Plug-in Reference

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Cubase Elements_12.0.0_en-US_2022-03-02
 Table of Contents

4 Included VST Audio Effect Plug-ins

4 Delay Plug-ins
7 Distortion Plug-ins
17 Dynamics Plug-ins
37 EQ Plug-ins
40 Filter Plug-ins
46 Mastering Plug-ins
47 Modulation Plug-ins
60 Pitch Shift Plug-ins
63 Reverb Plug-ins
66 Spatial + Panner Plug-ins
67 Tools Plug-ins
70 Included VST Instruments
71 Index

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This chapter describes the included VST audio effects and their parameters. How to apply and
manage audio effects is described in the Operation Manual.

The plug-ins are arranged according to their categories.

Delay Plug-ins

MonoDelay
This is a mono delay effect. The delay line uses tempo-based or freely specified delay time
settings.

Lo Filter
Affects the feedback loop of the effect signal and allows you to roll off low frequencies.
The button below the control activates/deactivates the filter.

Hi Filter
Affects the feedback loop of the effect signal and allows you to roll off high
frequencies. The button below the control activates/deactivates the filter.

Delay
Sets the delay time in milliseconds.

Sync
Activates/Deactivates tempo sync.

Feedback
Sets the amount of the signal that is sent back into the delay input. The higher this
value, the higher the number of repeats.

Mix
Sets the level balance between the dry signal and the wet signal. If the effect is used
as a send effect, set this parameter to the maximum value, as you can control the
dry/effect balance with the send level.

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Delay Plug-ins

NOTE

This plug-in supports external side-chaining. You can use the side-chain input to control the delay
from another signal source. If the side-chain signal exceeds the threshold, the delay repeats are
silenced. If the signal drops below the threshold, the delay repeats reappear. For a description of
how to set up side-chain routing, see the Operation Manual.

PingPongDelay
This is a stereo delay effect that alternates each delay repeat between the left and right channels.
The delay line uses tempo-based or freely specified delay time settings.

NOTE

This plug-in works only on stereo tracks.

Lo Filter
Affects the feedback loop of the effect signal and allows you to roll off low frequencies.
The button below the control activates/deactivates the filter.

Hi Filter
Affects the feedback loop of the effect signal and allows you to roll off high
frequencies. The button below the control activates/deactivates the filter.

Delay
Sets the delay time in milliseconds.

Sync
Activates/Deactivates tempo sync.

Feedback
Sets the amount of the signal that is sent back into the delay input. The higher this
value, the higher the number of repeats.

Mix
Sets the level balance between the dry signal and the wet signal. If the effect is used
as a send effect, set this parameter to the maximum value, as you can control the
dry/effect balance with the send level.

Spatial
Sets the stereo width for the left/right repeats. Turn clockwise for a more pronounced
stereo ping-pong effect.

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Delay Plug-ins

Start Left/Start Right

Determines whether the delay repeat starts on the left or the right channel.

NOTE

This plug-in supports external side-chaining. You can use the side-chain input to control the delay
from another signal source. If the side-chain signal exceeds the threshold, the delay repeats are
silenced. If the signal drops below the threshold, the delay repeats reappear. For a description of
how to set up side-chain routing, see the Operation Manual.

StereoDelay
StereoDelay has two independent delay lines which either use tempo-based or freely specified
delay time settings.

NOTE

This plug-in works only on stereo tracks.

Feedback
Set the number of repeats for each delay.

Delay
Sets the delay time in milliseconds.

Sync
Activates/Deactivates tempo sync for the corresponding delay.

Mix
Sets the level balance between the dry signal and the wet signal. If the effect is used
as a send effect, set this parameter to the maximum value, as you can control the
dry/effect balance with the send level.

Lo Filter
Affects the feedback loop of the effect signal and allows you to roll off low frequencies.
The button below the control activates/deactivates the filter.

Pan
Sets the stereo position.

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Hi Filter
Affects the feedback loop of the effect signal and allows you to roll off high
frequencies. The button below the control activates/deactivates the filter.

NOTE

This plug-in supports external side-chaining. You can use the side-chain input to control the delay
from another signal source. If the side-chain signal exceeds the threshold, the delay repeats are
silenced. If the signal drops below the threshold, the delay repeats reappear. For a description of
how to set up side-chain routing, see the Operation Manual.

Distortion Plug-ins

AmpSimulator
AmpSimulator is a distortion effect that emulates the sound of various types of guitar amp and
speaker cabinet combinations. A wide selection of amp and cabinet models is available.

Select Amplifier Model

This pop-up menu allows you to select an amplifier model. You can bypass this section
by selecting No Amp.

Drive
Controls the amount of amp overdrive.

Bass
Tone control for the low frequencies.

Mid
Tone control for the mid frequencies.

Treble
Tone control for the high frequencies.

Presence
Boosts or dampens the higher frequencies.

Volume
Controls the overall output level.

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Select Cabinet Model

This pop-up menu allows you to select a speaker cabinet model. You can bypass this
section by selecting No Speaker.

Damping Low/High
These tone controls allow you to shape the sound of the selected speaker cabinet.

BitCrusher
If you are into lo-fi sound, BitCrusher is the effect for you. It offers the possibility of decimating
and truncating the input audio signal by bit reduction, to get a noisy, distorted sound. For
example, you can make a 24-bit audio signal sound like an 8 or 4-bit signal, or even render it
completely garbled and unrecognizable.

Mode
Allows you to select one of the four operating modes. In each mode, the effect sounds
differently. Modes I and III are nastier and noisier, while modes II and IV are more
subtle.

Mix
Sets the level balance between dry and wet signal.

Sample Divider
Sets the amount by which the audio samples are decimated. At the highest setting,
nearly all of the information describing the original audio signal is eliminated, turning
the signal into unrecognizable noise.

Depth (0 to 24 bits)
Defines the bit resolution. A setting of 24 gives the highest audio quality, while a
setting of 1 creates mostly noise.

Output
Sets the output level.

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DaTube
DaTube emulates the characteristic warm, lush sound of a tube amplifier.

Mix
Sets the level balance between dry and wet signal.

Drive
Sets the pre-gain of the amplifier. Use high values if you want an overdriven sound just
on the verge of distortion.

Output
Sets the output level.

Distortion
Distortion adds crunch to your tracks.

Boost
Increases the distortion amount.

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Oversampling
Activates/Deactivates oversampling. Oversampling results in less artifacts for higher
distortion.

NOTE

If this parameter is activated, the effect requires more processing power.

Mix
Sets the level balance between dry and wet signal.

Tone
Changes the tonal characteristic of the output signal.

Feedback
Feeds part of the output signal back to the effect input. Higher settings increase the
distortion effect.

Spatial
Changes the distortion characteristics of the left and right channels, thus creating a
stereo effect.

Output
Sets the output level.

Grungelizer
Grungelizer adds noise and static to your recordings – like listening to a radio with bad
reception, or a worn and scratched vinyl record.

Noise
Sets the amount of added static noise.

Crackle
Adds crackle to create that old vinyl record sound. The speed switch sets the virtual
speed of the record in RPM (revolutions per minute).

Distort
Adds distortion.

EQ
Cuts the low frequencies, and creates a hollow, lo-fi sound.

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AC
Emulates a constant, low AC hum. The frequency switch sets the virtual frequency of
the AC current (50 or 60 Hz), and thus the pitch of the AC hum.

Mix
Sets the amount of overall effect.

VST Amp Rack

VST Amp Rack is a powerful guitar amp simulator. It offers a choice of amplifiers and speaker
cabinets that can be combined with stomp box effects.

At the top of the plug-in panel, there are six buttons, arranged according to the position of the
corresponding elements in the signal chain. These buttons open different pages in the display
section of the plug-in panel: Pre-Effects, Amplifiers, Cabinets, Post-Effects, Microphones,
Configuration, and Master.

Below the display section, the selected amplifier is shown. The color and texture of the area
below the amplifier indicate the selected cabinet.

Pre/Post-Effects
On the Pre-Effects and Post-Effects pages, you can select up to six common guitar effects. On
both pages, the same effects are available, the only difference being the position in the signal
chain (before and after the amplifier). On each page, every effect can be used once.

Each effect features an On/Off button known from stompbox effects, as well as individual
parameters.

Wah Wah
Pedal – Controls the filter frequency sweep.

Volume
Pedal – Controls the level of the signal passing through the effect.

Compressor
Intensity – Sets the amount by which an input signal is being compressed.

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Limiter
Threshold – Determines the maximum output level. Signal levels above the set
threshold are cut off.
Release – Sets the time after which the gain returns to the original level.

Maximizer
Amount – Determines the loudness of the signal.

Chorus
Rate – Allows you to set the sweep rate. This parameter can be synchronized to the
project tempo.
Width – Determines the depth of the chorus effect. Higher settings produce a more
pronounced effect.

Phaser
Rate – Allows you to set the sweep rate. This parameter can be synchronized to the
project tempo.
Width – Determines the width of the modulation effect between higher and lower
frequencies.

Flanger
Rate – Allows you to set the sweep rate. This parameter can be synchronized to the
project tempo.
Feedback – Determines the character of the flanger effect. Higher settings produce a
more metallic sounding sweep.
Mix – Sets the level balance between the dry signal and the wet signal.

Tremolo
Rate – Allows you to set the modulation speed. This parameter can be synchronized to
the project tempo.
Depth – Governs the depth of the amplitude modulation.

Octaver
Direct – Adjusts the mix of the original signal and the generated voices. A value of 0
means only the generated and transposed signal is heard. By raising this value, more
of the original signal is heard.
Octave 1 – Adjusts the level of the signal that is generated one octave below the
original pitch. A setting of 0 means that the voice is muted.
Octave 2 – Adjusts the level of the signal that is generated two octaves below the
original pitch. A setting of 0 means that the voice is muted.

Delay
Delay – Sets the delay time in milliseconds. This parameter can be synchronized to the
project tempo.
Feedback – Sets the number of repeats for the delay.
Mix – Sets the level balance between the dry signal and the wet signal.

Tape Delay
Delay – Tape Delay creates a delay effect known from tape machines. The Delay
parameter sets the delay time in milliseconds. This parameter can be synchronized
to the project tempo.
Feedback – Sets the number of repeats for the delay.
Mix – Sets the level balance between the dry signal and the wet signal.

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Tape Ducking Delay

Delay – Tape Ducking Delay creates a delay effect known from tape machines with
a ducking parameter. The Delay parameter sets the delay time in milliseconds. This
parameter can be synchronized to the project tempo.
Feedback – Sets the number of repeats for the delay.
Duck – Works like an automatic mix parameter. If the level of the input signal is high,
the portion of the effect signal is lowered, or ducked (low internal mix value). If the
level of the input signal is low, the portion of the effect signal is raised (high internal
mix value). This way the delayed signal stays rather dry during loud or intensely played
passages.

