Effects

Mode: Choose between Classic, Enhanced, and Pro mode. Each of these settings provides a different flavor of compression; if you feel you can’t make a setting work with your sound, you should experiment with the other modes in this menu.

St.Link (Stereo link): When activated, this causes the compressor to always act on the left and right channel in unison; this preserves the stereo image. When deactivated, the Compressor becomes a dual mono processor, which means that both channels will be processed independently.

Thresh: Sets a level threshold above which the Compressor starts working. Only levels that rise above this threshold will be reduced by the compression; signals that stay below it will be left unprocessed.

Ratio: Controls the amount of compression, expressed as a ratio of input level change against output level change. A Ratio of 1:1 results in no compression. A Ratio of 2:1 means that a level increase of 2 dB at the input will raise the output level by only 1 dB. A 4:1 Ratio results in more aggressive compression, with a 4 dB level increase at the input causing a 1 dB increase at the output.

Attack: Adjusts the time the Compressor will take to reach the full Ratio value after an input signal exceeds the Threshold level. If you’re using compression mainly for transparent dynamic reduction, values between 5 and 10 ms are a good starting point. Longer attack times can be useful for emphasizing transients and adding “punch” to a signal.

Release: Adjusts the time the compressor will take to fall back to non-compression after the input signal falls below the threshold. Typical values range from 50 to 250 ms.

Output: Controls the module’s output level. This knob acts as a make-up gain control, which allows you to bring the output signal up to the same peak level as the input signal after compression. After you’ve found a compression setting, it’s good practice to adjust the input and output signals so they have comparable levels, and then compare them via the Bypass button. This way, you can make sure your adjustment really made the signal sound better (and not just louder).

High Quality: Toggles oversampling within the effect, which can increase audio quality, but will also increase CPU load.

St. Link (Stereo link): When activated, this causes the compressor to always act on the left and right channel in unison; this preserves the stereo image. When deactivated, the Feedback Compressor becomes a dual mono processor, which means that both channels will be processed independently.

Input: Adjusts both the input level and the threshold simultaneously. Turning this knob clockwise will result in more compression.

Ratio: Determines the amount of compression. 1.0 means no compression at all, while 2.0 means that a 2 dB increase at the input will raise the output by only 1 dB.

Attack: Controls the scaling of the attack phase of the input signal's volume envelope. Increasing this parameter will add more punch and decreasing it will reduce sharp attacks.

Release: Determines how long it takes for the compression action to stop after the input signal falls below the threshold level. Typical values range from 50 to 250 ms.

Makeup: Controls the output gain of the compressed signal. Used to compensate for the gain reduction of the effect.

Mix: Controls the dry/wet mix of the compressor. This can be used to create a parallel compression style routing, which increases the quieter signals rather than reducing the louder ones. At a setting of 100% you will only hear the compressed signal; at a setting of 0% you will only hear the unprocessed input signal.

Output: Controls the module's output level.

Gain Reduction Meter: The meter to the bottom right shows the amount of gain reduction in dB.

In Gain: Sets the gain of the input signal. The Limiter is different from the Compressor in that it has a fixed threshold; to achieve a sensible peak reduction, use this control to adjust the input gain until you see the Attenuation meter responding only to occasional level peaks.

Release: Just like the Compressor’s control of the same name, this knob adjusts the time it takes the Limiter to return to an unprocessed signal after the input level falls below the threshold.

Attenuation: This LED-style meter shows the amount of gain reduction that the Limiter imposes on the signal. Limiting works best if this meter responds only to occasional level peaks; if it indicates permanent action, it’s a sure sign that your In Gain is set too high. This can considerably degrade the quality of your signal.

Output: Adjusts the module’s output level.

Link (Stereo link): When activated, this causes the compressor to always act on the left and right channel in unison; this preserves the stereo image. When deactivated, the Compressor becomes a dual mono processor, which means that both channels will be processed independently.

Threshold: Sets a level threshold above which the Compressor starts working. Only levels that rise above this threshold will be reduced by the compression; signals that stay below it will be left unprocessed.

Ratio: Controls the amount of compression, expressed as a ratio of “input level change” against “output level change”. A Ratio of 1:1 means that no compression will be happening. For example, a Setting of 4 represents the ration 4:1, which means for every 4 decibel increase of amplitude above the threshold, the output will increase by only 1 decibel.

Attack: Adjusts the time the Compressor will take to reach the full Ratio value after an input signal exceeds the Threshold level.

Release: Adjusts the time the compressor will take to fall back to non-compression after the input signal falls below the threshold.

Makeup: Controls the output gain of the compressed signal. Used to compensate for the gain reduction of the effect.

Mix: Controls the dry/wet mix of the compressor. This can be used to create a parallel compression style routing, which increases the quieter signals rather than reducing the louder ones. At a setting of 100% you will only hear the compressed signal, at a setting of 0% you will only hear the unprocessed input signal.

Output: Controls the module’s output level.

Input: Adjusts the input gain to the compressor in dB. The ideal setting of the Input is indicated by the Input Level Meter.

Input Level Meter: Displays the input level and indicates if the Input is set correctly. When the center LED lights up green, the Input level is at an ideal setting. If the Input level is too low, the left LED will light up red, and when it is too high, the right LED will light up red.

HP Detector: Selects one of three options (off, 100Hz, 300Hz) that determine if a high-pass filter is applied to the input signal. When set to 100Hz or 300Hz, the high-pass filter will cut the input signal below the selected frequency. Use this to prevent the compressor from reacting to low frequency signal peaks as induced by kick drums or bass instruments. This is especially useful when you using the Supercharger GT on the Main Effects chain.

Saturation: Applies saturation to the signal. Turn the control right to apply more saturation to the signal. The type of saturation is determined by the selected Saturation Mode.

Saturation Mode: Selects from three modes (Mild, Moderate, Hot) that determine the type of Saturation applied to the signal. Mild mode adds coloration to the signal whilst retaining a clean sound. Moderate mode adds more noticeable harmonics, and Hot mode applies maximum saturation and produces audible distortion.

Compress: Determines the amount of compression applied to the input signal. The higher the value, the more compression is applied to the input signal.

Gain Reduction Meter: Displays the amount of gain reduction in dB.

Attack: Determines how fast the compressor reacts to incoming signals. Increasing this parameter will add more punch and decreasing it will reduce sharp attacks.

Release: Adjusts the length of compressor's Release phase, which determines how long it takes for the compression to stop after the input signal falls below the Threshold level. Typical values range from 50 to 250 ms.

Character: Changes the sound characteristic of the compression effect by applying equalization to the signal. The type of equalization is determined by the selected Character Mode.

Character Mode: Selects from three modes (Fat, Warm, Bright) that determine the type of equalization applied. Fat mode emphasizes low and high frequencies. Warm mode rolls off high frequencies, while enhancing the lower frequencies. Bright mode enhances high frequencies and attenuates the lower frequencies of the signal.

