Version 1.4.0 • Morphulus
Spectrus is available for Windows, macOS, and Linux in multiple plugin formats.
1. Extract Spectrus-1.4.0-Windows.zip.
2. Run Spectrus-1.4.0-Windows.exe and follow the installer.
3. The following plugins will be installed:
VST3 → C:\Program Files\Common Files\VST3\
CLAP → C:\Program Files\Common Files\CLAP\
4. Open your DAW and rescan plugins if necessary.
5. Insert Spectrus on a track or bus.
1. Open Spectrus-1.4.0-macOS.pkg and follow the installer.
2. The following plugins will be installed:
AU → /Library/Audio/Plug-Ins/Components/
VST3 → /Library/Audio/Plug-Ins/VST3/
CLAP → /Library/Audio/Plug-Ins/CLAP/
3. Open your DAW and rescan plugins if needed. Logic will validate on next launch; in Reaper, go to Options → Preferences → VST → Re-scan; in Ableton, go to Preferences → Plug-Ins → Rescan.
4. Insert Spectrus on a track or bus.
1. Extract Spectrus-1.4.0-Linux.tar.gz.
2. Open a terminal in the Spectrus-1.4.0-Linux folder and run:
chmod +x install.sh && ./install.sh
3. The following plugins will be installed:
VST3 → ~/.vst3/
LV2 → ~/.lv2/
CLAP → ~/.clap/
4. Open your DAW and rescan plugins if needed. In Reaper, go to Options → Preferences → VST → Re-scan; in Bitwig, go to Settings → Locations → Rescan; Ardour will scan on next launch.
5. Insert Spectrus on a track or bus.
| Requirement | Minimum |
|---|---|
| Operating System | Windows 10+, macOS 11+ (Intel & Apple Silicon), Ubuntu 22.04+ / Linux x86_64 |
| Processor | Intel Core i5 or equivalent |
| RAM | 4 GB |
| Plugin Formats | VST3 · AU (macOS) · LV2 (Linux) · CLAP (all platforms) |
Spectrus has a clean, modular layout organized around its 4-slot architecture.
From top to bottom, the interface consists of:
Preset Navigator (top left) — Shows the current preset name. Click to browse presets, or use the left/right arrow buttons to step through them. The shuffle button (crossed arrows) is Random Mix, which loads random presets into every unlocked slot (see Random Mix). An asterisk (*) appears when you've made changes to the current preset.
Spectrus Logo (top right) — Right-click to access the About dialog, website link, license activation, license management, support link, Theme, Shape, and UI Scale submenus, and update preferences. The UI Scale submenu (75% / 100% / 125% / 150% / 175% / 200%) sizes the entire editor uniformly; pick a tier and then drag the editor corner as usual. Scale is per-user (persisted in Documents/Spectrus/settings.xml alongside Theme and Shape), not per-project. The Shape submenu restyles the frames around control groups; its new None option removes them entirely for a flatter look. If you have a Pro license, the menu shows your licensed email address.
Signal Flow Diagram — A visual representation of the signal chain showing all 4 slots plus the output. Each slot box carries two level meters: a routed-input level along the top edge (amber) and the slot's output level along the bottom edge (cyan), so you can see signal moving through the rack at a glance. Click a slot in the diagram to expand it; click Out to expand the Master strip full-width the same way. A thin hairline in the gap between slot 4 and Master is draggable to widen Master at the slots' expense or vice versa; double-click resets to the symmetric default. Width is persisted per-user and clamped to 15–50%.
Demo / Free Toggle — If you haven't activated a Pro license, an amber DEMO or green FREE button appears in the routing row. Click it to switch between Demo mode and Free mode. See Demo & Free Mode for details. This button is hidden once a Pro license is activated.
Routing Selectors — Below the signal flow diagram, each slot has a dropdown to choose its input source: Main Input, or the output of any previous slot.
Slot Panels — One panel per slot, sharing the available width evenly by default. In the default collapsed view, each panel shows its header from left to right: the ⊕ button to add an effect, mute/solo buttons, expand button, slot lock button, bypass/power button, and a compact parameter view. Click the expand button (or click the slot in the signal flow diagram) to expand a slot to full width for detailed editing. An empty slot also shows a small ? button that opens a built-in Quick Start overlay — a short walkthrough of the slot, preset, and lock workflow, right inside the plugin. Press Esc or the X to close it; it disappears on its own once the slot holds an effect.