Overdrive
Drive – Overdrive creates a tube-like overdrive effect. The higher this value, the more
harmonics are added to the output signal of this effect.
Tone – Works as a filter effect on the added harmonics.
Level – Adjusts the output level.

Fuzz
Boost – Fuzz creates a rather harsh distortion effect. The higher this value, the more
distortion is created.
Tone – Works as a filter effect on the added harmonics.
Level – Adjusts the output level.

Gate
Threshold – Determines the level at which the gate is activated. Signal levels above the
set threshold trigger the gate to open, and signal levels below the set threshold close
the gate.
Release – Sets the time after which the gate closes.

Equalizer
Low – Sets the level of the low frequency portion of the incoming signal.
Middle – Sets the level of the mid frequency portion of the incoming signal.
High – Sets the level of the high frequency portion of the incoming signal.

Reverb
Type – A convolution-based reverb effect. This parameter allows you to switch between
different reverb types (Studio, Hall, Plate, and Room).
Mix – Sets the level balance between the dry signal and the wet signal.

Sync Mode
Some parameters can be synchronized to the tempo of the host application.

The names of these parameters are highlighted. Click the corresponding control to activate or
deactivate tempo sync. An LED at the top right of the control indicates that sync mode is active.
You can then select a base note value for tempo syncing from the pop-up menu above the
control.

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Using Effects
● To insert a new effect, click the + button that appears if you point the mouse at an empty
plug-in slot or at one of the arrows before or after a used effect slot.
● To remove an effect from an effect slot, click the effect name and select None from the
pop-up menu.
● To change the order of the effects in the chain, click on an effect and drag it to another
position.
● To activate or deactivate an effect, click the pedal-like button below the effect name. If an
effect is active, the LED next to the button is lit.

NOTE

● Pre-effects and post-effects can be mono or stereo, depending on the track configuration.
● Using quick controls you can set up an external MIDI device, such as a foot controller,
to control the VST Amp Rack effects. For more information about quick controls, see the
Operation Manual.

Amplifiers
The amps available on the Amplifiers page are modeled on real-life amplifiers. Each amp
features settings typical for guitar recording, such as gain, equalizers, and master volume.

Plexi
Classic British rock tone; extremely transparent sound, very responsive.

Plexi Lead
British rock tone of the 70s and 80s.

Diamond
The cutting edge hard rock and metal sounds of the 90s.

Blackface
Classic American clean tone.

Tweed
Clean and crunchy tones; originally developed as a bass amp.

Deluxe
American crunch sound coming from a rather small amp with a big tone.

British Custom
Produces the sparkling clean or harmonically distorted rhythm sounds of the 60s.

All amps provide the following sound-related parameters which have a significant impact on their
overall character and sound:

Gain
Sets the amount of boost for the amp.

Bass
Allows you to raise or lower the low frequency part of the signal.

Middle
Allows you to raise or lower the mid frequency part of the signal.

Treble
Allows you to raise or lower the high frequency part of the signal.

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Presence
Allows you to raise or lower the upper mid frequency part of the signal.

Master
Sets the output level for the amp.

The different amps keep their settings if you switch models. However, if you want to use the
same settings after reloading the plug-in, you need to set up a preset.

Selecting and Deactivating Amplifiers

To switch amps on the Amplifiers page, click the model that you want to use. Select No
Amplifier if you only want to use the cabinets and effects.

Cabinets
The cabinets available on the Cabinets page simulate real-life combo boxes or speakers. For
each amp, a corresponding cabinet type is available, but you can also combine different amps
and cabinets.

Selecting and Deactivating Cabinets

● To switch cabinets on the Cabinets page, click the model that you want to use. Select No
Cabinet if you only want to use the amps and effects.
● If you select Link Amplifier & Cabinet Choice, the plug-in automatically selects the cabinet
corresponding to the selected amp model.

Microphones
On the Microphones page, you can choose between different microphone positions. These
positions result from two different angles (center and edge) and three different distances from
the speaker, as well as an additional center position at an even greater distance from the
speaker.

You can choose between two microphone types: a large-diaphragm condenser microphone and
a dynamic microphone. You can crossfade between the characteristics of the two microphones.

● To select one of the microphone types or blend between the two types, turn the Mix control
between the two microphones.

Placing the Microphone

● To select a microphone position, click the corresponding ball in the graphic. The selected
position is marked in red.

Configuration
On the Configuration page, you can specify whether you want to use VST Amp Rack in stereo or
in mono mode.

● To process the pre-effects, the amplifier, and the cabinets in full stereo mode, make sure that
the plug-in is inserted on a stereo track, and activate the Stereo button.
● To use the effect in mono-mode, make sure that the plug-in is inserted on a mono track, and
activate the Mono button.

NOTE

In stereo mode, the effect requires more processing power.

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Master
Use the Master page to fine-tune the sound.

Input/Output Level Meters

The input and output level meters on the left and the right of the Master section show the
signal level of your audio. The rectangle on the input meter indicates the optimum incoming
level range. In compact view, the input and output levels are indicated by two LEDs at the top left
and right.

Using the Master Controls

● To activate/deactivate the equalizer, click the pedal-like On/Off button. If the equalizer is
active, the LED next to the button is lit.
● To activate/deactivate an equalizer band, click the corresponding Gain control. If a band is
active, the LED to the left of the Gain control is lit.
● To tune your guitar strings, click the pedal-like On/Off button to activate the Tuner and play
a string. If the correct pitch is displayed and the row of LEDs below the digital display is
green, the string is tuned correctly.
If the pitch is too low, red LEDs are lit on the left. If the pitch is too high, red LEDs are lit on
the right. The more LEDs are lit, the lower/higher is the pitch.
● To mute the output signal of the plug-in, click the pedal-like Master button. If the output is
muted, the LED is not lit. Use this to tune your guitar in silence, for example.
● To change the volume of the output signal, use the Level control on the Master page.

View Settings
You can choose between 2 views: the default view and a compact view, which takes up less
screen space.

In the default view, you can use the buttons at the top of the plug-in panel to open the
corresponding page in the display section above the amp controls. You can horizontally resize
the plug-in panel by clicking and dragging the edges or corners.

In the compact view, the display section is hidden from view. You can change the amp settings
and switch amps or cabinets using the mouse wheel.

Using the Smart Controls

Smart controls become visible on the plug-in frame when you move the mouse pointer over on
the plug-in panel.

Switching between Default and Compact View

● To toggle between the different views, click the down/up arrow button (Show/Hide Extended
Display) at the top center of the plug-in frame.

Changing the Amplifier and Cabinet Selection in the Compact View

In the compact view, a smart control on the lower border of the plug-in frame allows you to
select different amplifier and cabinet models.

● To select a different amplifier or cabinet, click the name and select a different model from
the pop-up menu.

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● To lock the amplifier and cabinet combination, activate the Link/Unlink Amplifier & Cabinet
Choice button. If you now select another amp model, the cabinet selection follows. However,
if you select a different cabinet model, the lock is deactivated.

Previewing Effect Settings

In both views, you can show a preview of the pre- and post-effects that you selected on the
corresponding pages:

● Click and hold the Show Pre-Effects or Show Post-Effects button at the bottom left or right
of the plug-in frame.

Dynamics Plug-ins

Brickwall Limiter
Brickwall Limiter ensures that the output level never exceeds a set limit.

Due to its fast attack time, Brickwall Limiter can reduce even short audio level peaks without
creating audible artifacts. However, this plug-in creates a latency of 1ms. Brickwall Limiter
features separate meters for input, output, and the amount of limiting. Position this plug-in at
the end of the signal chain, before dithering.

Threshold (-20 to 0 dB)

Determines the level where the limiter kicks in. Only signal levels above the set
threshold are processed.

Release (3 to 1000 ms or Auto mode)

Sets the time after which the gain returns to the original level when the signal drops
below the threshold. If the Auto button is activated, the plug-in automatically finds the
best release setting for the audio material.

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Link Channels
If this option is activated, the plug-in uses the input from the channel with the highest
level. If the option is deactivated, each channel is analyzed separately.

Detect Intersample Clipping

If this option is activated, the plug-in uses oversampling to detect and limit signal levels
between two samples to prevent distortion when converting digital signals into analog
signals.

NOTE

Brickwall Limiter is designed for the reduction of occasional peaks in the signal. If the Gain
Reduction meter indicates constant limiting, try raising the threshold or lowering the overall
level of the input signal.

NOTE

This plug-in supports external side-chaining. For a description of how to set up side-chain
routing, see the Operation Manual.

Compressor
Compressor reduces the dynamic range of the audio, making softer sounds louder or louder
sounds softer, or both.

Compressor features a separate display that graphically illustrates the compressor curve that is
shaped according to the Threshold and Ratio parameter settings. Compressor also features a
Gain Reduction meter that shows the amount of gain reduction in dB, Soft knee/Hard knee
compression modes, and a program-dependent auto feature for the Release parameter.

Threshold (-60 to 0 dB)

Determines the level where the compressor kicks in. Only signal levels above the set
threshold are processed.

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Ratio
Sets the amount of gain reduction applied to signals above the set threshold. A ratio of
3:1 means that for every 3 dB the input level increases, the output level increases by 1
dB.

Soft Knee
If this button is deactivated, signals above the threshold are compressed instantly
according to the set ratio (hard knee). If Soft Knee is activated, the onset of
compression is more gradual, producing a less drastic result.

High Ratio
Sets the ratio to a fixed value of 20:1.

Make-Up (0 to 24 dB or Auto mode)

Compensates for output gain loss caused by compression. If Auto Make-Up Gain is
activated, the output is automatically adjusted for gain loss.

Dry Mix
Mixes the dry input signal to the compressed signal.

Attack (0.1 to 100 ms)

Determines how fast the compressor responds to signals above the set threshold.
If the attack time is long, more of the early part of the signal passes through
unprocessed.

Hold (0 to 5000 ms)

Sets the time the applied compression affects the signal after exceeding the threshold.
Short hold times are useful for DJ-style ducking, while longer hold times are required
for music ducking, for example, when working on a documentary film.

Release (10 to 1000 ms or Auto mode)

Sets the time after which the gain returns to its original level when the signal drops
below the threshold. If Auto Release is activated, the plug-in automatically finds the
best release setting for the audio material.

Analysis (Pure Peak to Pure RMS)

Determines whether the input signal is analyzed according to peak or RMS values, or
a mixture of both. A value of 0 is pure peak and 100 pure RMS. RMS mode operates
using the average power of the audio signal as a basis, whereas Peak mode operates
more on peak levels. As a general guideline, RMS mode works better on material with
few transients such as vocals, and Peak mode works better for percussive material
with a lot of transient peaks.

