Every effect, every plugin

A straightforward delay with a filter on its feedback path; Ratio and Width open it up to all sorts of stereo delays.

A delay that follows the tempo and can blur its echoes with diffusion, the way repeats break up in a reverberant room.

A flexible five-tap delay, happy with anything from a light stereo delay to intricate repeating patterns.

Deliberately artificial ambience, built around gated and reversed reverb shapes.

A deep reverb with many room types, on two tabs, for putting a sound into a space.

Emulates a spring reverb tank.

The tempo-synced take on a bucket-brigade analog delay, warmed up by small imperfections in phase and timing.

Modelled on a bucket-brigade analog delay: small imperfections in phase and timing make it warmer than Delay Mono.

Delay Mono with a resonant high-pass filter inside the delay line.

Delay Mono with a resonant low-pass filter inside the delay line.

A mono delay whose time locks to the project tempo.

A basic mono delay timed in milliseconds, which several of the other delays build on.

A mono delay with three delay generators, each with its own time and place in the stereo field.

A stereo delay whose left and right repeats each have their own time.

Works much like Delay Mono, but in true stereo.

Delay Stereo with its time locked to the project tempo.

An echo modelled on an analog tape loop running past several tape heads, a sound closely tied to reggae and dub.

A hall reverb with a gate on its input: once the incoming level falls below Gate In, the reverb stops.

A large-hall reverb that asks less of the CPU.

Puts a sound in a large hall.

Puts a sound in a medium-sized room.

A hall reverb with a gate on its output: once the outgoing level falls below Gate Out, the reverb stops.

Puts a sound in a small room.

A utility that offsets each stereo channel by its own tiny amount, to loosen percussion or widen the image.

EQ, gate and compressor in one quick interface: a high-pass filter, two shelves and a parametric mid-band, plus AIR dynamics suited to hard-hitting drums.

A basic compressor: when the signal goes over the threshold, its gain is turned down automatically, narrowing the dynamic range.

A lookahead limiter for use when mixing or mastering.

A limiter tuned for professional mastering work.

The opposite of a compressor: it turns the signal down when it drops below a threshold, which helps clear out background noise.

Adds a rhythmic pumping in the style of sidechain compression.

Brings out or softens the attack and release phases of a sound.

The most transparent of the compressors, able to make big level changes without audible side effects.

Modelled on a vintage optical compressor, a type known for gentle, unobtrusive attack and release.

A more modern, slightly more transparent compressor, which tends to react faster than Compressor Opto.

Sounds like a classic tube compressor: gentle but pumping, with a little tube saturation.

The sending half of a ducking setup: it puts the trigger track onto one of Mother Ducker’s buses.

The receiving half of a ducking setup, with eight internal buses so different channels can duck from different sources, and meters to watch the trigger level.

Brings out or softens the attack and release phases of a sound.

Lifts the broad low and high ends of a signal.

Cuts a signal into rhythmic patterns, varying its filtering, level and panning as it goes.

A filter followed by your choice of saturation or reduction.

Removes the broad low, mid or high range from a signal.

A four-band parametric EQ with four independent ranges, switchable filter types on the outer bands and its own Low Cut and High Cut.

Classic analog-style filtering with its own envelope and LFO, for synths, guitars and plenty more.

A high-pass filter with an LFO moving its cutoff.

A high-pass filter with an LFO moving its cutoff, at a rate set in bars and note values.

A static high-pass filter with no modulation.

Unlike the standard filter type, it treats everything past the cutoff point alike, lowering it all by the same amount.

A low-pass filter with an LFO moving its cutoff.

A low-pass filter with an LFO moving its cutoff, at a rate set in bars and note values.

A static low-pass filter with no modulation.

Unlike the standard filter type, it treats everything past the cutoff point alike, lowering it all by the same amount.

Pairs a two-band parametric EQ with two shelving filters.

A parametric EQ with four independent bands.

Guitar and bass amp simulation, with a wide choice of cabinets and tone controls.

A distortion that goes from a touch of grit on a drum break to full-on aggressive mayhem.

A multi-type distortion for colouring a signal, with a choice of types and amounts.