Collapsing Slots — Any slot's whole column can collapse to a thin vertical strip, freeing width for the slots you're working on. Click the chevron on a slot's edge to collapse its column; click the strip to bring it back. Each strip keeps its position and its effect's accent colour, so you always know what's where, and loading an effect into a collapsed slot leaves it collapsed. Collapse all four for a compact rack overview.
Master Panel — Always visible on the right. Contains the master dry/wet levels, Low Cut/High Cut, Air/Body, and Input Attack controls.
Status Bar (bottom) — Displays tooltips and descriptions when hovering over controls. The version number appears in the bottom right.
Each slot panel header contains:
| Control | Function |
|---|---|
| Effect Selector | Click the ⊕ to open a categorized menu of available effects (Modulation, Delay, Reverb, Texture, Utility). |
| Power Button | Bypasses the slot. When powered off, the slot is silenced and does not contribute to the output. Powering back on restores the previous effect. |
| Expand Button | Expands the slot to full width for detailed parameter editing. Other slots are hidden while expanded. |
| Mute (M) | Silences the slot's output. |
| Solo (S) | Solos the slot: only this slot's output is heard. Multiple slots can be soloed. |
| Lock | Locks the slot's settings so they are preserved when loading presets. Useful for auditioning presets while keeping an effect you like in one slot. |
| Collapse Chevron | Collapses the slot's whole column to a thin vertical strip to free up width for the other slots. Click the strip to expand it again; collapse all four for a compact rack overview. |
By default, all four slots receive the main input independently (parallel), and their outputs are mixed together at the output stage. Use the slot input routing to chain slots in series or create hybrid configurations.
Each slot (except Slot 1, which always receives the main input) can choose its input source via the routing dropdown. Options include the main input or the output of any previous slot. This lets you create flexible effect chains. For example, you could route Slots 2 and 3 both from the main input to create two parallel effect paths.
Each slot has an independent output level control. When a slot is expanded, a labelled SLOT n — TONE & DUCK band separates the module's own controls from the shared per-slot shaping stage below it, applied after the module and before the slot enters the mix:
Some modules also expose a Stereo In knob at the top of the panel, controlling how the slot's input is distributed (mono sum at 0%, full stereo at 100%) before the module sees it. The dry passthrough always preserves source stereo regardless of this setting.
Mixing happens at two levels in Spectrus:
Per-effect: Most effects have Wet Level and Dry Level controls that determine the blend of processed and original signal within that effect.
Master: The Master panel's Dry Level and Wet Level control the final balance between the unprocessed input and the combined processed output of all slots.
Like each slot, the Master strip carries a labelled TONE & DUCK band that separates the master Dry/Wet levels above it from the shared tone (Low Cut, High Cut, Air, Body) and the Duck cluster below.
| Control | Description |
|---|---|
| Dry Level | Level of the original unprocessed signal in the final output. Defaults to 0 as of 1.3.0 so a fresh instance starts wet-only; reach for it intentionally if you need dry passthrough at the master stage. Existing projects continue to recall whatever value they were saved with. |
| Wet Level | Level of the combined processed signal from all slots. |
| Input Attack | Shapes the transient response of the input signal feeding into the effects. |
| Air | Adds subtle high-frequency excitation and harmonic richness to the wet signal. |
| Body | Adds low-end body and warmth to the wet signal. |
| Low Cut | High-pass filter applied to the combined wet signal before the final mix. Removes low-end rumble and mud. Range: 10 Hz – 1500 Hz. |
| High Cut | Low-pass filter applied to the combined wet signal before the final mix. Tames harshness and rolls off high-frequency content. Range: 100 Hz – 20 kHz. |
| Ducker | Frequency-selective ducker with a parallel broadband path on the wet bus. See The Ducker below for the full control list. |
| Master Limiter PRO | A brickwall limiter on the final output as a safety catch and loudness stage. Off by default and fully transparent until enabled. See The Master Limiter below. |
Every slot's Out cluster and the Master strip carry a Ducker: a frequency-selective dynamics processor with a parallel broadband path, both driven by a shared envelope. Use it to carve out a band (or wideband) of the wet signal on transients in a chosen trigger source — for example, dipping a reverb tail under the vocal track, or scooping the upper midrange of a delay every time the snare hits.