Live
If this button is activated, the look-ahead feature of the effect is deactivated. Look-
ahead produces more accurate processing, but adds a specific amount of latency
as a trade-off. If Live mode is activated, there is no latency, which is better for live
processing.

NOTE

This plug-in supports external side-chaining. For a description of how to set up side-chain
routing, see the Operation Manual.

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DeEsser
DeEsser is a special type of compressor that reduces excessive sibilance, primarily for vocal
recordings.

You can use it, for example, when close proximity microphone placement and equalizing lead to
situations where the overall sound is just right, but where unwanted sibilants occur.

When recording a voice, the position of DeEsser in the signal chain is usually after the
microphone pre-amp and before a compressor/limiter. This keeps the compressor/limiter from
unnecessarily limiting the overall signal dynamics.

Display
Shows the spectrum of the input signal.

● To adjust the frequency band, drag the border lines or click in the middle of the band and
drag.
● To change the width of the frequency band, hold Shift and drag to the left or right.

Filter
Lo/Hi
Sets the left and right border of the frequency band. You can set the frequency either
in Hz or as a note value. If you enter a note value, the frequency is automatically
displayed in Hz accordingly. For example, a note value of A3 sets the frequency to 440
Hz. When you enter a note value, you can also enter a cent offset. For example, enter
A5 -23 or C4 +49.

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NOTE

Make sure that you enter a space between the note and the cent offset. Only in this
case, the cent offsets are taken into account.

Solo
Solos the frequency band. This helps you to find the appropriate position and width of
that band.

Diff
Plays back what DeEsser removed from the signal. This helps you to adjust the
frequency band, threshold, and reduction parameters, so that only sharp s-sounds are
removed, for example.

Dynamics
Reduction
Controls the intensity of the de-essing effect.

Threshold (-50 to 0 dB)

If the Auto option is deactivated, you can use this control to set a threshold for the
incoming signal level above which the plug-in starts to reduce the sibilants.

Release (1 to 1000 ms)

Sets the time after which the de-essing effect returns to zero when the signal drops
below the threshold.

Auto
Automatically and continually sets an optimum threshold setting independent of the
input signal. The Auto option does not work for low-level signals (< -30 db peak level).
To reduce the sibilants in such a file, set the threshold manually.

Side-Chain
Side-Chain
Activates the internal side-chain filter. You can now shape the input signal according
to the filter parameters. Internal side-chaining can be useful for tailoring how the gate
operates.

Freq (25 Hz to 20 kHz)

If Side-Chain is activated, this sets the frequency of the filter. You can set the
frequency either in Hz or as a note value. If you enter a note value, the frequency
is automatically displayed in Hz accordingly. For example, a note value of A3 sets the
frequency to 440 Hz. When you enter a note value, you can also enter a cent offset. For
example, enter A5 -23 or C4 +49.

NOTE

Make sure that you enter a space between the note and the cent offset. Only in this
case, the cent offsets are taken into account.

Q-Factor
If Side-Chain is activated, this sets the resonance or width of the filter.

Monitor
Allows you to monitor the filtered signal.

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Live
If this button is activated, the look-ahead feature of the effect is deactivated. Look-
ahead produces more accurate processing, but adds a specific amount of latency
as a trade-off. If Live mode is activated, there is no latency, which is better for live
processing.

NOTE

This plug-in supports external side-chaining. For a description of how to set up side-chain
routing, see the Operation Manual.

Positioning the DeEsser in the Signal Chain

When recording a voice, the position of DeEsser in the signal chain is usually located after the
microphone pre-amp and before a compressor/limiter. This keeps the compressor/limiter from
unnecessarily limiting the overall signal dynamics.

EnvelopeShaper
EnvelopeShaper can be used to attenuate or boost the gain of the attack and release phase of
audio material.

You can use the controls or drag the breakpoints in the graphical display to change parameter
values. Be careful with levels when boosting the gain and if needed reduce the output level to
avoid clipping.

Attack (-20 to 20 dB)

Sets the gain of the attack phase of the signal.

Length (5 to 200 ms)

Sets the length of the attack phase.

Release
Sets the gain of the release phase of the signal.

Output
Sets the output level.

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NOTE

This plug-in supports external side-chaining. You can use the side-chain input to control the
effect from another signal source. If the side-chain signal exceeds the threshold, the effect is
triggered. For a description of how to set up side-chain routing, see the Operation Manual.

Gate
Gating, or noise gating, silences audio signals below a set threshold. As soon as the signal level
exceeds the threshold, the gate opens to let the signal through.

Attack (0.1 to 1000 ms)

Sets the time after which the gate opens when it is triggered.

NOTE

Deactivate the Live button to make sure that the gate is already open when a signal
above the threshold is played back.

Hold (0 to 2000 ms)

Determines how long the gate remains open after the signal drops below the threshold
level.

Release (10 to 1000 ms or Auto mode)

Sets the time after which the gate closes after the set Hold time. If Auto Release
is activated, the plug-in automatically finds the best release setting for the audio
material.

Threshold
Determines the level at which the gate is activated. Signal levels above the set
threshold trigger the gate to open, and signal levels below the set threshold close
the gate.

State LED
Indicates whether the gate is open (LED lights up in green), closed (LED lights up in
red), or in an intermediate state (LED lights up in yellow).

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Analysis (Pure Peak to Pure RMS)

Determines whether the input signal is analyzed according to peak or RMS values, or
a mixture of both. A value of 0 is pure peak and 100 pure RMS. RMS mode operates
using the average power of the audio signal as a basis, whereas Peak mode operates
more on peak levels. As a general guideline, RMS mode works better on material with
few transients such as vocals, and Peak mode works better for percussive material
with a lot of transient peaks.

Range
Adjusts the attenuation of the gate when it is shut. If Range is set to minus infinite ,
the gate is completely shut. The higher the value, the higher the level of the signal that
passes through the shut gate.

Live
If this button is activated, the look-ahead feature of the effect is deactivated. Look-
ahead produces more accurate processing, but adds a specific amount of latency
as a trade-off. If Live mode is activated, there is no latency, which is better for live
processing.

Side-Chain Section
Side-Chain
Activates the internal side-chain filter. The input signal can then be shaped according
to the filter parameters. Internal side-chaining is useful for tailoring how the gate
operates.

Monitor
Allows you to monitor the filtered signal.

Center
If Side-Chain is activated, this sets the center frequency of the filter.

Q-Factor
If Side-Chain is activated, this sets the resonance or width of the filter.

Filter Type (Low-Pass/Band-Pass/High-Pass)

If Side-Chain is activated, these buttons allow you to set the filter type to low-pass,
band-pass, or high-pass.

NOTE

This plug-in supports external side-chaining. You can use the side-chain input to control the gate
from another signal source. If the side-chain signal exceeds the threshold, the gate opens. For a
description of how to set up side-chain routing, see the Operation Manual.

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Limiter
Limiter is designed to ensure that the output level never exceeds a set output level, to avoid
clipping in following devices.

Limiter can adjust and optimize the Release parameter automatically according to the audio
material, or it can be set manually. Limiter features separate meters for the input, output and
the amount of limiting (middle meters).

Input (-24 to 24 dB)

Sets the input gain.

Release (0.1 to 1000 ms or Auto mode)

Sets the time after which the gain returns to its original level. If Auto Release
is activated, the plug-in automatically finds the best release setting for the audio
material.

Output
Sets the maximum output level.

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Maximizer
Maximizer raises the loudness of audio material without the risk of clipping. The plug-in
provides two modes, Classic and Modern, that offer different algorithms and parameters.

Classic
Classic mode provides the classic algorithms from previous versions of this plug-in.
This mode is suited for all styles of music.

Modern
In Modern mode, the algorithm allows for more loudness than in Classic mode. This
mode is particularly suited for contemporary styles of music.
Modern mode also provides additional settings to control the release phase:
● Release sets the overall release time.
● Recover allows for a faster signal recovering at the beginning of the release phase.

Optimize
Determines the loudness of the signal.

Mix
Sets the level balance between dry and wet signal.

Output
Sets the maximum output level.

Soft Clip
If this button is activated, Maximizer starts limiting or clipping the signal softly. At the
same time, harmonics are generated, adding a warm, tube-like characteristic to the
audio material.

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MidiGate
This plug-in gates audio signals. The gate is triggered by MIDI notes.

Gating, in its fundamental form, silences audio signals below a set threshold. If a signal rises
above the set level, the gate opens to let the signal through. Signals below the set level are
silenced. MidiGate, however, is not triggered by threshold levels, but MIDI notes. Therefore, it
needs both audio and MIDI data to function.

Attack (0 to 500 ms)

Sets the time after which the gate opens when it is triggered.

Hold
Determines how long the gate remains open after a note-on or note-off message. The
Hold Mode settings are taken into account.

Release (0 to 3000 ms)

Sets the time after which the gate closes after the set Hold time.

Note To Attack
Determines to which extent the velocity values of the MIDI notes affect the attack time.
The higher the value, the more the attack time increases with high note velocities.
Negative values result in shorter attack times with high velocities. If you do not want to
use this parameter, set it to 0.

Note To Release
Determines to which extent the velocity values of the MIDI notes affect the release
time. The higher the value, the more the release time increases. If you do not want to
use this parameter, set it to 0.

Velocity To VCA
Controls to which extent the velocity values of the MIDI notes determine the output
volume. At a value of 127, the volume is controlled entirely by the velocity values, and
at a value of 0, the velocities have no effect on the volume.

Hold Mode
Sets the Hold Mode.

● In Note On mode, the gate only remains open for the time set with the Hold and
Release parameters, regardless of the length of the MIDI note that triggered the
gate.

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● In Note Off mode, the gate remains open for as long as the MIDI note plays.
The Hold and Release parameters are applied once a note-off signal has been
received.

Setting Up MidiGate
To use MidiGate for your audio, you need an audio track and a MIDI track.

PROCEDURE
1. Select the audio track to which you want to apply MidiGate.
This can be recorded or realtime audio material from any audio track.
2. Select MidiGate as an insert effect for the audio track.
3. Select a MIDI track to control the MidiGate effect.
You can either play notes on a connected MIDI keyboard or use recorded MIDI notes.
4. Open the Output Routing pop-up menu for the MIDI track and select MidiGate.

Applying MidiGate
PREREQUISITE
Set up the plug-in properly.

How to apply MidiGate depends on whether you are using realtime or recorded MIDI. We
assume for the purposes of this manual that you are using recorded audio and play the MIDI in
realtime.