Channel Link: Selects from three stereo modes (Stereo Link, Dual Mono, MS) that determine how the compressor is applied to the stereo channels. Stereo Link applies equal gain reduction to both the left and right channels. It is the most common mode as it eliminates the risk of shifting the stereo image. Dual Mono mode compresses each channel individually and can be used to widen the mix. In MS mode, the input signal will not be split into a left and right channel, but instead processed as mid and side signals. MS mode enhances the side signal to a certain extent, so signals processed using this mode may sound wider.

Mix: Controls the dry/wet mix of the compressor. This can be used to create a parallel compression style routing, which increases the quieter signals rather than reducing the louder ones. When the Mix control is set to 0%, only the uncompressed (dry) signal will be heard, and at 100%, only the compressed signal will be heard. Settings between the 0% and 100% are a mix of both signals.

Output: Sets the output level of the compressor in dB. You can use it as a make-up gain control that allows you to bring the output signal up to the same peak level as the input signal after compression. Once you have found a compression setting, it’s good practice to adjust the input and output signals so they have comparable levels, and then compare them via the Bypass button. This way, you can ensure that the compressed signal sounds better, not just louder.

Smooth: Transient Master is designed mainly to work on drums or percussive material, so certain input signals (for example: an acoustic guitar) may not work ideally in the default mode, so try switching this button on if you are encountering problems.

Input: Controls the input gain to the effect.

Attack: Adjusts the scaling of the attack portion of the input signal’s volume envelope. Turning the knob right (0% to 100%) will add more punch, and turning the knob left (0% to -100%) will reduce sharp attacks.

Sustain: Controls the scaling of the sustain portion of the input signal’s volume envelope. Increasing this parameter will add more body to the sound and decreasing it will reduce the sound’s tail.

Output: Sets the output level of the effect in dB. For dynamic effects like compressors, this is very important.

Threshold: Sets the threshold at which the limiter begins to affect the input signal. To prevent the signal from clipping, leave the Threshold at 0 dB. To make the signal louder, reduce the Threshold value by turning the control to the left. The Threshold can be set in the range from -40.0 dB to 0.0 dB.

Release: Adjusts the length of the release phase, which determines how long it takes for the limiter to stop after the input signal falls below the Threshold level. The Release can be set in the range from 1.0 ms to 500.0 ms.

Ceiling: Sets the maximum output level of the limiter in dB. A value of -0.3 dB is recommended to avoid any potential distortion on playback. The Ceiling can be set in the range from -40.0 dB to -0.3 dB.

Gain Reduction Meter: An LED style meter that displays the amount of gain reduction in dB. Limiting works best if this meter responds only to occasional level peaks; permanent gain reduction indicates that the Threshold is set too low.

Output: Adjusts the limiter's output level in dB.

Mono: When this button is engaged, all channels of the input signal will be summed to a mono signal before being processed.When this button is not engaged, each channel is processed individually. Please note that this can increase the CPU load considerably.

NormVol: Sets the level for the Normal channel. The Treble and Bass controls have no effect in this channel.

BrillVol: Sets the level for the Brilliant channel.

TremSp: Sets the rate of the tremolo.

TremDpt: Controls the amount of tremolo applied. The effect is off when fully turned down.

Treble: Adjusts the high frequency response for the Brilliant channel.

Bass: Adjusts the low frequency response for the Brilliant channel.

ToneCut: Controls a low-pass filter. By turning the knob clockwise treble in the output of the Normal channel is reduced.

Output: Adjusts the module's output level.

High Boost: Boosts high frequency content, adding edge and definition to the sound.

Mid Contour: Cuts low-mid frequency content, softening the sound.

Low Cut: Cuts low frequency content, removing rumble from the sound.

Volume: Adjusts the input level, or gain, of the amplifier. Turning Volume to the right adds saturation and distortion to the signal.

Boost: Adjusts the amount of extra gain added to the signal.

Bass: Adjusts the low frequency response.

Lo Mid: Adjusts the low-mid frequency response.

Hi Mid: Adjusts high-mid frequency response.

Treble: Adjusts the high frequency response.

Master: Adjusts the master volume of the amp.

Output: Adjusts the output level of the effect.

Bright: Boosts high-frequency content.

Ultra Hi: Boosts high-frequency content in a wide frequency range. The effect is more pronounced than the one achieved using Bright.

Ultra Lo: Boosts low-frequency content and cuts mid-frequency content.

Mono: When active, the module will work like a mono effect, causing stereo and multichannel signals to be summed to mono at its input. When inactive, each channel is processed separately. Note that disabling mono can increase CPU load considerably.

Graphic EQ: Activates the graphic equalizer in the lower panel of the amplifier.

Graphic EQ Gain: Boosts or cuts nine specific frequency bands: 40 Hz, 90 Hz, 180 Hz, 300 Hz, 500 Hz, 1 kHz, 2 kHz, 4 kHz, and 10 kHz. When a slider is centered, the respective frequency band remains unaffected. Moving a slider up boosts the respective frequency band by up to 12 dB. Moving a slider down cuts the respective frequency band by up to -12 dB.

Graphic EQ Volume: Adjusts the output level of the graphic equalizer. Moving the slider up increases the level by up to 8 dB. Moving the slider down decreases the level by up to -10 dB. You can use this control to compensate for strong boosts or cuts made with the graphic equalizer.

Gain: Adjusts the input level, or gain, of the amplifier. Turning Gain to the right adds saturation and distortion to the signal.

Bass: Adjusts the low-frequency response.

Mid: Adjusts mid-frequency content in a frequency band set using the Mid Freq control.

Mid Freq: Sets the frequency band adjusted using the Mid control from 200 Hz to 3200 Hz.

Treble: Adjusts the high-frequency response.

Drive: Adjusts gain specifically for mid-frequency content, thereby changing the character of the sound.

Master: Adjusts the master volume of the amp.

Output: Adjusts the output level of the effect.

Cabinet Type: Allows you to choose the simulated cabinet model via the up and down buttons.

Size: Adjusts the size of the simulated cabinet. Larger cabinets tend to have a more pronounced bass response, while smaller cabinets can sound thin and tinny.

Air: Controls the level of early reflections in the room response, adding a sense of space to the sound.

TREB: Boosts or cuts the level of the higher frequencies.

BASS: Boosts or cuts the level of the lower frequencies.

Output: Adjusts the module’s output level.

Drive Mode: Selects between four different preamp models, each with distinct characteristics.

EQ Mode: Selects between three different EQ models, each with distinct characteristics.

Tremolo Mode: Selects between four different tremolo models, each with distinct characteristics. Synth mode enables the subsequent Wave Mode menu.

Wave Mode: Selects one of five waveforms to be used for amplitude modulation (tremolo).

Drive: Adjusts the preamp input level or gain.

Bass: Adjusts the low frequency response of the EQ. When EQ Mode is set to Passive, this control is named Bass (P) and adjust the cutoff frequency of a high-pass filter instead.

Treble: Adjusts the high frequency response of the EQ. This control is not available when EQ Mode is set to Passive.

Rate: Adjusts the frequency or speed by which the tremolo effect modulates the amplitude of the signal.

Amount: Adjusts the amount of amplitude modulation (tremolo) applied to the signal.