Reshapes a sound’s timbre using EQ models of radios, phones, tape machines and the like.

Moves the individual frequencies of a signal for unusual effects.

Mangles a signal with bit crushing, down-sampling, clipping and rectifying.

Gives a sound voice-like resonances.

Recreates the sound of an overdriven tube amp.

Down-samples by throwing away bits, with no filtering to hide the artefacts, so it ranges from mild to almost pure digital distortion.

The sound of a tube amp played loud.

A very adjustable distortion that covers a wide range of usable sounds.

Hard-clips the signal; pushed to extremes, it squares off an ordinary waveform for a razor-like edge.

Distorts only one band of frequencies, which you choose.

The smoothest of the distortions, like an amp just starting to break up at medium volume.

Moves every frequency by a fixed amount, upsetting the relationship between harmonics: anything from chorus-like to wildly artificial.

Breaks incoming audio into tiny grains that you can loop, pitch-shift and otherwise bend out of shape.

Removes bits like Decimator, but uses filters and anti-aliasing to keep the sound intact, as 1980s samplers did: dirty drum loops without harsh distortion.

A performance effect played from an on-screen touch slider or a MIDI device; these are the touch controls on the left of its window.

The touch slider plays a static multi-mode filter with no modulation.

The touch slider plays a multi-mode filter whose cutoff moves with an LFO that can follow the project tempo.

The touch slider plays decaying repeats of the original signal, timed to the project tempo.

The touch slider plays an effect that chops and repeats the audio at a tempo-synced beat value.

The touch slider plays a tape stop: the sound of analog tape playback slowing down.

The touch slider plays a phaser: ganged all-pass filters cut notches in the spectrum, and an LFO can sweep them.

The touch slider plays a comb filter, which delays the audio and mixes it back in to cut notches in the spectrum, much as a phaser does.

The touch slider plays an echo that works well for transitions.

The touch slider plays a granulator, breaking incoming audio into tiny grains to loop, pitch-shift and manipulate.

The touch slider plays a flanger: a modulated delay that recreates two analog tape machines running slightly out of time with each other.

The insert effect behind XYFX Mode, played from the touchscreen’s XY pad; the manual lists no ranges for it.

A compact chorus for classic warmth and depth.

Adds a fluid, shimmering modulation.

Runs the signal through a short delay that keeps moving.

A multi-effect pairing transistor-style distortion with a wah.

Makes instant half-speed versions of anything, with filters and synced fades for dramatic transitions in and out of the dry signal.

A thick, complex chorus with up to six voices.

A phaser for that whooshing, squishy sound, with a choice of models.

Changes the pitch of a signal, with modes to suit the source or style.

Gives a signal a wider stereo presence.

Wild glitches built from stutters of volume, pan and pitch.

A funky wah-wah: a low-pass filter moved by an envelope that the incoming level triggers.

A rotary effect: an LFO locked to the project tempo moves the signal from side to side of the stereo field.

A rotary effect: an LFO moves the signal from side to side of the stereo field.

An LFO varies the pitch and delay of a copy of the signal before adding it back: a little sounds like several voices, and more Feedback and Amount gives a watery shimmer.

Chorus 2-Voice with extra voices, for more obvious modulation.

Flanger with its rate locked to the project tempo.

A modulated delay that recreates two analog tape machines running slightly out of time: slow rates whoosh like a jet, faster ones warble.

Ganged all-pass filters cut sharp notches in the spectrum, usually swept by an LFO.

A variation on Phaser 1.

Similar to Phaser 1 and Phaser 2, with the LFO locked to the project tempo.

An LFO locked to the project tempo moves the volume up and down, from a smooth wave to a stuttering on-off.

Tremolo Sync without the tempo lock: its LFO runs at a free rate.

Adds realistic doubles to a vocal line, for width or thickness.

Creates realistic harmonies of up to four parts and complex doubles, with separate level, delay, formant, mode and interval settings per part.

Pitch correction, from natural-sounding to hard-tuned vocal effects.

The oscillators and boost, the low-pass and high-pass filters, and the envelope.

How velocity responds, the overall volume, drive and pitch bend, and the built-in chorus.

The built-in delay effect.

The built-in compressor and Hype effects.