PROCEDURE
1. If you use realtime MIDI to trigger the plug-in, make sure the MIDI track is selected.
2. Start playback.
3. If you use realtime MIDI, play a few notes on your keyboard.

RESULT
The MIDI notes trigger the Gate. The plug-in gates the audio signals.

RELATED LINKS
Setting Up MidiGate on page 28

Squasher
Squasher is a multi-band compressor that combines upward and downward compression,
allowing you to squash the audio signal. You can set up different parameters for up to three
frequency bands and use internal or external side-chaining sources to control the amount of
compression for each band.

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Main section
This section provides general settings for upward and downward compression for each
frequency band.

Frequency/Compressor display
Displays the frequency spectrum. It allows you to edit the band range, the output level,
the upward/downward ratio, and the upward/downward threshold for each band.
You can switch the display between a frequency spectrum view and a compressor
characteristics view by clicking the corresponding buttons left of the display:

Frequency spectrum

Compressor characteristics

You can edit the output level of a band or the cutoff frequency between two bands by
dragging the corresponding handle in the frequency spectrum display.

Show/Hide Full Frequency Band View

Shows/Hides the frequency spectrum/compressor display.

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Input meter
Shows the level of the overall input signal.

Input
Sets the overall input level.

Bands
Sets the number of frequency bands.

Mix
Adjusts the mix between dry signal and wet signal, preserving the transients of the
input signal.

Parameter Link
Links the parameters of the same type in all bands. This allows you to edit parameter
values of all bands in a module simultaneously. Two link modes are available:
● If Absolute Mode is activated and you edit a parameter value of one band, the
corresponding parameter values of the other bands are set to the same value.
● If Relative Mode is activated and you edit a parameter value of one band, the
relation of the corresponding parameter values of the other bands remains the
same.

Activate/Deactivate Band
Activates/Deactivates the corresponding frequency band.

Solo Band
Solos the corresponding frequency band.

Up Ratio/Down Ratio
Set the amount of upward and downward compression. These parameters allow you to
adjust the squashing effect.

In
Shows the input level for the corresponding frequency band.

Up Threshold/Down Threshold
The left triangle sets the threshold for upward compression. If the input signal is below
this threshold, the upward compressor raises the level according to the Up Ratio value.
The right triangle sets the threshold for downward compression. If the input signal
is above this threshold, the downward compressor lowers the level according to the
Down Ratio value.
You can drag the darker area between both handles to adjust Up Threshold and Down
Threshold simultaneously.

Output meter
Shows the level of the overall output signal.

Output
Sets the overall output level.

Squash Parameter section

This section provides additional compression and filter settings for each frequency band.

Show/Hide Squash Parameter Section

Shows/Hides the squash parameter section.

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Att.
Sets the compression attack time for both the upward and downward compressor.

Rel.
Sets the compression release time for both the upward and downward compressor.

Drive
Sets the amount of saturation. This parameter adds harmonics to the output signal.

Gate
Sets the threshold for the internal gating effect. Signal levels above this threshold
trigger the gate to open. Signal levels below this threshold close the gate.

NOTE

You can control this parameter via side-chaining.

Mix
Adjusts the mix between dry signal and wet signal for the corresponding band.

Output
Sets the output level for the corresponding band.

NOTE

Alternatively, you can edit this parameter by dragging the corresponding handle in the
frequency display.

Side-Chain section
This section provides settings for internal and external side-chaining for each frequency band. It
is only available if the parameter section is shown.

Show/Hide Side-Chain Section

Shows/Hides the side-chaining section.

Activate/Deactivate Side-Chaining for Band

Activates/Deactivates side-chaining for the corresponding band.

Side-Chain Input
This pop-up menu allows you to select the side-chain input for the corresponding
band.
● Internal uses the input signal of the track.
● Side-Chain 1 - Side-Chain 3 allow you to use the side-chain inputs of the plug-in.

Side-Chain Filter Listen

Lets you monitor the side-chain signal and the applied filter.

Freq
Sets the frequency of the side-chain filter.

Q
Sets the Q factor of the side-chain filter.

Send to
This pop-up menu allows you to send the side-chain signal to the compressor section
(Squasher) or to the internal gate.

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Tube Compressor
This versatile compressor with integrated tube-simulation allows you to achieve smooth
and warm compression effects. The VU meter shows the amount of gain reduction. Tube
Compressor features an internal side-chain section that lets you filter the trigger signal.

VU Meter
Shows the amount of gain reduction.

In/Out Meters
Show the highest peaks of all available input and output channels.

Input
Determines the compression amount. The higher the input gain, the more
compression is applied.

Drive (1.0 to 6.0 dB)

Controls the amount of tube saturation.

Output (-12 to 12 dB)

Sets the output gain.

Character
Keeps the bass tight and preserves its attacks by decreasing the tube saturation for
lower frequencies, and adds brilliance by creating harmonics for higher frequencies.

Attack (0.1 to 100 ms)

Determines how fast the compressor responds. If the attack time is long, more of the
initial part of the signal passes through unprocessed.

Release (10 to 1000 ms or Auto mode)

Sets the time after which the gain returns to its original level. If Auto Release
is activated, the plug-in automatically finds the best release setting for the audio
material.

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Mix
Adjusts the mix between dry signal and wet signal, preserving the transients of the
input signal.

Ratio
Toggles between a low and a high ratio value.

Side-Chain
Activates the internal side-chain filter. The input signal can then be shaped according
to the filter parameters. Internal side-chaining is useful for tailoring how the gate
operates.

Side-chain section
Filter Type (Low-Pass/Band-Pass/High-Pass)
If Side-Chain is activated, these buttons allow you to set the filter type to low-pass,
band-pass, or high-pass.

Center
If Side-Chain is activated, this sets the center frequency of the filter.

Q-Factor
If Side-Chain is activated, this sets the resonance or width of the filter.

Monitor
Allows you to monitor the filtered signal.

NOTE

This plug-in supports external side-chaining. For a description of how to set up side-chain
routing, see the Operation Manual.

VintageCompressor
VintageCompressor is modeled after vintage type compressors.

This compressor features separate controls for Input and Output gain, Attack, and Release. In
addition, there is a Punch mode which preserves the attack phase of the signal and a program-
dependent Auto Release function.

VU Meter
Shows the amount of gain reduction.

In/Out Meters
Show the highest peaks of all available input and output channels.

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Input
Determines the compression amount. The higher the input gain, the more
compression is applied.

Attack (0.1 to 100 ms)

Determines how fast the compressor responds. If the attack time is long, more of the
initial part of the signal passes through unprocessed.

Punch
If this is activated, the early attack phase of the signal is preserved, retaining the
original punch in the audio material, even with short Attack settings.

Release (10 to 1000 ms or Auto mode)

Sets the time after which the gain returns to its original level. If Auto Release
is activated, the plug-in automatically finds the best release setting for the audio
material.

Mix
Adjusts the mix between dry signal and wet signal, preserving the transients of the
input signal.

Output (-48 to 24 dB)

Sets the output gain.

NOTE

This plug-in supports external side-chaining. For a description of how to set up side-chain
routing, see the Operation Manual.

VSTDynamics
VSTDynamics is an advanced dynamics processor. It combines three separate effects: Gate,
Compressor, and Limiter, covering a variety of dynamic processing functions.

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The window is divided into three sections containing controls and meters for each effect. Activate
the individual effects using the Gate, Compressor, and Limiter buttons. You can select between
three different routing options using the Module Configurator button.

Gate
Gating, or noise gating, is a method of dynamic processing that silences audio signals below a
set threshold. As soon as the signal level exceeds the threshold, the gate opens to let the signal
through. The gate trigger input can also be filtered using an internal side-chain signal.

The following parameters are available:

Input meter
Shows the level of the input signal.

Attack (0.1 to 100 ms)

Determines how fast the compressor responds to signals above the set threshold.
If the attack time is long, more of the early part of the signal passes through
unprocessed.

Threshold
Determines the level at which the gate is activated. Signal levels above the set
threshold trigger the gate to open, and signal levels below the set threshold close
the gate.

State LED
Indicates whether the gate is open (LED lights up in green), closed (LED lights up in
red), or in an intermediate state (LED lights up in yellow).

Release (10 to 1000 ms or Auto mode)

Sets the time after which the gate closes after the set Hold time. If Auto Release
is activated, the plug-in automatically finds the best release setting for the audio
material.

Hold (0 to 2000 ms)

Determines how long the gate remains open after the signal drops below the threshold
level.

Range
Adjusts the attenuation of the gate when it is shut. If Range is set to minus infinite ,
the gate is completely shut. The higher the value, the higher the level of the signal that
passes through the shut gate.

Side-Chain
Activates the internal side-chain filter. The input signal can then be shaped according
to the filter parameters. Internal side-chaining is useful for tailoring how the gate
operates.

Filter Type (Low-Pass/Band-Pass/High-Pass)

If Side-Chain is activated, these buttons allow you to set the filter type to low-pass,
band-pass, or high-pass.

Center
If Side-Chain is activated, this sets the center frequency of the filter.

Q-Factor
If Side-Chain is activated, this sets the resonance or width of the filter.

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Monitor
Allows you to monitor the filtered signal.

Compressor
Compressor reduces the dynamic range of the audio, making softer sounds louder or louder
sounds softer, or both. It features a separate display that graphically illustrates the compressor
curve shaped according to your settings.

Input meter
Shows the level of the input signal.

Graphical display
Visualizes the settings for Threshold and Ratio and allows you to adjust them by
dragging the handles.

Gain Reduction meter

Shows the amount of gain reduction.

Threshold (-60 to 0 dB)

Determines the level where the compressor kicks in. Only signal levels above the set
threshold are processed.

Ratio
Sets the amount of gain reduction applied to signals above the set threshold. A ratio of
3:1 means that for every 3 dB the input level increases, the output level increases by 1
dB.

Make-Up (0 to 24 dB or Auto mode)

Compensates for output gain loss caused by compression. If Auto Make-Up Gain is
activated, the output is automatically adjusted for gain loss.

Attack (0.1 to 100 ms)

Determines how fast the compressor responds to signals above the set threshold. If
the attack time is long, more of the early part of the signal (attack) passes through
unprocessed.

Release (10 to 1000 ms or Auto mode)

Sets the time after which the gain returns to its original level when the signal drops
below the threshold. If Auto Release is activated, the plug-in automatically finds the
best release setting for the audio material.

Limiter
A limiter ensures that the output level never exceeds a set threshold to avoid clipping in effects
following in the chain. Conventional limiters usually require a very accurate setup of the attack
and release parameters to prevent the output level from going beyond the set threshold level.
Limiter adjusts and optimizes these parameters automatically according to the audio material.

Input meter
Shows the level of the input signal.