Width: Adjusts the amount of stereo offset between left and right channel when applying amplutide modulation (tremolo) to the signal.

Mono: When active, the module will work like a mono effect, causing stereo and multichannel signals to be summed to mono at its input. When inactive, each channel is processed separately. Tremolo will always work in stereo.

Output: Adjusts the output level of the module in dB.

Overdrive: Switches between the Normal (when off) and Overdrive (when on) channels.

Mono: When this button is engaged, all channels of the input signal will be summed to a mono signal before being processed.When this button is not engaged, each channel is processed individually. Please note that this can increase the CPU load considerably.

Bass: Adjusts the low frequency response.

Mid: Adjusts the midrange frequency response.

Treble: Adjusts the high frequency response.

Presence: Boosts the frequency response in the upper midrange.

NormPre: Sets the preamp gain for the low gain channel.

OvrdPre: Sets the preamp gain for the high gain channel.

Master: Controls the overall output level.

Depth: Controls the low range frequency response in the power amp.

Output: Adjusts the module's output level.

HiGain: Increases the preamp's gain potential. Switch to HiGain mode if you want to create distinctly distorted or saturated sounds.

Mono: When this button is engaged, all channels of the input signal will be summed to a mono signal before being processed. This happens regardless of the number of channels the input signal consists of, i.e. no matter whether it is a mono, stereo, or 5.1 signal.When this button is not engaged, each channel is processed individually. Please note that this can increase the CPU load considerably.

PreAmp: Sets the amount of gain added by the preamp. Turning it clockwise adds drive, distortion and edge to the sound.

Master: Adjusts the amp’s master volume.

Bass: Adjusts the low frequency response.

Mid: Adjusts the midrange frequency response.

Treble: Adjusts the high frequency response.

Presence: Boosts the frequency response in the upper midrange.

Output: Adjusts the module's output level.

Bright: A tonal option which increases the high frequency content of the signal.

Polyphonic: If this button is inactive, the Twang module will work as a mono effect, which causes stereo signals to be summed to mono at its input; when active, the effect operates on each input channel separately.

Volume: Controls the input level. In contrast to the Output knob, which merely adjusts the overall level of the module, this knob works like the gain control of a guitar amp and affects the amount of distortion.

Treble, Mid and Bass: These controls adjust the respective levels of the signal’s high, midrange, and low frequency components.

Output: Adjusts the module’s output level.

LeadChannel: Switches between Rhythm (when inactive) and Lead (when active) channels.

HiGain: Toggles between normal and high gain amplification.

Bright: When active, this adds high frequency boost in the Rhythm channel.

Crunch: Adds a large amount of distortion in the Rhythm channel.

Mono: When this button is engaged, all channels of the input signal will be summed to a mono signal before being processed.When this button is not engaged, each channel is processed individually. Please note that this can increase the CPU load considerably.

Rhythm: Controls the amount of preamp overdrive of the Rhythm channel.

Bass: Adjusts the low frequency response.

Middle: Adjusts the mid frequency response.

Treble: Adjusts the high frequency response.

Lead: Controls the amount of preamp overdrive of the Lead channel.

Post Gain: Controls the master volume of both channels and the poweramp saturation.

Presence: Boosts the frequency response in the upper midrange.

Reso: Controls the low range frequency response in the poweramp.

Output: Adjusts the module's output level.

Mono: When active, the module works like a mono effect, causing stereo signals to be summed to mono at the input. When inactive, each channel is processed separately.

Sustain: Adjusts the input level, or gain. Turning the control to the right increases the intensity of the distortion.

Tone: Adjusts the frequency respone. Turning this control to the left emphasizes high frequencies. Turning it to the right emphasizes low frequencies.

Bass: Adjusts the low frequency gain.

Bright: Adjusts the high frequency gain.

Output: Adjusts the module’s output level.

Mono: When this button is engaged, all channels of the input signal will be summed to a mono signal before being processed. This happens regardless of the number of channels the input signal consists of, i.e. no matter whether it is a mono, stereo, or 5.1 signal.When this button is not engaged, each channel is processed individually. Please note that this can increase the CPU load considerably.

Volume: The master volume control for the effect.

Filter: For a darker sound, turn clockwise to enhance the low frequency range; turn counter-clockwise for a brighter, sharper sound.

Distortion: Controls the amount of distortion applied.

Balls: Adds low-end punch. Turning it counter-clockwise creates a flatter, more biting sound.

Bass: Adjusts the low frequency response.

Treble: Adjusts the high frequency response.

Tone: Adjusts the frequency range influenced by the built-in pre-distortion midrange booster.

Output: Adjusts the module's output level.

Pedal: The pedal control is used to control the wah-wah frequency. Decreasing the value will lower the frequency and increasing the value will raise the frequency.

Mono: If active, the module will work like a mono effect, which causes stereo signals to be summed to mono at its input. If inactive, it processes each channel separately.

Output: Use this control the make up gain from the clipping caused by the wah-wah effect.

Safety A/B: Switches off the gain compensation that keeps consistent loudness levels. This can be used, for example, to drive a signal into the second stage at higher distortion levels.

Drive A/B: Adjusts the input level, or gain. Turning Drive to the right increases the intensity of the distortion.

Mode A/B: Selects one of three distortion modes to be used independently on stage A and stage B:

Amount A/B: Adjusts the amount of distortion by introducing saturation in the first half of its range and wave folding in the second half. Instead of clipping the signal, wave folding folds the waveform of the signal back into itself.

Bias: Introduces asymmetry into the signal by adding asymmetric behavior to the circuit, which produces even harmonics. This prevents the distorted audio from sounding hollow.

Tilt: Applies filtering to the distorted signal. When turned to the right, low-frequency content is attenuated and high-frequency content is boosted. When turned to the left, low-frequency content is boosted and high-frequency content is attenuated.

Routing: Determines how the signal is routed between stage A and stage B of the effect.

Mix: Blends between the dry signal and the wet signal by means of an equal-power crossfade. In A + B parallel routing configuration Mix is replaced with the Blend control, allowing you to blend between the output signals of stage A and stage B.

Output: Sets the output of the module in dB.

Mode menu: Selects between either Tube or Transistor characteristics. Tube distortion creates a smooth saturation, which emphasizes even harmonics, while the Transistor setting generates odd harmonics that create a harsher-sounding clipping effect.

Drive: Adjusts the amount of distortion.

Damping: Turning this knob clockwise attenuates high frequencies in the output signal, thereby counteracting the brightness caused by the artificial harmonics.

Output: Adjusts the module’s output level. Since distortion boosts the gain considerably, it’s often necessary to attenuate the signal at the output stage.

Mono: When this button is engaged, all channels of the input signal will be summed to a mono signal before being processed.When this button is not engaged, each channel is processed individually. Please note that this can increase the CPU load considerably.

Volume: The main volume control for this effect.

Tone: turning this control clockwise accents the midrange while dropping the bass. Counterclockwise takes off the highs and boosts the bass for a warmer sound.

Drive: adds dirt to the sound.

