When enabled, the sidechain signal is processed through high-pass and low-pass filters before reaching the detector circuit. This allows you to control which frequencies trigger compression.

Disabling the filters passes the full signal to the detector.

Sets the cutoff frequency of the sidechain high-pass filter, in Hz. Frequencies below this point are attenuated in the sidechain path.

This is useful when you want to reduce the impact of bass elements on the compressor's response.

Sets the cutoff frequency of the sidechain low-pass filter, in Hz. Frequencies above this point are attenuated in the sidechain path.

Use this to ignore high-frequency transients or hiss when controlling compression.

Engaging this switch routes the filtered sidechain signal to the output so you can fine-tune filter settings more effectively.

Sets the level above which compression begins, in dB. Signals louder than the threshold will be reduced in gain according to the ratio setting.

Lower thresholds result in more frequent and aggressive compression.

Determines how much the signal is reduced once it passes the threshold.

A ratio of 2:1 means that for every 2 dB above the threshold, only 1 dB is output. Higher ratios result in limiting while lower ratios produce more subtle, transparent compression.

Toggles soft knee compression for a smoother transition around the threshold.

• When enabled, compression starts gradually as the signal approaches the threshold, resulting in more transparent and musical compression.

• When disabled (hard knee), compression begins more abruptly, which can be useful for precise dynamics control.

Selects whether compression responds to RMS or peak levels.

• RMS mode responds to the average energy of the signal, making it smoother and more musical. Ideal for vocals, pads, and sustained instruments.

• Peak mode responds to short transients and is more reactive. Better suited for drums or instruments with sharp attacks.

Sets how quickly the compressor responds after the signal exceeds the threshold, in ms.

Short attack times catch fast transients like drum hits but may reduce punch. Longer attack times allow more of the transient through, retaining clarity and impact.

Adjust based on whether you want to preserve or tame the initial hit of a sound.

Sets how quickly the compressor stops reducing gain after the signal falls below the threshold, in ms.

Short release times can create a pumping effect, especially with rhythmic material. Longer release times smooth out gain changes but may cause the compressor to remain active too long, dulling dynamic range.

Use shorter releases for punchy effects and longer ones for smooth, transparent compression.

Engages a brickwall limiter at the output stage (after output gain).

This limiter prevents output levels from exceeding 0 dBFS, protecting against digital clipping.

Shows the compressor's gain reduction in dB.

Adjusts the overall output level after compression, in dB.

Use this control to compensate for any gain reduction applied by the compressor.

Shows the peak level of the input signal, in dBFS.

The red line holds the peaks for 1 second.

The release speed can be adjusted in the preferences.

Shows the peak level of the output signal, post output gain, in dBFS.

The red line holds the peaks for 1 second.

The release speed can be adjusted in the preferences.

Enables or disables the high-pass and low-pass filters.

Sets the cutoff frequency of the high-pass filter, in Hz. Frequencies below this threshold are attenuated.

Use it to reduce low-end rumble in delay repeats, clean up muddy signals, or simulate analog-style filtered echoes.

Boosts frequencies near the HPF and LPF cutoff points.

Higher values create a peak around the cutoff frequency, accentuating certain frequencies and introducing a more resonant, analog-like tone.

Great for creative sound design and dub-style effects.

Sets the cutoff frequency of the low-pass filter, in Hz. Frequencies above this threshold are attenuated.

Useful for darkening delay repeats and avoiding buildup in the high-end, especially with feedback loops.

Controls the amount of overdrive distortion. Introduces analog-style saturation to the signal depending on the routing mode.

Low values warm the signal subtly; higher values can add grit or aggressive texture.

Enables modulation of the filters cutoff frequencies.

When enabled, the LFO moves the HPF and/or LPF cutoff points over time, creating evolving or pulsating tonal movement in the delay signal.

Switches between free-running (Hz) and BPM-synced (bars) LFO rate.

Sets the speed of the LFO.

When BPM Sync is enabled, the value is expressed in bars, synced to the host BPM. Otherwise, the value is expressed in Hz.

Controls how much the LFO affects the filter cutoff.

At 0%, no modulation is applied. Higher values result in deeper cutoff sweeps, creating more pronounced movement and rhythmic filtering.

Selects the waveform used by the LFO.

Choose from Sine, Triangle, Square, Ramp Up, or Ramp Down shapes to define the character of the modulation.

Visualizes modulation depth and movement.

Enables or disables delay processing on the left channel.

Selects the note value that sets the delay time for the left channel.

This setting refers to the host BPM to determine the delay time. Values range from whole note to thirty-second note, and include triplets and dotted notes.

When enabled, sums the dry signal to the delayed signal, before further processing according to the routing.

Sets the amount of delayed signal that is fed back into the delay line.

Higher feedback results in more repeats and longer decay.

Disabled in mono ▸ mono

Enables or disables delay processing on the right channel.

Disabled in mono ▸ mono

Selects the note value that sets the delay time for the right channel.

This setting refers to the host BPM to determine the delay time. Values range from whole note to thirty-second note, and include triplets and dotted notes.

Selects the signal flow order for Delay, Filters, and Overdrive sections. Allows for advanced creative control over how each effect interacts.

Prevents output clipping by limiting the final signal level.

Useful for aggressive feedback or drive settings that may cause the output to exceed 0 dBFS.

Disabled in mono ▸ mono

Controls the stereo spread of the delayed signal.