Gain Reduction meter

Shows the amount of gain reduction.

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EQ Plug-ins

Soft Clip
If this button is activated, the signal is limited when the signal level exceeds -6 dB. At
the same time, harmonics are generated, adding a warm, tube-like characteristic to the
audio material.

Output
Sets the maximum output level.

Release (10 to 1000 ms or Auto mode)

Sets the time after which the gain returns to its original level. If Auto Release
is activated, the plug-in automatically finds the best release setting for the audio
material.

Output section
Output meter
Shows the level of the output signal.

Module Configurator
Changes the signal flow through the three effects. Changing the order of the effects
can produce different results, and the available routing configurations allow you to
quickly compare what works best for a given situation. Click Module Configurator to
toggle between the following routing configurations:
● G-C-L (Gate-Compressor-Limiter)
● C-L-G (Compressor-Limiter-Gate)
● C-G-L (Compressor-Gate-Limiter)

EQ Plug-ins

DJ-EQ
DJ-EQ is an easy-to-use 3-band parametric equalizer that resembles the EQs found on typical DJ
mixers. This plug-in is designed for quick sound fixes.

Graphical display
Allows you to set the amount of boost or attenuation for the low, mid, or high band by
dragging.

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● To set the low, mid, and high frequency gain, click and drag the corresponding
band handle.
● To fine-adjust the gain, press Shift and drag.
● To set a parameter to zero, press Ctrl/Cmd and click it.

Low Frequency Gain/Mid Frequency Gain/High Frequency Gain

Set the amount of boost or attenuation for the low, mid, and high band.

Cut Low Frequencies/Cut Mid Frequencies/Cut High Frequencies

Cut the low, mid, and high band.

Output meter
Shows the level of the output signal.

StudioEQ
Studio EQ is a high-quality 4-band parametric stereo equalizer. All four bands can act as fully
parametric peak filters. In addition, the low and high bands can act as either shelving filters
(three types) or as cut filters (low-pass/high-pass).

Main Layout
Reset
Alt/Opt -click this button to reset all parameter values.

Show Input/Output Spectrum

Shows the spectrum before and after filtering.

Output
Adjusts the overall output level.

Auto Gain
If this button is activated, the gain is automatically adjusted, keeping the output level
nearly constant regardless of the EQ settings.

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Band Settings

Activate/Deactivate Band
Activates/Deactivates the corresponding band.

NOTE

● If a band is deactivated, you can still modify its parameters.

Freq
Sets the frequency of the corresponding band. You can set the frequency either in Hz
or as a note value. If you enter a note value, the frequency is automatically changed
to Hz. For example, a note value of A3 sets the frequency to 440 Hz. When you enter a
note value, you can also enter a cent offset. For example, enter A5 -23 or C4 +49.

NOTE

● You can adjust the Freq parameter of a band in the graphical editor by Alt -clicking
the corresponding handle and moving the mouse left and right.
● Ensure that you enter a space between the note and the cent offset. Only in this
case, the cent offsets are taken into account.

Inv
Inverts the gain value of the filter. Use this button to filter out unwanted noise. When
looking for the frequency to omit, it sometimes helps to boost it in the first place (set
the filter to positive gain). After you have found the frequency of the noise, you can use
the Inv button to cancel it out.

Q
For Peak filters, this parameter controls the width of the band. For Shelf filters, it adds
a drop or a boost, depending on the gain setting of the band. For Cut filters, it adds a
resonance.

NOTE

● You can adjust the Q parameter of a band in the graphical editor by Shift -clicking
the corresponding handle and moving the mouse up and down. Alternatively, you
can point on the handle and turn the mouse wheel.

Gain
Sets the amount of attenuation/boost for the corresponding band.

NOTE

● You can adjust the Gain parameter of a band in the graphical editor by Ctrl/Cmd -
clicking the corresponding handle and moving the mouse up and down.
● This parameter is not available for Cut filters.

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Filter Plug-ins

Filter type
For the low and high band, you can choose between three types of shelving filters, a
peak filter (band-pass), and a cut filter (low-pass/high-pass). If Cut mode is selected,
the Gain parameter is fixed.

● Shelf I adds resonance in the opposite gain direction slightly above the set
frequency.
● Shelf II adds resonance in the gain direction at the set frequency.
● Shelf III is a combination of Shelf I and II.

Filter Plug-ins

DualFilter
DualFilter filters out specific frequencies while allowing others to pass through.

Position
Sets the filter cutoff frequency. If you set this to a negative value, DualFilter acts as a
low-pass filter. Positive values cause DualFilter to act as a high-pass filter.

Resonance
Sets the sound characteristic of the filter. With higher values, a ringing sound is heard.

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MorphFilter
MorphFilter lets you mix low-pass, high-pass, band-pass, and band-reduction filter effects,
allowing for creative morphings or mixtures between two filters.

Filter A buttons
Allow you to select the characteristic of the first filter.
● Low Pass
Eliminates high-frequency signal components. Filter slopes of 6, 12, 18, and 24 dB
per decade are available.
● Band Pass
Allows signals falling within a certain frequency range to pass through. Filter
slopes of 12 and 24 dB per decade are available.

Filter B buttons
Allow you to select the characteristic of the second filter.
● High Pass
Eliminates low-frequency signal components. Filter slopes of 6, 12, 18, and 24 dB
per decade are available.
● Band Rejection
Lets all frequencies pass, except those in the stop band. Filter slopes of 12 and
24 dB per decade are available.

Resonance Factor
Sets the resonance value of both filters simultaneously.

Frequency
Sets the cutoff frequency of both filters simultaneously.

Graphical display
Visualizes the settings for all parameters. The handle allows you to adjust the Morph
Factor and the Frequency parameters simultaneously.

Output meter
Shows the level of the output signal.

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Morph Factor
Allows you to mix the output between both filters.

StepFilter
StepFilter is a pattern-controlled multimode filter that can create rhythmic, pulsating filter
effects. You can also trigger pattern steps individually via MIDI.

General Operation
StepFilter can produce two simultaneous 16-step patterns for the filter cutoff and resonance
parameters, synchronized to the sequencer tempo.

The horizontal axis shows the pattern steps 1 to 16 from left to right, and the vertical axis
determines the (relative) filter cutoff frequency and resonance settings. The higher up on the
vertical axis a step value is entered, the higher the relative filter cutoff frequency or filter
resonance setting.

By starting playback and editing the patterns for the cutoff and resonance parameters, you can
hear how your filter patterns affect the sound source connected to StepFilter.

If Sync is deactivated, StepFilter allows you to trigger pattern steps individually via MIDI notes.

Setting Step Values

● To enter a step, click in the pattern grid windows.
● Individual step entries can be dragged up or down the vertical axis, or directly set by clicking
in an empty grid box. By click-dragging left or right, consecutive step entries are set at the
pointer position.
● Change the value for a step by dragging it up or down.
● Draw in a curve by clicking and dragging in the display.

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Selecting New Patterns

● Patterns are saved with the project, and up to 8 different cutoff and resonance patterns
can be saved internally. Both the cutoff and resonance settings are saved together in the 8
pattern slots.
● Use the Pattern slots to select a new pattern. New patterns are all set to the same step value
by default.

StepFilter Parameters
Filter Type
Sets the filter type. A low-pass, a band-pass, and a high-pass filter are available.

Filter Mode
Allows you to choose between two filter modes. Classic mode is compatible with
previous versions of this plug-in. Modern mode provides an additional Hard Clip
parameter.

Mix
Sets the level balance between dry and wet signal.

Base Cutoff
Sets the base filter cutoff frequency. Values set in the Cutoff grid are relative to the
Base Cutoff value.
The RND control above the Cutoff grid allows you to apply a random deviation from
the set Base Cutoff value with each new cycle of the pattern. The higher the RND
value, the higher the allowed deviation.

Base Resonance
Sets the base filter resonance. Values set in the Resonance grid are relative to the
Base Resonance value.
The RND control above the Resonance grid allows you to apply a random deviation
from the set Base Resonance value with each new cycle of the pattern. The higher the
RND value, the higher the allowed deviation.

NOTE

Very high Base Resonance settings can produce loud ringing effects at certain
frequencies.

Rate
If Sync is activated, Rate allows you to specify the base note value for synchronizing
the pattern playback to the tempo of the host application (1/1 to 1/32, straight, triplet,
or dotted).
If Sync is deactivated, you can trigger pattern steps individually via MIDI.

Hard Clip
Adds more high frequency harmonics and distortion to the signal. This parameter is
only available in Modern mode.

Glide
Applies glide between the pattern steps, causing values to change more smoothly.

Output
Sets the output level.

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Filter Plug-ins

RELATED LINKS
Creating Variations for StepFilter Patterns on page 44
Controlling StepFilter via MIDI on page 44

Creating Variations for StepFilter Patterns

You can copy a pattern of the StepFilter to another pattern slot. This is useful for creating
variations on a pattern of this plug-in.

PROCEDURE
1. Select the pattern that you want to copy.
2. Click the Copy button.
3. Select another pattern slot.
4. Click the Paste button.

RESULT
The pattern is copied to the new slot and can now be edited to create variations.

Controlling StepFilter via MIDI

StepFilter allows you to trigger steps individually via MIDI notes.

PREREQUISITE
● Your project contains a MIDI track that is routed to the MIDI input of a track that uses
StepFilter as an insert plug-in.
● In StepFilter, Sync is deactivated.

PROCEDURE
● Do one of the following:
● Use the note C0 to increase the step number by one.
● Use the notes from C1 to D#2 to trigger the steps 1 to 16 directly.

ToneBooster
ToneBooster is a filter that allows you to raise the gain in a selected frequency range. It is
particularly useful if it is inserted before AmpSimulator in the plug-in chain, greatly enhancing
the tonal varieties available.

Gain
Adjusts the gain of the selected frequency range by up to 24 dB.

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Filter Plug-ins

Tone
Sets the center filter frequency.

Width
Sets the resonance of the filter.

Mode selector
Sets the basic operational mode of the filter: Peak or Band Mode.

RELATED LINKS
AmpSimulator on page 7

WahWah
WahWah is a variable slope band-pass filter that can be auto-controlled by a side-chain signal or
via MIDI modeling the well-known analog pedal effect.

You can independently specify the frequency, width, and gain for the Low and High Pedal
positions. The crossover point between the Lo and Hi Pedal positions lies at 50.

NOTE

This plug-in supports external side-chaining. You can use the side-chain input to control the
Pedal parameter from another signal source. The louder the signal, the more the filter frequency
is raised so that the plug-in acts as an auto-wah effect. For a description of how to set up
side-chain routing, see the Operation Manual.

WahWah Parameters
Pedal
Controls the filter frequency sweep.