Bass: Adjusts the low frequency response.

Mid: Adjusts the midrange frequency response.

Treble: Adjusts the high frequency response.

Output: Adjusts the module's output level.

Mono: When active, the module works like a mono effect, causing stereo signals to be summed to mono at the input. When inactive, each channel is processed separately.

Amount: Adjusts the input level, or gain. Turning the control to the right increases the intensity of the distortion.

Bass: Adjusts the low frequency gain.

Bright: Adjusts the high frequency gain.

Output: Adjusts the module’s output level.

Mode menu: Select the saturation type: Classic, Enhanced or Drums. Classic is the original Kontakt algorithm, Enhanced is a higher quality saturation mode and Drums is the saturation model used by Maschine.

Saturation: Adjusts the transfer curve. A negative setting results in a characteristic that will expand the signal — lower sample values will be attenuated, higher values will be amplified. Positive settings do the opposite and thusly simulate the compression-like saturation of an analogue circuit. At a value of 0.0, the signal will pass the module unprocessed.

Output: Adjusts the Saturator’s output level.

Tone: Controls the brightness of the sound. Turning this knob clockwise will result in a more pronounced top-end, which works great on bright, screaming leads and biting rhythms. Turning it counter-clockwise results in a mellower, darker sound.

Drive: Adjusts the amount of distortion.

Bass: Adjusts the low frequency gain.

Bright: Adjusts the high frequency gain.

Clean: Blends clean signal into the distorted tone. At 0.0 %, only the distorted signal is audible, while at 100.0 %, equal amounts of distorted and clean signal are mixed.

Output: Adjusts the module’s output level.

Freq: Adjusts the sampling frequency at which the input signal is resampled in a range of 0.1 kHz to 44.100 kHz.

Jitter: Adjusts the amount of clock jitter. This adds fluctuations to the sampling rate of the resampling algorithm, effectively making the signal noisier. The jitter is added to the left and right stereo channels independently, resulting in a wide stereo image for the noise component.

Pre Filt: Adjusts the cutoff frequency of a low-pass filter that is applied to the input signal. You can use it to remove frequencies that would produce aliasing noise in the resampling algorithm. At center position, the cutoff frequency is half of the sampling frequency. Its range is from 50 Hz to 22050 Hz.

Post Filt: Adjusts the cutoff frequency of a low-pass filter that is applied to the output signal. You can use it to remove aliasing noise. At center position, the cutoff frequency is half of the sampling frequency. Its range is from 50 Hz to 22050 Hz.

HP: Adjusts the cutoff frequency of a 1-pole high-pass filter that is applied to the output signal. It aims remove low-frequency and DC components from the signal. It provides three cutoffs 5 Hz, 100 Hz and 200 Hz.

Saturate: Drives the quantized signal into a saturator and compensates for the loudness increase caused by the saturation.

Bits: Adjusts the amounts of quantization values by setting the bit depth between 2 and 16 bits. Each sample is quantized to the set values. A lesser amount of values results in a more distorted sound.

Crunch: Provides continuous control over the bit reduction effect, reducing the amount of used quantization values by lowering the signal level before the bit reduction algorithm. This allows you to smoothly control the resolution without stepping effects.

Dither: Adjusts the amount of noise that is added to the resampled signal to reduce distortion caused by quantization errors. In this effect, the noise amount can be increased for creative purposes. Independent noise sources are used for left and right stereo channels, resulting in a wide stereo image for the noise component.

Expand: Changes the distribution of the quantization values in the amplitude range. When set fully to the left, low-level signals are quantized at a higher resolution. When set fully to the right, the resolution available for quantizing low-level signals is reduced, effectively turning them into pulse waves.

DC: Toggles between two different modes for the quantization of the input signal according to the bit depth (Bits). When activated, the zero level is removed from the available bit values, effectively sustaining the sound with a buzzing square wave. When deactivated, the output signal fades to silence immediately.

Mix: Blends between the dry signal and the wet signal by means of an equal-power crossfade.

Output: Adjusts the output level of the module in dB.

Bits: Re-quantizes the signal to an adjustable bit depth. Fractional bit levels (such as 12.4 bits) are possible and can add considerable “grit”. Audio CDs have a quantization depth of 16 bits, old samplers frequently used 8 or 12 bits, and 4 bits evoke memories of countless irritating children’s toys.

S.Rate (Sample Rate): Re-samples the signal to an adjustable sample rate. The re-sampling is done without any kind of (usually mandatory) low-pass filtering, which causes all kinds of wonderful aliasing artifacts. The sample rate goes all the way down to 50 Hz, which will not leave much of the original signal.

Noise: Adds hiss to the audio signal.

N.Color: Adjusts the frequency characteristic of the noise and acts as a low-pass filter.

Output: Adjusts the module’s output level.

High Quality: Toggles oversampling within the effect, which can increase audio quality, but will also increase CPU load.

Gain: Controls the input gain of the effect. This will increase the amount of tape distortion and compression.

Warmth: Controls the low frequency boost/cut of the effect.

HF Rolloff: Controls the high frequency rolloff starting frequency. Frequencies above this point will be attenuated.

Output: Controls the output gain of the effect.

Scrape: Adjusts the amount of high-frequency scraping, which occurs when the tape vibrates as it passes over the playback head.

Wow: Adjusts the amount of wow, a slow fluctuation in pitch caused by sticky tape and worn-out tape transport.

Flutter: Adjusts the amount of flutter, a fast fluctuation in pitch caused by a bent capstans and faulty motor parts.

Speed: Adjusts the rate of the wow and flutter modulation.

Stereo: Adjusts the stereo width of Wow and Flutter by adding a phase offset to the modulation applied to the the left and right stereo channels.

Age: Enhances the characteristics of an aging tape by reducing high-frequency content and introducing tape hiss.

Gate: Toggles the noise gate on or off. When enabled it will remove low level tape hiss noise one second after receiving the last input signal.

Saturate: Adjusts the amount of tape saturation from a clean sound to overdrive.

Mix: Blends between the input signal and the effect signal by means of an equal-power crossfade.

Output: Sets the output of the module in dB.

Rate: Adjusts the speed of modulation, from slow pitch changes to fast vibratos. This becomes more pronounced as Amount is increased.

Mode: Switches between four chorus modes (Synth, Ensemble, Dimension, Universal), that determine the sound characteristic and modulation behavior.

Amount: Adjusts the amount of modulation applied to the Delay, altering the delay times of the chorus voices. Due to the configuration of the delays, this also changes the pitch of the chorus voices, creating the typical chorusing effect.

Voices: Fades from one to three chorus voices. Increasing the number of chorus voices adds a dense and ensemble-like quality to the sound. The modulation affects the second and third chorus voice differently from the first, resulting in a wider and livelier sound.

Delay: Adjusts the delay times of the chorus voices, allowing you to change the spatial depth of the sound. This parameter strongly interacts with Feedback.

Width: Pans the chorus voices in opposite directions, widening the stereo image. When Width is set to 0, the stereo image of the input is preserved.

