEFT channel when a stereo file is flagged as dual-mono. If _MONO naming is enabled, the suffix is applied to the converted output. If normalisation is enabled, gain is calculated from the stereo peak, the max of L and R, even though the output is mono.
PANNED MONO OUTPUT makes a mono file by averaging L+R when Pan Bias detects a highly correlated panned mono stereo file. The output is named with _MONO_panL or _MONO_panR plus the estimated pan amount.
SILENT-SIDE OUTPUT makes a mono file from the active side when Strip silent stereo side is enabled and one side is silent: from LEFT if the left side is active, from RIGHT if the right side is active.
L/R PAIR OUTPUT joins matching mono left/right files into a stereo file, named with _ST before the extension. If the two sides differ slightly in length but stay within the 10 ms tolerance, the shorter side is padded.

TERMINAL AND LOG

PREFLIGHT TERMINAL shows the selected folder path, total supported file count, and a running "Reading..." list that includes each file's channel type and size.
PREFLIGHT SUMMARY describes what will happen when you press START, including mono conversions, L/R pair joins, silent-side stripping, panned-mono conversion, resampling, bit-depth conversion, normalisation, clipped files, empty files, and duplicates. Long lists are shortened on-screen, but the saved log keeps the full detail.
RUN LOG writes a timestamped log file inside the s2m output folder. The log includes settings used, the full preflight detail, and a per-file record with source path, technical info, median correlation, Side/Mid values, active and ignored chunks, the decision made, and exact output path(s).
DEETS SUMMARY at the end of the log lists conversions, L/R joins, silent-side and panned-mono conversions, copies, rewrites, skips, errors, and chosen output format settings.

PRACTICAL RECIPES

Clean deliverables, keep originals untouched: leave Sample Rate and Bit Depth on Preserve, turn Normalise off, and use dual-mono detection to convert only fake-stereo files while copying everything else.
Standardise everything to 48k / 24-bit: set Sample Rate to 48k and Bit Depth to 24-bit, with optional normalisation such as -3 dBFS peak depending on your delivery spec.
Create 16-bit delivery files: set Bit Depth to 16-bit, choose the required sample rate, and enable normalisation only if the spec requires it.
Deliver mono and stereo together for assembly workflows: enable Mono & stereo files in the same folder, and optionally enable prefix indexing so the output folder is naturally ordered.
Audit messy libraries: enable duplicate/empty detection, run preflight, and check the duplicates section. Use SAVE LOG or the run log for full duplicate group listings.
Join split stereo recordings: enable Join L/R mono pairs when matching mono files use L/R-style suffixes and need to become true stereo files.
Clean one-sided stereo exports: enable Strip silent stereo side when stereo files contain audio on only one side.
Catch panned mono exports: raise Pan Bias above OFF when mono material has been printed as stereo with a left/right level offset.

TROUBLESHOOTING

If you see No supported audio files found, the folder contains no supported extensions (.wav, .wave, .aif, .aiff) or the files are inside an ignored folder whose name starts with S2M.
If SHOW FOLDER is disabled, you have not finished a processing run yet; preflight alone does not enable it.
If some files are missing from output, multi-channel files are skipped by design, and corrupt or unreadable files may fail during read/write. Check the run log for per-file errors.
If a panned mono file became mono but you wanted it kept stereo, turn Pan Bias off.
If a stereo file got converted but it should not have, raise Correlation Threshold, make Side Mid Trigger more strict (more negative), turn Pan Bias off, or increase Chunk Seconds.
If two mono files became one stereo file, Join L/R mono pairs is enabled and stereo2mono found a matching left/right pair.
If a stereo file with one silent side became mono, Strip silent stereo side is enabled and stereo2mono kept the active channel.
If an L/R pair was not joined, both files must be mono, have matching sample rates, use a supported L/R suffix pattern, and be within 10 ms of each other.
If preflight warns about large files, files over 512 MB were found. Processing still works, but resampling those files may use more RAM.
If a dual-mono file stayed stereo, lower Correlation Threshold slightly, make Side Mid Trigger less strict (less negative), or shorten Chunk Seconds if only some sections reveal the mono nature.
If you are wondering Why LEFT channel only?, it is a fixed rule in this build. Dual-mono conversion takes the LEFT channel; averaging L+R would be a feature change rather than a setting here.

NOTES AND LIMITATIONS

The detector is intentionally stable and conservative by using median values across analysis chunks.
The app never processes in-place. It always writes to a new s2m output folder, leaving the original files untouched.
Metadata is passed through on a best-effort basis and can depend on the container or format.
Duplicate detection is strictly byte-identical and is not similar-audio-content matching.
Settings are remembered between launches.
Pan Bias detects strongly correlated panned mono, not every possible stereo balance issue.
L/R mono pair joining depends on filename suffixes and strict technical matching.

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