Pedal Control (MIDI)

Allows you to choose the MIDI controller that controls the plug-in. Set this to
Automation if you do not want to use MIDI realtime control.

Freq Low/Freq High

Set the frequency of the filter for the Lo and Hi pedal positions.

Width Low/Width High

Set the width (resonance) of the filter for the Lo and Hi pedal positions.

Gain Low/Gain High

Set the gain of the filter for the Lo and Hi pedal positions.

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Mastering Plug-ins

Filter Slope selector

Allows you to choose between two filter slope values: 6 dB or 12 dB.

MIDI Control
For realtime MIDI control of the Pedal parameter, MIDI must be directed to the WahWah plug-
in.

If WahWah is used as an insert effect (for an audio track or an FX channel), it is available on the
Output Routing pop-up menu for MIDI tracks.

If WahWah is selected on the Output Routing menu, MIDI data is directed to the plug-in from
the selected track.

Mastering Plug-ins

Lin One Dither

Lin One Dither is a dithering plug-in that uses advanced algorithms and offers additional noise
shaping to increase the apparent signal-to-noise ratio by altering the spectrum of the low-level
audio signal.

NOTE

We recommend applying dithering post-fader on output busses.

Output Bit Depth

Sets the bit depth of the output signal.

NOTE

Dithering changes the bit depth, but not the sample size. For example, when dithering
24 bit to 16 bit, the file is still 24 bit in size, although only 16 bits of information
have significance. When processing a 16-bit file, specify the Output Bit Depth value
accordingly to avoid the creation of unnecessarily large files.

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Modulation Plug-ins

Dither Control
If Auto Blanking is activated, the dither noise is gated during silent passages.

Noise Shaping
Activates/Deactivates noise shaping. Noise shaping increases the apparent signal-to-
noise ratio.

Modulation Plug-ins

AutoPan
This auto-pan effect provides several parameters to modulate the left/right stereo position. You
can use presets or create individual curves for the modulation waveform. AutoPan also allows
for chopping effects by linking the modulation of left and right channel.

NOTE

The panning effect of this plug-in works only on stereo tracks.

Waveform display
Shows the shape of the modulation waveform and allows you to manually adjust it. To
draw an individual curve, click a node and move the mouse. To draw a straight line,
Shift -click a node and move the mouse.

Waveform preset buttons

Allow you to select presets for the modulation waveform.

● Sine creates a smooth sweep.

● Triangle creates a ramp, that is, a linear movement from full right to full left and
back.
● Square creates an instant jump to full right, then to full left, and then back to
center.

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● Random One Shot creates a random curve. Click this button again to create a new
random curve.
● Random Continuous automatically creates a new random curve after each period.

Phase
Sets the offset for the starting point of the curve. If multiple AutoPan plug-ins are used
on different tracks, for example, different offset settings for each track allow for a more
organic overall sound.

Factor
If Sync is activated, this parameter multiplies the sync rate by the selected factor. This
allows you to create very slow movements in panorama.

Rate
Sets the auto-pan speed and shows the movement within the panorama. If Sync is
deactivated, the speed is set in Hertz. If Sync is activated, you can set the speed in
tempo values.

Sync
Activates/Deactivates tempo sync.

Link
If this button is activated, the left and right channel are modulated simultaneously.
This results in a chopping effect instead of auto-panning.
In this mode, Width sets the intensity of the volume modulation.

Width
Sets the amount of deflection to the left and right side of the stereo panorama. If Link
is activated, this parameter sets the intensity of the volume modulation.

NOTE

This plug-in supports external side-chaining. You can use the side-chain input to
control the Width parameter from another signal source. For a description of how
to set up side-chain routing, see the Operation Manual.

Smooth
Allows you to smooth the transition between individual steps of the panorama curve.

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Modulation Plug-ins

Chopper
Chopper allows you to create a tremolo with or without an additional panning effect.

Waveform buttons
Allow you to select the modulation waveform.

Depth
Sets the intensity of the effect. This can also be set by clicking and dragging in the
graphical display.

Sync
Activates/Deactivates tempo sync.

Speed
If tempo sync is activated, this is where you specify the base note value for tempo-
syncing the effect (1/1 to 1/32, straight, triplet, or dotted).
If tempo sync is deactivated, the tremolo speed can be set freely with the Speed
control.

Mono
If this option is activated, Chopper acts as a tremolo effect only. If this option is
deactivated, the modulation waveforms of the left and the right channel are phase-
shifted, creating an additional panning effect.

Mix
Sets the level balance between the dry signal and the wet signal. If the effect is used
as a send effect, set this parameter to the maximum value, as you can control the
dry/effect balance with the send level.

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Modulation Plug-ins

Chorus
This plug-in is a single-stage chorus effect. It doubles the audio that is sent into it with a slightly
detuned version.

Delay
Affects the frequency range of the modulation sweep by adjusting the initial delay
time.

Width
Sets the depth of the chorus effect. Higher settings produce a more pronounced effect.

Spatial
Sets the stereo width of the effect. Turn clockwise for a wider stereo effect.

Mix
Sets the level balance between the dry signal and the wet signal. If the effect is used
as a send effect, set this parameter to the maximum value, as you can control the
dry/effect balance with the send level.

Rate
If Tempo Sync is activated, Rate allows you to specify the base note value for
synchronizing the modulation sweep to the tempo of the host application (1/1 to 1/32,
straight, triplet, or dotted).
If Tempo Sync is deactivated, the sweep rate can be set freely with the Rate dial.

Sync
Activates/Deactivates tempo sync.

Waveform Shape
Allows you to select the modulation waveform, altering the character of the chorus
sweep. A sine and a triangle waveform are available.

Lo Filter/Hi Filter
Allow you to roll off low and high frequencies of the effect signal.

NOTE

This plug-in supports external side-chaining. You can use the side-chain input to control the
modulation from another signal source. If the side-chain signal exceeds the threshold, the
modulation is controlled by the side-chain signal’s envelope. For a description of how to set
up side-chain routing, see the Operation Manual.

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Modulation Plug-ins

Flanger
This is a classic flanger effect with added stereo enhancement.

Delay
Affects the frequency range of the modulation sweep by adjusting the initial delay
time.

Feedback
Determines the character of the flanger effect. Higher settings produce a more
metallic-sounding sweep.

Mode
Allows you to toggle between LFO and Manual mode.
In LFO mode, you can define the sweep rate or sync it to the project tempo. In Manual
mode, you can change the sweep manually.

Rate
If Tempo Sync is activated, Rate allows you to specify the base note value for
synchronizing the flanger sweep to the tempo of the host application (1/1 to 1/32,
straight, triplet, or dotted).
If Tempo Sync is deactivated, the sweep rate can be set freely with the Rate dial.

Sync
Activates/Deactivates tempo sync.

Spatial
Sets the stereo width of the effect. Turn clockwise for a wider stereo effect.

Mix
Sets the level balance between the dry signal and the wet signal. If the effect is used
as a send effect, set this parameter to the maximum value, as you can control the
dry/effect balance with the send level.

Lo Range/Hi Range
Set the frequency boundaries for the flanger sweep.

Waveform Shape
Allows you to select the modulation waveform, altering the character of the flanger
sweep. A sine and a triangle waveform are available.

Lo Filter/Hi Filter
Allow you to roll off low and high frequencies of the effect signal.

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Modulation Plug-ins

NOTE

This plug-in supports external side-chaining. You can use the side-chain input to control the
modulation from another signal source. If the side-chain signal exceeds the threshold, the
modulation is controlled by the side-chain signal’s envelope. For a description of how to set
up side-chain routing, see the Operation Manual.

Metalizer
Metalizer feeds the audio signal through a variable frequency filter, with tempo sync or time
modulation and feedback control.

Mix
Sets the level balance between the dry signal and the wet signal. If the effect is used
as a send effect, set this parameter to the maximum value, as you can control the
dry/effect balance with the send level.

On/Off
Activates/Deactivates filter modulation. If it is deactivated, Metalizer works as a static
filter.

Speed
If tempo sync is activated, this is where you specify the base note value for
synchronizing the effect to the tempo of the host application (1/1 to 1/32, straight,
triplet, or dotted).
If tempo sync is deactivated, the modulation speed can be set freely with the Speed
control.

Sync
Activates/Deactivates tempo sync.

Mono
Switches the output to mono.

Feedback
Determines the character of the metal effect. Higher settings produce a more metallic
sound.

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Modulation Plug-ins

Sharpness
Sets the character of the filter effect. The higher the value, the narrower the affected
frequency area, which produces a sharper sound and a more pronounced effect.

Tone
Sets the feedback frequency. The effect of this is more noticeable with high Feedback
settings.

Output
Sets the output level.

Phaser
Phaser produces the well-known swooshing phasing effect with additional stereo enhancement.

Feedback
Determines the character of the phaser effect. Higher settings produce a more
pronounced effect.

Width
Sets the intensity of the modulation effect between higher and lower frequencies.

Mode
Allows you to toggle between LFO and Manual mode.
In LFO mode, you can define the sweep rate or sync it to the project tempo. In Manual
mode, you can change the sweep manually.

Rate
If Tempo Sync is activated, Rate allows you to specify the base note value for tempo-
syncing the phaser sweep (1/1 to 1/32, straight, triplet, or dotted).
If Tempo Sync is deactivated, the sweep rate can be set freely with the Rate dial.

Sync
Activates/Deactivates tempo sync.

Spatial
If you are using multi-channel audio, the Spatial parameter creates a 3-dimensional
impression by delaying modulation in each channel.

Mix
Sets the level balance between the dry signal and the wet signal. If the effect is used
as a send effect, set this parameter to the maximum value, as you can control the
dry/effect balance with the send level.

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Modulation Plug-ins

Lo Filter/Hi Filter
Allow you to roll off low and high frequencies of the effect signal.

NOTE

This plug-in supports external side-chaining. You can use the side-chain input to control the
modulation from another signal source. If the side-chain signal exceeds the threshold, the
modulation is controlled by the side-chain signal’s envelope. For a description of how to set
up side-chain routing, see the Operation Manual.

RingModulator
RingModulator can produce complex, bell-like enharmonic sounds.

Ring modulators work by multiplying two audio signals. The ring-modulated output contains
added frequencies generated by the sum of, and the difference between, the frequencies of the
two signals.

RingModulator has a built-in oscillator that is multiplied with the input signal to produce the
effect.

Oscillator
Waveform buttons
Allow you to select the oscillator waveform: square, sine, saw, or triangle.

LFO Amount
Controls how much the LFO affects the oscillator frequency.

Env. Amount
Controls how much the oscillator frequency is affected by the envelope that is
triggered by the input signal. Left of center, a loud input signal decreases the oscillator
pitch, whereas right of center the oscillator pitch increases if it is fed a loud input.