Feedback: Adjusts the level of the feedback signals from the outputs of the chorus voices to their inputs, creating a more sustained and spacious sound.

Scatter: Enables a special feedback routing for the chorus voices that introduces reverb-like behavior.

Mix: Blends between the input signal and the effect signal by means of an equal-power crossfade.

Invert: Changes the sound characteristic of the chorusing effect by inverting the effect signal.

Mix: Blends between the input signal and the effect signal. When the knob is turned fully left, only the dry input signal is heard.

Output: Adjusts the module’s output level.

Mode: Switches between three flanger modes (Standard, Thru Zero, Scan):

Offset: Adds a frequency shift to the duplicated flanger voices in Thru Zero mode, changing their position relative to the center of modulation. This results in rhythmical variations of the flanging effect. Offset also enables you to reduce the amount of signal cancellation when there is no modulation (Amount set to 0%).

Chord: Sets a chord that defines the harmonic relationship between the four Voices.

Invert Phase: Swaps the position of the peaks and notches in the frequency spectrum by inverting the effect signal. When activated, the perceived pitch of the flanger voices is one octave lower. In Thru Zero mode, enabling Invert creates strong signal cancellations at the center of modulation, which can lead to interesting rhythmical effects.

Rate: Adjusts the frequency of the modulation applied to Pitch. The modulation effect becomes more pronounced as Amount is increased. When LFO Sync is activated, modulation is synchronized to the host and the Rate knob is replaced by the LFO Sync controls: The Numerator (a) and Denominator (b) set the speed of modulation in musical notes relative to the host tempo. The Numerator sets the number of notes, while the Denominator sets the note value. The Sync Mode (c) sets the time value, or subdivision, for the chosen note value. For example, 1|4 in Sync Mode Straight means that the modulation repeats its cycle after one quarter note, and 3|2 in Sync Mode Triplet means that the modulation repeats its cycle after three half note triplets.

Feedback: Adjusts the level of the feedback signals from the outputs of the flanger voices to their inputs, creating a more resonant and metallic sound.

Amount: Adjusts the amount of modulation applied to Pitch, adding movement to the flanging effect.

Width: Duplicates the flanger voices internally and pans them in opposite directions. A wide and lively stereo image is created by adding a phase offset to the modulation applied to Pitch between the left and right stereo channels. Additionally, a special type of cross-feedback is introduced, further animating the stereo image as Feedback is increased.

Pitch: Adjusts the fundamental frequency of the first flanger voice in semitones, effectively shifting the peaks and notches of all flanger voices in the frequency spectrum.

Damping: Attenuates the high frequency content of the feedback signals from the outputs of the flanger voices to their inputs, allowing for soft sounds even at high Feedback settings.

Voices: When Mode is set to Standard or Thru Zero, Voices fades from one to four flanger voices. The additional flanger voices are added in harmonic intervals, forming a chord as set with Chord. When Mode is set to Scan, Voices scans through the four flanger voices one after the other by blending between the first and the second flanger voice, then the second and the third flanger voice, and so on.

Detune: Alters the pitch of each individual flanger voice in a range of approximately +/- 60 cent. This creates a rich and lively sound similar to the effect of detuning oscillators on a synthesizer. Detune is especially useful when Chord is set to Unison.

Mix: Blends between the input signal and the effect signal. When the knob is turned fully left, only the dry input signal is heard.

Output: Adjusts the module’s output level.

Tuning: Emulates the effect of tuning an old AM radio. In center position, the best possible tuning is achieved. As you move the control away from center position, the amount of radio interference increases.

Demod: Switches between emulations of two different demodulation circuits. When activated, a product demodulation circuit is used, producing an aggressive sound. When deactivated, an envelope demodulation circuit is used, recreating the sound of an old AM radio.

Width: Adjusts the amount of filtering applied to the signal by changing the bandwidth of the band-pass filter used in the demodulation circuit. Low settings result in a filtered and slightly resonant sound. High settings reduce the filtering effect while adding more noise to the signal.

Carrier: Adjusts the frequency of the carrier used in the demodulation circuit, controlling the quality of the radio transmission. The quality improves as you increase the frequency.

Gate: Switches the noise gate on or off. When activated, noise from the demodulation circuit is only passed through if an input signal is present. When deactivated, the noise is constantly passed through, allowing you to use Freak as a flexible noise source. The amount of noise can be adjusted with the Feedback control.

Freq: Adjusts the rate of the internal sine wave modulation used by the three different amplitude modulation techniques available via the Type control. When Type is set to amplitude (0%) and ring (50%) modulation, this allows you to change the frequency of the sidebands created in the frequency spectrum. When Type is set to frequency shifting (100%), the modulation rate equals the amount by which the input signal’s frequency content is shifted in the frequency spectrum. The Freq control is bipolar, meaning that both positive (non-inverted) and negative (inverted) modulation can be applied. The range of the Freq control can be set with the Range button.

Wide Range: Sets the range of the Freq control. When activated, Freq has a coarse range of -5000 Hz to +5000 Hz. When deactivated, Freq has a fine range of -200 Hz to +200 Hz. This gives you full control over applications that require fine adjustment of the modulation rate below the audio spectrum (< 20 Hz).

Stereo: Creates a wide stereo image by adding a phase offset to the modulation applied to the left and right stereo channels.

Antifold: Reduces the amount of sidebands folding over 0 Hz, producing a cleaner sound in the low-frequency spectrum. By increasing Antifold, thinner sounding distortion effects with a less tonal quality can be achieved.

Contour: Blends between the direct signal from the modulation source and the signal processed by the envelope follower. This enables you to adjust how much the envelope follower affects the contour of the modulation signal.

Release: Adjusts the attack and release times of the envelope follower. At low settings, the envelope follower quickly adapts to the contour of the modulation signal. At high settings, it responds slowly and smoothes out the contour of the modulation signal.

BP Filter: Switches the band-pass filter applied to the modulation signal on or off. The filter’s cutoff frequency can be adjusted with the BP Freq control.

BP Freq: Adjusts the cutoff frequency of the band-pass filter applied to the modulation signal, reducing its frequency content to a specific band. When combined with the envelope follower, BP Freq can be used to make the envelope follower respond to specific components of the modulation source.

Rate: Adjusts the frequency of the modulation applied to Center and Spread. The modulation effect becomes more pronounced as the Amount is increased. To synchronize the time to your host or master editor tempo, click the Rate unit display (Hz) and chose a note length value from the drop down menu.

ULTRA mode: Extends the parameter ranges for Rate and Center, allowing for more extreme modulation frequencies across a wider frequency range. By increasing Rate to audio frequencies, you can add new harmonic content to the input signal, similar to the sounds possible with FM synthesis.

Amount: Adjusts the amount of modulation applied to Center and Spread, adding movement to the phasing effect. The modulation can be distributed between the two parameters with the Mod Mix slider.

Center: Shifts the peaks and notches in the frequency spectrum by changing the frequencies of the all-pass filters that create the phasing effect (relative to the Center frequency).

