Fixes the SOURCE before anything else touches it, this runs FIRST in the chain, ahead of EQ and every other effect. Input Gain + low/high shelf EQ for warmth or air. Use this when the raw recording itself came in quiet or thin. Want it louder or shinier at the very end instead? Use Output or Level.

Shapes the FINAL tone, runs near the END of the chain, after every other effect. Gain sets overall volume; Presence adds clarity in the 3–5kHz vocal range; Air adds shimmer above 10kHz. Use this to polish the sound on the way out, after everything else is set. Just need it safely louder with no tone shaping? Use Level instead. Need to fix a weak source first? Use Boost.

The safe FINAL LOUDNESS button, runs at the very END of the chain, after Output. Raise Gain to get louder; the Ceiling is a built-in limiter that clamps peaks so you can't clip, no matter how far you push it. Use this last, once Boost and Output are already set, when you just want it louder without distortion, no tone shaping here, just safe volume.

Squeezes the gap between loud and quiet moments, so everything sits up front and feels "glued together". Every slider works the same way: further RIGHT = more squeeze. Ratio is how hard it clamps; Threshold is how low it starts grabbing; Attack is how fast it reacts; Makeup turns the squeezed sound back up so it comes out fuller and louder. Essential for podcasts, vocals, and drums.

Acts like a door that slams shut when audio drops below a set level. Perfect for cutting room noise, mic hum, and breath between words. Set Threshold just above your noise floor, the gate will close during silence and open when you speak.

Removes everything below a set frequency, rolls off rumble, HVAC hum, and handling noise that muddies the low end. For voice, a cutoff around 80–120Hz is a safe starting point. For music, try 40–60Hz.

Adds the sound of a physical space, a room, hall, or chamber. Mix controls how much reverb blends in; Decay is how long the tail rings; Damping softens high frequencies in the tail. A little goes a long way on voices.

Targets harsh sibilant frequencies, the sharp "S", "T", and "SH" sounds that sting on microphones. Frequency sets the center of the problem area (usually 5–9kHz); Reduction controls how much it cuts it down.

A hard ceiling, audio absolutely cannot exceed the Threshold. Think of it as a safety net at the end of your chain. Knee softens the onset of limiting; Release controls recovery speed. Set Threshold to -1dB for streaming-safe masters.

Adds harmonic saturation, from subtle warmth to full grit. Drive controls intensity; Tone shapes the brightness of the distortion character; Mix blends wet with dry. Use sparingly on music and voices; creatively on instruments and sound design.

Repeats your audio after a set Time interval. Feedback controls how many repeats echo out; Mix blends it in. Syncing delay time to the tempo of music creates rhythmic depth. Shorter delays (80–120ms) add space without sounding like an echo.

Splits the signal and slightly detunes copies of it, creating a lush, thick sound, like multiple performers playing the same part. Rate is how fast the detune oscillates; Depth is how far it drifts. Great for making a single voice sound fuller.

A more intense version of chorus, creates a sweeping, jet-like whoosh by mixing a slightly delayed copy of the signal with itself. Classic on guitars and synths. Keep the Mix low for subtlety; push it for dramatic swoosh.

Creates a series of notches in the frequency spectrum that sweep up and down, producing a swirling, animated sound. Subtler than flanging. Rate controls the sweep speed; Depth controls how pronounced the sweep is.

Rapidly modulates (wobbles) the volume up and down. Rate sets the speed; Depth sets how deep the volume dips. Classic on guitar amplifiers and vintage recordings. Use slow, subtle settings for a gentle pulse, or fast settings for a helicopter effect.

Splits your audio into lows, mids, and highs and squeezes each one on its own, so a boomy bass gets tamed without touching the vocal, or harsh highs calm down without dulling the mids. Further RIGHT = more squeeze on every slider. Makeup brings the whole thing back up, fuller and louder. The mastering engineer's secret weapon.

Narrows the sound to a small band, like a phone call or an old radio. Crackle adds the dust pops of a worn record, Wobble adds the gentle pitch drift of a tired turntable. Great for podcast transitions, film flashbacks, and a verse that sounds like it came off a tape.

Speeds up or slows down playback like a tape machine, pitch and tempo move together. Raise it for a faster, higher "chipmunk" sound or lower it for a slower, deeper one. For changing pitch WITHOUT changing speed, use the Pitch Shifter below.

Shifts pitch up or down in semitones WITHOUT changing length or tempo, powered by SoundTouch. Set the amount, then press Apply to bake it into the selected track. Undoable with Ctrl+Z. Great for transposing vocals or instruments.

Speeds up or slows down the audio WITHOUT changing its pitch, powered by SoundTouch. The slider centers at 0 (no change). Slide RIGHT to speed up (the song gets shorter), LEFT to slow down (the song gets longer). +200% is twice as fast, −200% is twice as slow. Press Apply to bake it into the selected track. Undoable with Ctrl+Z.

Simulates a guitar speaker cabinet, the single most important thing for making direct-recorded distortion sound real. Without a cab, distortion is fizzy chaos. The Low Cut removes sub rumble, High Cut kills the mosquito-fizz above the speaker's range, and Presence adds that midrange bite where the guitar lives. Always put this after Distortion.

Softer than Distortion, more tube-amp-like warmth than aggressive clipping. Uses asymmetric clipping to generate even-order harmonics (like a real tube) making it smoother and more musical. Stack before Distortion to tighten the low end and push the clip stage harder, the classic metal trick. Low drive = subtle warmth. High drive = pushed amp crunch.