Frequency
Sets the oscillator frequency ± 2 octaves within the selected range.

Roll-Off
Attenuates high frequencies in the oscillator waveform to soften the overall sound.
This is best used with harmonically rich waveforms, for example, square or saw.

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Range
Determines the frequency range of the oscillator in Hz.

LFO
Waveform buttons
Allow you to select the LFO waveform: square, sine, saw, or triangle.

Speed
Sets the LFO speed.

Env. Amount
Controls how much the input signal level – via the envelope generator – affects the LFO
speed. With negative values, a loud input signal slows down the LFO, whereas positive
values speed it up at loud input signals.

Invert
Inverts the LFO waveform for the right channel of the oscillator, which produces a
wider stereo effect for the modulation.

Envelope Generator
The envelope generator parameters control how the input signal is converted to envelope data,
which can then be used to control oscillator pitch and LFO speed.

Attack
Controls how fast the envelope output level rises in response to a rising input signal.

Decay
Controls how fast the envelope output level falls in response to a falling input signal.

Lock R>L
If this button is activated, the L and R input signals are merged, and produce the
same envelope output level for both oscillator channels. If the button is deactivated,
each channel has its own envelope that affects the two channels of the oscillator
independently.

Level Settings
Mix
Sets the level balance between dry and wet signal.

Output
Sets the output level.

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Modulation Plug-ins

Rotary
This modulation effect simulates the classic effect of a rotating speaker.

A rotary speaker cabinet features speakers rotating at variable speeds to produce a swirling
chorus effect, commonly used with organs.

Speed settings
Speed Mod Control (MIDI)
This pop-up menu allows you to select the MIDI controller that controls the rotary
speed. If you do not want to use MIDI realtime control, set this to Automation. If you
select PitchBend as MIDI controller, the speed changes with an up or down flick of the
bender. If other MIDI controllers are used, the speed changes at MIDI value 64.

Speed selector (stop/slow/fast)

Allows you to control the speed of the rotary speaker.

Speed Mod
If the Set Speed Change Mode setting is set to the right, this control allows you to
modulate the rotary speed.

Set Speed Change Mode

If this is set to the left, the speed selector settings are taken into account. If this is set
to the right, you can modulate the speed with the Speed Mod control and/or with a
MIDI controller that you can select on the Speed Mod Control (MIDI) pop-up menu.

Additional settings
Overdrive
Applies a soft overdrive or distortion.

Crossover
Sets the crossover frequency (200 to 3000 Hz) between the low and high frequency
loudspeakers.

Horn
Slow
Allows for a fine adjustment of the high rotor slow speed.

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Modulation Plug-ins

Fast
Allows for a fine adjustment of the high rotor fast speed.

Accel.
Allows for a fine adjustment of the high rotor acceleration time.

Amp Mod
Controls the high rotor amplitude modulation.

Freq Mod
Controls the high rotor frequency modulation.

Bass
Slow
Allows for a fine adjustment of the low rotor slow speed.

Fast
Allows for a fine adjustment of the low rotor fast speed.

Accel.
Allows for a fine adjustment of the low rotor acceleration time.

Amp Mod
Adjusts the modulation depth of the amplitude.

Level
Adjusts the overall bass level.

Mics
Phase
Adjusts the phasing amount in the sound of the high rotor.

Angle
Sets the simulated microphone angle. A value of 0 ° corresponds to a mono miking
setup with a single microphone in front of the speaker cabinet, 180 ° corresponds to a
stereo miking setup with a microphone on each side of the cabinet.

Distance
Sets the simulated microphone distance from the speaker in inches.

Final Settings
Output
Sets the output level.

Mix
Sets the level balance between dry and wet signal.

Directing MIDI to the Rotary

For realtime MIDI control of the speed parameter, MIDI must be directed to Rotary.

● If Rotary is used as insert effect (for an audio track or an FX channel), it is available on the
Output Routing pop-up menu for MIDI tracks. If Rotary is selected on the Output Routing
pop-up menu, MIDI is directed to the plug-in from the selected track.

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Modulation Plug-ins

Tranceformer
Tranceformer is a ring modulator effect that modulates incoming audio by an internal, variable
frequency oscillator, producing new harmonics. You can use a second oscillator to modulate the
frequency of the first oscillator, in sync with the song tempo if needed.

Mix
Sets the level balance between dry and wet signal.

Waveform buttons
Allow you to select a pitch modulation waveform.

Waveform display
Allows you to modify the Pitch and Depth parameters simultaneously by dragging.

Pitch
Sets the frequency of the modulating oscillator.

Activate/Deactivate Pitch Modulation

Activates/Deactivates the modulation of the pitch parameter.

Speed
If tempo sync is activated, this is where you specify the base note value for
synchronizing the effect to the tempo of the host application (1/1 to 1/32, straight,
triplet, or dotted).
If tempo sync is deactivated, the modulation speed can be set freely with the Speed
control.

Sync
Activates/Deactivates tempo sync.

Depth
Sets the intensity of the pitch modulation.

Mono
Switches the output to mono.

Output
Sets the output level.

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Tremolo
Tremolo produces amplitude modulation.

Rate
If Tempo Sync is activated, Rate allows you to specify the base note value for tempo-
syncing the effect (1/1 to 1/32, straight, triplet, or dotted).
If Tempo Sync is deactivated, the modulation speed can be set freely with the Rate
dial.

Sync
Activates/Deactivates tempo sync.

Depth
Governs the depth of the amplitude modulation.

Spatial
Adds a stereo effect to the modulation.

Output
Sets the output level.

NOTE

This plug-in supports external side-chaining. You can use the side-chain input to control the
modulation from another signal source. If the side-chain signal exceeds the threshold, the
modulation is controlled by the side-chain signal’s envelope. For a description of how to set
up side-chain routing, see the Operation Manual.

Vibrato
Vibrato creates pitch modulation.

Depth
Sets the intensity of the pitch modulation.

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Pitch Shift Plug-ins

Rate
If Tempo Sync is activated, Rate allows you to specify the base note value for tempo-
syncing the effect (1/1 to 1/32, straight, triplet, or dotted).
If Tempo Sync is deactivated, the modulation speed can be set freely with the Rate
dial.

Sync
Activates/Deactivates tempo sync.

Spatial
Adds a stereo effect to the modulation.

NOTE

This plug-in supports external side-chaining. You can use the side-chain input to control the
modulation from another signal source. If the side-chain signal exceeds the threshold, the
modulation is controlled by the side-chain signal’s envelope. For a description of how to set
up side-chain routing, see the Operation Manual.

Pitch Shift Plug-ins

Octaver
This plug-in can generate two additional voices that track the pitch of the input signal one octave
and two octaves below the original pitch. Octaver is best used with monophonic signals.

Direct
Sets the level balance between the dry signal and the wet signal. A value of 0 means
that only the generated and transposed signal is heard. By raising this value, more of
the original signal is heard.

Octave 1
Adjusts the level of the generated signal one octave below the original pitch. A setting
of 0 means that the voice is muted.

Octave 2
Adjusts the level of the generated signal two octaves below the original pitch. A setting
of 0 means that the voice is muted.

Pitch Correct
Pitch Correct automatically detects, adjusts, and fixes slight pitch and intonation inconsistencies
in monophonic vocal and instrumental performances in realtime. The advanced algorithms

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Pitch Shift Plug-ins

preserve the formants of the original sound and allow for natural sounding pitch correction
without the typical Mickey Mouse effect.

You can use Pitch Correct creatively. You can create backing vocals, for example, by modifying
the lead vocals or vocoder sounds by using extreme values. You can use an external MIDI
controller, a MIDI track, or the virtual keyboard to play a note or a scale of target pitches that
determine the current scale notes to which the audio is shifted. This allows you to change
your audio in a very quick and easy way, which is extremely useful for live performances. In
the keyboard display, the original audio is displayed in blue while the changes are displayed in
orange.

Correction
Speed
Determines the smoothness of the pitch change. Higher values cause the pitch shift
to occur immediately. 100 is a very drastic setting that is designed mainly for special
effects.

Tolerance
Determines the sensitivity of analysis. A low Tolerance value lets Pitch Correct find
pitch changes quickly. If the Tolerance value is high, pitch variations in the audio (for
example, vibrato) are not immediately interpreted as note changes.

Transpose
With this parameter you can adjust, or retune, the pitch of the incoming audio in
semitone steps. A value of zero means that the signal is not transposed.

Scale source
Internal
If you choose the Internal option from the Scale Source pop-up menu, you can use
the pop-up menu next to it to decide to which scale the source audio is adapted.

● Chromatic: The audio is pitched to the closest semitone.

● Major/Minor: The audio is pitched to the major/minor scale specified on the pop-
up menu to the right. This is reflected on the keyboard display.
● Custom: The audio is pitched to the notes that you specify by clicking keys on the
keyboard display. To reset the keyboard, click the orange line below the display.

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Pitch Shift Plug-ins

External MIDI Scale

Select this option if you want the audio to be shifted to a scale of target pitches, using
an external MIDI controller, the virtual keyboard, or a MIDI track.

NOTE

You have to assign the audio track as the output of your MIDI track and the Speed
parameter has to be set to a value other than Off.

External MIDI Note

Select this option if you want the audio to be shifted to a target note, using an external
MIDI controller, the Virtual Keyboard or a MIDI track.

NOTE

You have to assign the audio track as the output of your MIDI track and the Speed
parameter has to be set to a value other than Off.

Chord Track – Chords

Select this option if you want the audio to be shifted to target chords, using the chord
information from the Chord track.

NOTE

You have to add a MIDI track in addition to the Chord track and assign Pitch Correct as
output of the MIDI track.

Chord Track – Scale

Select this option if you want the audio to be shifted to a scale of target pitches, using
the scale information from the Chord track.

NOTE

You have to add a MIDI track in addition to the Chord track and assign Pitch Correct as
output of the MIDI track.

Formant
Shift
Changes the natural timbre, that is, the characteristic frequency components of the
source audio.

Optimize (General, Male, Female)

Allows you to specify the sound characteristics of the sound sources. General is the
default setting, Male is designed for low pitches and Female for high pitches.

Preservation
If this parameter is set to Off, formants are raised and lowered with the pitch,
provoking strange vocal effects. Higher pitch correction values result in Mickey Mouse
effects, lower pitch correction values in Monster sounds. If this parameter is set to On,
the formants are kept, maintaining the character of the audio.

Master Tuning
Detunes the output signal.