0% collapses the delay to mono; 100% maximizes the stereo field.

Adjusts the gain of the input signal in dB.

Controls the blend between the original (dry) signal with the processed (wet) delay.

0% outputs only the dry signal; 100% outputs only the delay. Useful for insert or send/return configurations.

Adjusts the gain of the output signal in dB, after dry/wet mix.

Shows the peak level of the input signal, post input gain, in dBFS.

The red line holds the peaks for 1 second.

The release speed can be adjusted in the preferences.

Shows the peak level of the output signal, post output gain, in dBFS.

The red line holds the peaks for 1 second.

The release speed can be adjusted in the preferences.

When enabled, the sidechain signal is processed through high-pass and low-pass filters before reaching the detector circuit. This allows you to control which frequencies trigger gating.

Disabling the filters passes the full signal to the detector.

Sets the cutoff frequency of the sidechain low-pass filter, in Hz. Frequencies above this point are attenuated in the sidechain path.

Use this to ignore low-end elements, such as kick drum bleed or ambient rumble, that might otherwise cause unwanted gate openings.

Sets the cutoff frequency of the sidechain high-pass filter, in Hz. Frequencies below this point are attenuated in the sidechain path.

This is helpful for preventing high-frequency transients or noise from triggering the gate unnecessarily.

Engaging this switch routes the filtered sidechain signal to the output so you can fine-tune filter settings more effectively.

Sets the level below which the gate reduces the signal, in dB.

When the input drops below this level, the plugin begins to attenuate the signal according to the range setting.

Lowering the threshold makes the gate more sensitive and likely to engage, while raising it tightens control over what gets through.

Sets how much the signal is reduced when below the threshold.

A 100% range fully mutes the signal, while lower percentages allow for more subtle reduction. A 0% range produces no attenuation at all.

Selects whether gating responds to RMS or peak levels.

• RMS mode smooths out short transients and is ideal for controlling sustained content like room tone or vocal breath noise.

• Peak mode is more responsive to sudden level changes and works well for instruments with fast transients like drums.

Sets how quickly the gate or expander opens once the signal exceeds the threshold, in ms.

A short attack opens the gate instantly, preserving fast transients. Longer attack times smooth the onset of the signal, useful for preventing clicks or making the gating less noticeable on slower sounds like pads or vocals.

Keeps the gate open for a set time after the signal drops below the threshold, in ms. This prevents the gate from closing too quickly during brief pauses.

A small hold value can smooth out decay tails in vocals or instruments. Higher values are useful for controlling stuttering or choppy gating behavior on variable signals like speech.

Sets how quickly the gate or expander closes after the hold time ends, in ms.

Short release times quickly attenuate the signal after the gate closes, creating tight and precise gating. Longer release times fade the signal more gradually, preserving natural decay.

Shows the gate's gain reduction in dB.

Shows the peak level of the input signal, in dBFS.

The red line holds the peaks for 1 second.

The release speed can be adjusted in the preferences.

Shows the peak level of the output signal, in dBFS.

The red line holds the peaks for 1 second.

The release speed can be adjusted in the preferences.

Switches between free-running (Hz) and BPM-synced (bars) LFO rate.

Sets the speed of the LFO.

When BPM Sync is enabled, the value is expressed in bars, synced to the host BPM. Otherwise, the value is expressed in Hz.

Controls how strongly the LFO affects the effect section.

Selects the waveform used by the LFO.

Choose from Sine, Triangle, Square, Ramp Up, or Ramp Down shapes to define the character of the modulation.

Visualizes modulation depth and movement.

Selects the modulation algorithm:

• Chorus uses slightly longer delay times and a more subtle modulation for a smooth, widening effect.

• Flanger uses very short delay times and strong feedback to create a sharper, more metallic or jet-like tone.

Selects from preset delay time ranges, changing the overall character of the modulation.

Each preset affects how thick or tight the modulation sounds.

Applies harmonic saturation after the chorus/flanger stage, to add warmth and character.

Low values subtly color the tone; high values introduce fuzzier, more aggressive textures. Combine with analog color for vintage tones.

Reinjects part of the processed signal back into the delay line in order to increase the intensity and resonance of the modulation.

Higher feedback values enhance the comb filtering effect and can make the sound more swirling or metallic.

Reverses the phase of the feedback signal. This changes how the feedback interacts with the original signal, altering the tone of the effect.

Try toggling this when using high feedback settings to explore alternate textures.

Disabled in mono ▸ mono

Applies phase offset between the LFOs on the left and right channels.

At 0°, both channels sweep identically. At 180°, they sweep in opposite directions, creating a wide, swirling stereo image. Ideal for creating movement and width in stereo mixes.

Toggles between analog-inspired and clean digital processing styles.

• In Analog mode, a mild saturation stage emulates the warmth of vintage hardware units.

• Digital mode is clean and precise, ideal for modern, transparent effects.

Blends the original signal with the processed signal.

0% outputs only the dry signal; 100% is fully processed. Use default value of 50% for a classic chorus or flanger effects.

Adjusts the final level of the signal after all processing, in dB.

Shows the peak level of the input signal, in dBFS.

The red line holds the peaks for 1 second.

The release speed can be adjusted in the preferences.

Shows the peak level of the output signal, post output gain, in dBFS.

The red line holds the peaks for 1 second.

The release speed can be adjusted in the preferences.