Stereo: Creates a wide and lively stereo image by adding a phase offset to the modulation applied to Center and Spread between the left and right stereo channels. In center position, the phasing effect does not alter the stereo image. When turning the knob to the left, the phasing effect appears to move from right to left. When turning the knob to the right, the phasing effect appears to move from the left to right. Stereo does not have an effect if Amount is set to 0.

Spread: Adjusts the density of the peaks and notches in the frequency spectrum. Turning the knob left moves the peaks and notches closer to each other. Turning the knob right moves the peaks and notches further apart from each other.

Feedback: Adjusts the amount of feedback, or resonance, applied to the all-pass filters that create the phasing effect. Turning the knob right will increase the Feedback, making the peaks and notches in the frequency spectrum more pronounced.

Mod Mix: Distributes the modulation between Center and Spread. Moving the slider to the left increases the amount of modulation applied to Center, moving the slider to the right increases the amount of modulation applied to Spread. In the middle position, the amounts of modulation applied to both Center and Spread are the same.

Notches: Sets the number of peaks and notches in the frequency spectrum.

Invert Phase: Inverts the polarity of the modulation applied to Spread, hence reversing its effect in relation to the modulation applied to Center.

Invert Mod Mix: Swaps the position of the peaks and notches in the frequency spectrum by inverting the effect signal.

Mix: Blends between the input signal and the effect signal. When the knob is turned fully left, only the dry input signal is heard.

Output: Adjusts the module’s output level.

Fast Mode: Switches between two frequency ranges for the internal modulation oscillator. When activated, the effect produces sidebands in the frequency spectrum. When deactivated, it produces tremolo effects.

LFO: Sine/Square: Switches the LFO’s waveform between sine and square, producing either soft or sudden changes of the internal modulation oscillator's frequency.

Ring: Adjusts the amount of ring modulation applied to the input signal using the internal modulation oscillator.

Rate: Adjusts the frequency of the LFO that can be used to apply modulation to the frequency of the internal modulation oscillator. To synchronize the rate to your host or Master Editor tempo, click the Rate parameter’s unit display and choose a note length value from the drop-down list.

FM: Adjusts the amount of phase modulation applied to the input signal using the internal modulation oscillator.

Amount: Adjusts the amount of modulation applied to the frequency of the internal modulation oscillator using the LFO.

Freq: Adjusts the frequency of the internal modulation oscillator, effectively moving the sidebands in the frequency spectrum. The frequency range depends on the setting of the Fast Mode switch.

Edge: Changes the waveform of the internal modulation oscillator. Turning the control to the right adds harmonics, resulting in a more aggressive sound of the ring modulation.

Output: Adjusts the module’s output level.

Speed: Although this parameter appears as a knob in order to facilitate automating, it really only has 2 positions — Slow and Fast. A change of this setting realistically simulates the acceleration or braking of the rotor.

Acceleration and Brake Speed (horizontal faders next to the Speed control): These adjust how quickly the rotors of the treble (upper fader) and bass (lower fader) parts of the cabinet will react to speed changes. At the rightmost position, the respective speaker will change its speed instantly, while it will take a long time to reach its designated speed with the fader at the leftmost position.

Balance: Controls the relative levels of the cabinet’s treble and bass parts.

Distance: Controls the simulated distance between the cabinet and the pickup microphones. A closer distance results in a wider stereo panorama.

Depth: Sets the intensity of the effect by selecting one of six modes. The intensity increases with every mode from left to right. Modes IV, V, and VI require more processing power.

Color: Selects one of three different modes that determine the basic sound character of the effect. Each mode has a distinct frequency response and different flavor of modulation.

Rate: Adjusts the frequency of the modulation. When Sync is activated, Rate is set in note lengths relative to the tempo of the Metronome.

Blend: Blends between the vibrato and the chorus effect.

Width: Adjusts the width of the stereo widening effect.

Mix: Blends between the input signal and the effect signal.

Output: Adjusts the module’s output level in dB.

Depth: Adjusts the range of modulated detuning. Higher values give a more pronounced chorusing effect.

Speed: Adjusts the LFO speed. To synchronize the speed to your host or Master Editor tempo, click the Speed parameter’s unit display and choose a note length value from the drop-down list.

Phase (0 to 90 degrees): Imparts an LFO phase difference between the left and the right stereo channel. This can considerably increase the width of the output signal’s stereo base.

Return (visible when used as a send effect): Adjusts the module’s return level.

Dry and Wet sliders (visible when used as an Instrument insert effect): Adjusts the respective levels of the original and processed signals. Note that the typical chorus effect is created by the combination of both signals, so setting these to the same levels results in the most pronounced effect.

Depth: The amount of LFO modulation. Higher values cause the flanging effect to sweep over a wider range.

Speed: Adjusts the LFO speed. To synchronize the speed to your host or Master Editor tempo, click the Speed parameter’s unit display and choose a note length value from the drop-down list.

Phase (0 to 90 degrees): Imparts an LFO phase difference between the left and the right stereo channel. This can considerably increase the width of the output signal’s stereo base.

Colour: Adjusts the delay line’s range of operation and, consequently, the color of the flanging effect. Small values result in short modulated delay times, making the Flanger sound more like a phaser.

Feedback: Feeds a certain amount of the delayed signal back into the module’s input, thereby creating a more pronounced effect.

Return (visible when used as a send effect): Adjusts the module’s return level.

Dry and Wet sliders (visible when used as an Instrument insert effect): Adjusts the respective levels of the original and processed signals. Note that the typical flanging effect is created by the combination of both signals, so setting these to the same levels results in the most pronounced effect.

Depth: The amount of LFO modulation. Higher values cause the Phaser effect to sweep over a wider frequency range.

Speed: The LFO modulation speed. To synchronize the speed to your host or Master Editor tempo, click the Speed control’s unit display and choose a note length value from the drop-down list.

Phase (0 to 90 degrees): Imparts an LFO phase difference between the left and the right stereo channel. This can considerably increase the width of the output signal’s stereo base.

Feedb.: This control adjusts the emphasis of the peaks and notches that the comb filter effect imparts on the signal.

Return (visible when used as Send Effect): Adjusts the return level of the module’s output signal.

Dry and Wet sliders (visible when used as an Instrument Insert Effect): Adjusts the respective levels of the original and processed signals. Note that the typical phasing effect is created by the combination of both signals, so setting these to the same levels results in the most pronounced effect.

Reverse: Reverses the playback of subsequent delay repeats.

Stereo Reverse: Reverses the playback of subsequent delay repeats on one of the stereo channels.

Stereo Detune: Adjusts the pitch of the echo repeats on the left stereo channel in the range of -50 to +50 cents. Combined with feedback and cross-feedback you can use this to create progressively detuned echo cascades.

Time: The delay time in milliseconds. To synchronize the time to your host or Master Editor tempo, click the Speed parameter’s unit display and choose a note length value from the drop-down list.

LR Offset: Adjusts the amount of time deviation between the two stereo channels, resulting in wide stereo echos.

Feedback: Adjusts the amount of feedback. Turning Feedback to the right increases the amount of delay repetitions.