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Reverb Plug-ins

Reverb Plug-ins

RoomWorks
RoomWorks is a highly adjustable reverb plug-in for creating realistic room ambience and reverb
effects in stereo and surround formats. The CPU usage is adjustable to fit the needs of any
system. From short room reflections to cavern-sized reverb, this plug-in delivers high quality
reverberation.

Input Filters
Low Frequency
Determines the frequency at which the low-shelving filter takes effect. Both the high
and low settings filter the input signal prior to reverb processing.

High Frequency
Determines the frequency at which the high-shelving filter takes effect. Both the high
and low settings filter the input signal prior to reverb processing.

Low Gain
Sets the amount of boost or attenuation for the low-shelving filter.

High Gain
Sets the amount of boost or attenuation for the high-shelving filter.

Reverb Character
Pre-Delay
Determines how much time passes before the reverb is applied. This allows you to
simulate larger rooms by increasing the time it takes for the first reflections to reach
the listener.

Size
Alters the delay times of the early reflections to simulate larger or smaller spaces.

Reverb Time
Allows you to set the reverb time in seconds.

Diffusion
Affects the character of the reverb tail. Higher values lead to more diffusion and a
smoother sound, while lower values lead to a clearer sound.

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Reverb Plug-ins

Width
Controls the width of the stereo image. At a setting of 0 %, the output of the reverb is
mono, at 100 % it is stereo.

Variation
Clicking this button generates a new version of the same reverb program using
altered reflection patterns. This is helpful if some sounds are causing odd ringing or
undesirable results. Creating a new variation often solves these issues. There are 1000
possible variations.

Hold
Activating this button freezes the reverb buffer in an infinite loop. You can create some
interesting pad sounds using this feature.

Damping
Low Frequency
Determines the frequency below which low-frequency damping occurs.

High Frequency
Determines the frequency above which high-frequency damping occurs.

Low Level
Affects the decay time of the low frequencies. Normal room reverb decays quicker
in the high- and low-frequency range than in the mid-range. Lowering the level
percentage causes low frequencies to decay quicker. Values above 100 % cause low
frequencies to decay more slowly than the mid-range frequencies.

High Level
Affects the decay time of the high frequencies. Normal room reverb decays quicker
in the high- and low-frequency range than in the mid-range. Lowering the level
percentage causes high frequencies to decay quicker. Values above 100 % cause high
frequencies to decay more slowly than the mid-range frequencies.

Envelope
Amount
Determines how much the envelope attack and release controls affect the reverb itself.
Lower values have a more subtle effect while higher values lead to a more drastic
sound.

Attack
The envelope settings in RoomWorks control how the reverb follows the dynamics of
the input signal in a fashion similar to a noise gate or downward expander. Attack
determines how long it takes for the reverb to reach full volume after a signal peak
(in milliseconds). This is similar to a pre-delay, but the reverb is ramping up instead of
starting all at once.

Release
Determines how long after a signal peak the reverb can be heard before being cut off,
similar to a release time of a gate.

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Reverb Plug-ins

Output
Mix
Sets the level balance between the dry signal and the wet signal. If RoomWorks is used
as an insert effect for an FX channel, you most likely want to set this to 100 % or use the
wet only button.

Wet only
This button deactivates the Mix parameter, setting the effect to 100 % wet or affected
signal. This button should normally be activated if RoomWorks is used as a send effect
for an FX channel or a group channel.

Efficiency
Determines how much processing power is used for RoomWorks. The lower the value,
the more CPU resources are used, and the higher the quality of the reverb. Interesting
effects can be created with very high Efficiency settings (>90 %).

Export
Determines if during audio export RoomWorks uses the maximum CPU power for the
highest quality reverb. During export, you may want to keep a higher efficiency setting
to achieve a specific effect. If you want the highest quality reverb during export, make
sure this button is activated.

Output meter
Shows the level of the output signal.

RoomWorks SE
RoomWorks SE is a smaller version of the RoomWorks plug-in. RoomWorks SE delivers high
quality reverberation, but has fewer parameters and is less CPU demanding than the full version.

Pre-Delay
Determines how much time passes before the reverb is applied. This allows you to
simulate larger rooms by increasing the time it takes for the first reflections to reach
the listener.

Reverb Time
Allows you to set the reverb time in seconds.

Diffusion
Affects the character of the reverb tail. Higher values lead to more diffusion and a
smoother sound, while lower values lead to a clearer sound.

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Included VST Audio Effect Plug-ins
Spatial + Panner Plug-ins

Low Level
Affects the decay time of the low frequencies. Normal room reverb decays quicker
in the high- and low-frequency range than in the mid-range. Lowering the level
percentage causes low frequencies to decay quicker. Values above 100 % cause low
frequencies to decay more slowly than the mid-range frequencies.

High Level
Affects the decay time of the high frequencies. Normal room reverb decays quicker
in the high- and low-frequency range than in the mid-range. Lowering the level
percentage causes high frequencies to decay quicker. Values above 100 % cause high
frequencies to decay more slowly than the mid-range frequencies.

Mix
Sets the level balance between the dry signal and the wet signal. When using
RoomWorks SE inserted in an FX channel, you most likely want to set this to 100 %.

Spatial + Panner Plug-ins

MonoToStereo
MonoToStereo turns a mono signal into a pseudo-stereo signal. The plug-in can be used on
mono audio or on stereo audio with equal channels.

NOTE

This plug-in works only on stereo tracks.

Delay
Increases the amount of differences between the left and right channels to further
increase the stereo effect.

Width
Controls the width or depth of the stereo enhancement. Turn clockwise to increase the
enhancement.

Mono
Sets the output to mono. This allows you to check for unwanted coloring of the sound
which can occur when creating an artificial stereo image.

Color
Generates additional differences between the channels to increase the stereo
enhancement.

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Tools Plug-ins

StereoEnhancer
StereoEnhancer expands the stereo width of stereo audio material. It cannot be used with mono
audio.

NOTE

This plug-in works only on stereo tracks.

Delay
Increases the amount of differences between the left and right channels to further
increase the stereo effect.

Width
Controls the width or depth of the stereo enhancement. Turn clockwise to increase the
enhancement.

Mono
Switches the output to mono, to check for possible unwanted coloring of the sound
which sometimes can occur when enhancing the stereo image.

Color
Generates additional differences between the channels to increase the stereo
enhancement.

Tools Plug-ins

Tuner
This is a guitar tuner.

To tune your instrument, connect it to an audio input, select Tuner as an insert effect, and
activate Monitor for the corresponding track. Click Mute if you want to mute the output while
tuning your instrument.

NOTE

Make sure that you deactivate any other effect that alters the pitch, such as a chorus or vibrato.

Tuner offers two different viewing modes, analog view and digital view.

● To toggle between analog view and digital view, click the Toggle between Analog View and
Digital View button.

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Tools Plug-ins

Analog View

The graphical display indicates the currently played pitch as a note. The two arrows indicate any
pitch deviation. The deviation is also shown in the upper area of the display. If the played note
is flat of the pitch, the pitch indicator is located to the left. If the played note is sharp, the pitch
indicator is located to the right.

Cent
Shows the deviation in pitch. A negative value indicates that the pitch is flat. A positive
value indicates that the pitch is sharp.

Frequency
Shows the frequency of the played note.

Base
Shows the frequency of the base note A. Its default value is 440 Hz. You can adjust
Base by ± 15 Hz.

Octave
Shows the octave of the played note.

Mute
Mutes/Unmutes the output signal.

Digital View
This view provides two tuner modes: Strobe and Classic.

In Strobe mode, a colored moving strobe indicates any pitch deviation. If the played note is flat,
the strobe moves from right to left. If the played note is sharp, the strobe moves from left to
right. The higher the deviation in pitch, the faster the strobe moves. If you play the correct pitch,
the strobe stops moving and turns gray.

In Classic mode, an indicator shows any pitch deviation. If the played note is flat, the indicator is
located left of the middle. If the played note is sharp, the indicator is located right of the middle.
If you play the correct pitch, the indicator is located in the middle and turns gray.

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Tools Plug-ins

Note
Shows the currently played pitch.

Cent
Shows the deviation in pitch. A negative value indicates that the pitch is flat. A positive
value indicates that the pitch is sharp.

Base
Shows the frequency of the base note A. Its default value is 440 Hz. You can adjust
Base by ± 15 Hz.

Octave
Shows the octave of the played note.

Frequency
Shows the frequency of the played note.

Mute
Mutes/Unmutes the output signal.

Strobe/Classic
Allows you to toggle the display between Strobe and Classic mode.

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Included VST Instruments

The included VST instruments are described in separate documents.

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 Index

A F
Amp simulation Filter effects
AmpSimulator 7 DualFilter 40
VST Amp Rack 11 MorphFilter 41
AmpSimulator 7 StepFilter 42
AutoPan 47 ToneBooster 44
WahWah 45
Flanger 51
B
BitCrusher 8 G
Brickwall Limiter 17
Gates
Gate 23
C VSTDynamics 34
Chopper 49 Grungelizer 10
Chopper effects
AutoPan 47 L
Chopper 49
Chorus 50 Limiter 25
Chorus effects Limiters
Chorus 50 Brickwall Limiter 17
Compressor 18 Limiter 25
Compressors Maximizer 26
Compressor 18 VSTDynamics 34
DeEsser 20 Lin One Dither 46
Maximizer 26
Squasher 28
Tube Compressor 32
M
Vintage Compressor 33 Maximizer 26
VSTDynamics 34 Metalizer 52
MidiGate 27
D Modulation effects
AutoPan 47
DaTube 9 Chopper 49
DeEsser 20 Chorus 50
Delays Flanger 51
MonoDelay 4 Metalizer 52
PingPongDelay 5 Phaser 53
StereoDelay 6 RingModulator 54
Distortion 9 Rotary 56
Dithering Tranceformer 58
Lin One Dither 46 Tremolo 59
DJ-EQ 37 Vibrato 59
DualFilter 40 MonoDelay 4
Ducking effects 18 MonoToStereo 66
MorphFilter 41
E
O
Envelope shapers
EnvelopeShaper 22 Octaver 60
Equalizers
DJ-EQ 37
StudioEQ 38

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Index

P
Phaser 53
PingPongDelay 5
Pitch Correct 60

R
Reverb effects
RoomWorks 63
RoomWorks SE 65
RingModulator 54
RoomWorks 63
RoomWorks SE 65
Rotary 56

S
Saturation effects
DaTube 9
Squasher 28
StepFilter 42
StereoDelay 6
StereoEnhancer 67
StudioEQ 38

T
ToneBooster 44
Tools
Tuner 67
Tranceformer 58
Tremolo 59
Tube Compressor 32
Tuner 67

V
Vibrato 59
Vintage Compressor 33
VST Amp Rack 11
VSTDynamics 34

W
WahWah 45

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