Cross FB: Adjusts the amount of feedback from the left to the right stereo channel and vice versa, creating a more complex stereo echo pattern.

Pitch: Adjusts the pitch of the echo repeats in the range of -12 to +12 semitones. Combined with feedback you can use this to create progressively harmonized echo cascades.

Detune: Fine-tunes the pitch of the echo repeats in the range of -50 to +50 cents.

Dry and Wet sliders (visible when used as an Instrument insert effect): Adjusts the respective levels of the original and processed signals. In common scenarios, the delayed signal is mixed in at a lower level than the direct signal.

Mode: Selects one of five delay modes (Modern, Analogue, Tape, Vintage, Diffusion).

Time: Adjusts the delay time in milliseconds. To synchronize the time to your host or Master Editor tempo, click the Time control’s unit display (ms) and choose a note length value from the drop-down menu.

Feedback: Adjusts the level of the signal that is fed back to the delay's input. Increasing Feedback adds delay repeats. Levels above 100% create swelling echo repeats up to self-oscillation.

Low Cut: Cuts low-frequency content in the feedback path of the delay with a non-resonant filter. Turned fully counter-clockwise, the filter is off.

High Cut: Cuts high-frequency content in the feedback path of the delay with a non-resonant filter. Turned fully clockwise, the filter is off.

Ping Pong: Switches the Ping Pong effect on and off. When on, the delay repeats are panned hard left and right in an alternating pattern.

Stereo: When activated, the modulation between the left and the right channel is offset in time, resulting in a wide stereo effect. When deactivated, the modulation affects both channels in the same way.

Saturation: Adds tube-like saturation at the delay input. Turning it clockwise pushes the sound from subtle warmth to overdrive. Turned fully counter-clockwise, the saturation is bypassed.

Depth: Adjusts the amount of modulation applied to the delay time.

Rate: Adjusts the speed of the delay time modulation.

Quality: Selects one of four quality settings for the delay: Crunch (0-24%), Low (25-49%), Medium (50-74%), High (75-100%).

Noise: When activated, tape hiss is added to the delay signal. When deactivated, no tape hiss is added. The amount of tape hiss depends on the setting of the Tape Age control.

Tape Age: Enhances the characteristics of an aging tape, including limited high-frequency response. When the Noise button is activated, Tape Age also adjusts the amount of tape hiss added to the signal.

Flutter: Increases the effects introduced by mechanical imperfections of the tape delay’s motor and tape transport, resulting in pitch variations over time.

BBD type: Selects one of four BBD delay models (from left to right, Grunge, Dark, Warm, Clean). The character ranges from subtle filtering and distortion to a highly degraded sound.

Amount: Adjusts the amount of diffusion applied to the delay signal, resulting in a reverb effect. High settings can make the delay appear out of sync.

Dense: Switches between two density settings for the reflection pattern of the effect.

Modulation: Sets the depth and speed of modulation applied to the diffusion, shifting the timing and pitch of the reflections for a wide reverb effect.

Size: Adjusts the swell, reflection pattern and decay of the reverb effect, giving the impression of different sized spaces.

Predly L/R: Adjusts the duration of the initial delay added to the channel. This predelay is independent of the Time control and does not affect the delay repeats. To achieve classic ping-pong echoes, set the same Time for both channels and increase Predly on one of them. To synchronize the time to your host or master editor tempo, click the predelay unit display (ms) and chose a note length value from the drop down menu.

Time L/R: Adjusts the delay time in milliseconds. To synchronize the time to your host or master editor tempo, click the Time unit display (ms) and chose a note length value from the drop down menu.

Feed L/R: Adjusts the amount of feedback. Turning Feed to the right increases the amount of delay repetitions.

Level L/R: Adjusts the output level of the delay channel.

Cross FB: Adjusts the amount of cross-feedback, which feeds the left channel output back into the right channel input and vice versa.

Width: Adjusts the stereo image of the delay signal. At center position, the signal is mono. Turning the control to the right increases the width of the stereo image. Turning the control to the left increases the width of the stereo image and flips the left and right stereo channel.

DRY/WET: These sliders adjust the amount of unprocessed (DRY) and processed (WET) signal that is send to the output.

Time: The delay time in milliseconds. To synchronize the time to your host or Master Editor tempo, click the Speed parameter’s unit display and choose a note length value from the drop-down list.

Damping: Attenuates high frequencies in the delayed signal. Turning this control clockwise will increase the damping effect. If you have set a feedback level, the signal will gradually lose more high frequency content with each repetition.

Pan: Setting a value higher than 0 creates a panning effect, which alternates echos between the left and the right side of the stereo panorama — this is affectionally called a ping-pong delay. Higher values will result in wider panning; at 100, signals alternate between the far left and far right channel.

Feedb. (feedback): Controls the amount of the output signal that’s being fed back into the input of the delay line, thereby creating a series of echos that gradually fade into silence.

Return (visible when used as a send effect): Adjusts the module’s return level.

Dry and Wet sliders (visible when used as an Instrument insert effect): Adjusts the respective levels of the original and processed signals. In common scenarios, the delayed signal is mixed in at a lower level than the direct signal.

Impulse Window: This window provides a display of the currently loaded impulse response and, if active, the Volume Envelope. You can drag impulse responses from the library into this window to load them — this will keep your other settings intact. The row at the top displays the filename of the loaded impulse response, as well as its bit depth, sample rate, and number of channels. Just like in the Mapping Editor and Wave Editor, hovering your mouse pointer over the filename will show the full path to the file.

Pre Dly.: Just like the Reverb module’s parameter of the same name, this control introduces a short amount of delay between the direct signal and the convolution output. This is useful when used with reverb responses to simulate the reverberation of big rooms, where a short delay occurs between the direct sound and the first reflections from distant walls.

Return (visible when used as a send effect): Adjusts the module’s return level.

Dry and Wet sliders (visible when used as an Instrument insert effect): Adjusts the respective levels of the original and processed signals. In common scenarios, the reverb signal is mixed in at a lower level than the direct signal.

Latency: Adjusts the module’s latency setting in five steps (1.5, 2.9, 5.8, 11.6, and 23.2 ms). If you hear crackles or other artifacts, you can try to increase this value, which will result in Kontakt’s overall latency being increased (and thus all signals being delayed). If you don’t want this, you can disable the latency compensation by activating the last entry in this menu. This way, the overall latency won’t be increased, but the wet signal of the Convolution processor will be delayed in relation to the dry signal (which actually can work just fine with reverbs).

S.Rate: Allows you to divide the sample rate in nine steps (1/1, 1/1.5, 1/2, 1/2.5, 1/3, 1/4, 1/6, 1/8, and Auto). If the Preserve Length button is not activated, changing the sample merely changes the playback speed of the impulse response, resulting in longer reverb trails and changed frequency characteristics. Activating Preserve Length will keep the reverb trail intact, but lower the sampling rate at which the convolution process takes place, thereby reducing the CPU usage along with the quality.

Reverse Button: Reverses the impulse response for special effects.

Auto Gain: If this button is active, the processor will keep the overall level constant when parameters are adjusted that would otherwise affect the level. If you turn this off, be sure to monitor at low levels as you make adjustments, as volume changes can be drastic — take care of your ears!

VolumeEnvelope: This feature allows you to change the volume characteristic of the impulse response to your needs. When activated, a graphically editable 8-segment envelope will be drawn on top of the waveform display in the impulse response window.

Early / Late: These mode buttons switch the 3 knobs below between affecting the early reflections and the trail part of the impulse response.

IR Size: Artificially compresses or stretches the impulse response in time.

HighPass: Adjusts the cutoff frequency below which the signal’s frequency content will be attenuated.

LowPass: Adjusts the cutoff frequency above which the signal’s frequency content will be attenuated.

Pre Delay: Introduces a short amount of delay before the reverb takes effect.

Decay: Adjusts the duration of the reverb effect.

Low Shelf: Attenuates or amplifies the low-frequency content of the reverb signal.

High Damp: Adjusts the damping of high-frequency content of the reverb signal.

Stereo: Controls the stereo image of the reverb effect. Higher values result in a wider stereo image.

Mode: Selects one of three different reverb algorithms, from rooms (Grounded), to halls (Airy), to abstract spaces (Cosmic).

Predelay: Adjusts the duration of the predelay, which is the time it takes for the reverb effect to set in. By increasing the predelay, you can add separation between the input signal and the reverb signal.

Feedback: Adjusts the level of the feedback signal from the output of the predelay to its input, effectively increasing the number of delay repetitions. Turning Feedback to the right creates echo effects that can be further processed using the selected reverb algorithm. When Feedback is set to 100%, you can achieve infinite delay repeats and therefore use the predelay as a looper. A built-in limiter controls the level when high feedback settings are used with loud input signals.

Low Shelf: Attenuates low-frequency content of the reverb effect and the predelay's feedback signal by applying a low-shelf filter in the range of 0 dB to -24 dB. Turning the control to the left decreases the attenuation. Turning the control to the right increases the attenuation. Turning the control fully to the left switches the filter off.

High Cut: Attenuates high-frequency content of the reverb effect and the predelay's feedback signal by applying a high-cut filter in the range of 90 kHz to 1 kHz. Turning the control to the left increases the attenuation. Turning the control to the right decreases the attenuation. Turning the control fully to the right switches the filter off.

Freeze: Holds the reverb's sound content for as long as the function is activated. The Freeze function is available for the Grounded and Airy algorithms. Switching is optimized for smooth transitions without clicks, and you can still use the Size control to manipulate the sound. This makes the Freeze function an excellent tool for live performance and automation.

Reverb: Adjusts the amount of reverb added to the effect signal.

Diffusion: Adjusts the texture of the reverb reflections. Turning the control to the right softens the early reflections and produces a smooth onset of the reverb.

Size: Adjusts the swell and reflection pattern of the reverb effect, creating the impression of differently sized spaces. Turning the control to the right changes the size from small to large.

Sparse: Switches between two basic density modes for the reflection pattern of the reverb effect, Sparse and Dense. When enabled, Sparse produces dispersed and clearly discernible reflections. When disabled, Dense produces a more uniform reverb tail.

Decay: Adjusts the length of the reverb, or reverb time. Turning the control to the right changes the reverb time from short to long.

Damping: Adjusts the tonal quality from bright to dark. Turning the control to the right attenuates the reverb's high-frequency content.

Mod: Adjusts the amount of movement added to the reverb sound by changing internal parameters of the reverb over time. Turning the control to the right changes the movement of the reverb from lush to strongly detuned sounds.

DRY/WET: These sliders adjust the amount of unprocessed (DRY) and processed (WET) signal that is send to the output.

Mode: Selects one of two reverb modes (Room and Hall). Room is suited to drum and percussive sounds. Hall has a spacious and natural character and is particularly suited to tonal sounds.

Pre Delay: Introduces a short amount of delay before the reverb takes effect.

Size: Adjusts the size of the room simulated by the reverb effect. Higher values replicate larger rooms.

Time: Adjusts the duration of the reverb effect.

Damping: Adjusts the amount of absorption in the room simulated by the reverb effect. Higher values result in more absorption.

Diffusion: Adjusts the density of the reflections in the room simulated by the reverb effect.

Modulation: Adjusts the amount of modulation applied to the reverb effect. Turned fully counter-clockwise, no modulation is applied.

Low Shelf: Attenuates or amplifies the low-frequency content of the reverb signal.

High Cut:: Cuts the high-frequency content of the reverb signal.

Stereo: Controls the stereo image of the reverb effect. Higher values result in a wider stereo image.

Pre Dly.: Introduces a short delay between the direct signal and the reverb trail build-up. This corresponds to the natural reverberation behavior of large rooms, where a short time elapses before the first reflection of a sound wave returns from a wall.

Size: Adjusts the size of the simulated room. This affects the duration of the reverb trail.

Colour: This control allows you to adjust the construction material of the simulated room and, consequently, the color of the reverb trail. Low values simulate softer surfaces like wood, while high values simulate the reflection behavior of hard surfaces like concrete.

Damping: Sets the amount of simulated absorption that takes place in rooms due to furnishings, people, or acoustic treatments affecting the reflection behavior.

Stereo: Higher values increase the stereo base width of the output signal. Lower values simulate a closer distance to the sound source.

Return (visible when used as a send effect): Adjusts the module’s return level.

Dry and Wet sliders (visible when used as an Instrument insert effect): Adjusts the respective levels of the original and processed signals. In common scenarios, the reverb signal is mixed in at a lower level than the direct signal.

Pseudo Stereo: When activated, the module uses a pseudo-stereo algorithm to create a stereo signal from a mono source. This feature should only be used with mono signals and tends to create mono-incompatible sounds, which can disappear from a mix when it’s being played back in mono.

Spread: Reduces or expands the signal’s stereo base. Turning the knob far left, will sum the stereo signals to mono. Turning the knob right to produce positive values will result in an artificial widening of stereo sources.

Pan: This control allows you to place your signal within the stereo field. It works exactly like the Pan control of the Amplifier module.

Output: Adjusts the module’s output level.

Spread: Adjusts the stereo width from mono to full stereo.

Drift: Adjusts stereo detuning of the input signal. The left and right stereo channels are tuned at different frequencies to create a wide stereo image.

Split: Adjusts the crossover frequency of the effect. Frequency content below this frequency remains unaltered.

Mix: Blends between the input signal and the effect signal. When the knob is turned fully left, only the dry input signal is heard.

Output: Adjusts the module’s output level.

Gain: The amplification or attenuation factor that will be applied to the signal in dB.

PhaseInvert: Inverts the signal phase polarity.

Pan L <> R: Swaps the stereo channels.

Levels: On the left side of the Send Levels module, you’ll see a level control for each send effect that’s currently in one of your Instrument Send Effects slots — if you didn’t add any send effects yet, the panel will be empty. The knobs allow you to adjust the level at which the signal will be sent to the respective effect.

Level meters: These LED-style peak meters provide visual feedback on the send levels.