| Control | Range | Description |
|---|---|---|
| Mode | Level / Transient | Selects the ducker architecture. Level (default) is a classic level-tracking sidechain compressor. Transient fires a fixed Attack-Hold-Release shape on each new transient, running on its own clock once fired. See Mode (Level vs Transient) below. |
| Spectral | 0 – 100% | Spectral ducking amount. Cuts the band set by Freq and Q. |
| Freq | 20 Hz – 20 kHz | Center frequency of the ducked band. |
| Q | 0.3 – 10 | Band width. Lower values are broad and musical; higher values are surgical notches. |
| Amount | 0 – 100% | Parallel wideband gain reduction on the same envelope as the spectral side. Acts as a classic broadband ducker on its own; combine with the spectral side for hybrid behavior. |
| Attack | 0.1 – 100 ms | Level mode: envelope follower attack time — how quickly the gain reduction engages when the trigger exceeds Threshold. Transient mode: one-shot ramp length from current gain down to ducked level on each fire. |
| Hold | 0 – 1000 ms | Transient mode only: time at ducked level between Attack and Release. 0 = release starts immediately after Attack. No effect in Level mode. |
| Release | 10 – 2000 ms | Level mode: envelope follower release time — how quickly the gain reduction recovers after the trigger falls below Threshold. Transient mode: one-shot ramp length from ducked level back up to unity after the Hold phase ends. |
| Threshold | −60 – 0 dB | Level mode: gate the trigger must exceed before any reduction engages — the Knee control (below) sets how steeply reduction ramps in above it. Transient mode: rising-edge detector level — the trigger must cross this for a fire to occur (much more sensitive than Level mode; try a hotter Threshold setting). |
| Knee | 0 – 48 dB | Level mode only. Width of the engagement knee — how far above Threshold the trigger has to climb before the duck reaches full Range. Low values give a snappy, hard knee (reduction slams in just above Threshold); high values give a soft, program-dependent knee that eases in gradually. 0 = hard knee. No effect in Transient mode, which gates hard. |
| Range | −60 – −3 dB | Maximum reduction depth at full envelope engagement. |
| Stereo Link | On/Off | On: one envelope shared across L/R. Off: per-channel envelopes. |
| Lookahead | 0 – 10 ms | Master only. Delays the audio so transients duck the moment they hit the output instead of slightly after. The first time Lookahead is engaged in a session the plugin pins its reported latency at the 10 ms maximum and keeps it constant from then on, so the host's plugin-delay compensation doesn't move when you change the knob. A fresh project with Lookahead at 0 reports no latency. Per-slot Duckers have no Lookahead control — adding it per slot would compound latency through the slot chain. |
| Duck Trig (Trigger Source) | Per scope | Picker for what feeds the envelope detector. See below. |
Mode (Level vs Transient). The Ducker offers two architectures, selectable per-Ducker via the L/T glyph at the head of the cluster. Both share the same underlying engine and apply reduction through the same broadband + spectral paths; the difference is how engagement is triggered.
Trigger Source (Duck Trig). Each Ducker has its own Trigger Source picker, rendered as a rotary-with-center-glyph control. Hover any glyph for a two-line tooltip: current selection on top, full legend of every choice on the current scope below.
R Routed In (slot's audio input — default, preserves pre-1.3.0 behavior), S Self (slot's own wet output — useful for a reverb tail taming its own peaks), M Main Input, plus numbered glyphs for any earlier slot's wet output. Later slots get more upstream choices; no slot can key off a later slot.M Main Input (default), S Self (pre-FinalMixer wet bus), plus 1 / 2 / 3 / 4 for any individual slot's wet output.Duck target = wet only. The ducker attenuates within the band (and broadband, if enabled) on the wet output; dry passthrough is unaffected. Matches the convention in ducking delays and reverbs.
Passthrough at zero. With Spectral and Amount both at zero, the Ducker is fully bypassed, so existing presets sound exactly as they did before 1.3.0.
Gain-reduction meters. A small meter sits beside the Amount and Spectral knobs on every Ducker — all four slots and the Master — showing how much the ducker is pulling down in real time. Watch them to confirm the ducker is engaging on your trigger, and to dial Threshold, Range, and Knee by eye as well as by ear.
M (Main Input), Amount around 60–80%, Range around −12 dB, Attack 5 ms, Release 200 ms. Sing on top of it; the reverb tail tucks under your vocal and breathes back in between phrases.
S (Self) and use the spectral side (Spectral + Freq + Q). The reverb's own peaks duck a chosen band, smoothing build-up without affecting the dry signal.
T (Transient) and Trigger Source to S (Self). Each chord change fires a fresh duck-and-recover cycle on the reverb tail and recovers cleanly during the held portion. In Level mode the same patch would stay pinned ducked for as long as you held the chord — that's the limit Transient mode is built to address.
A terminal brickwall limiter on the master output, sitting after the Dry/Wet blend and the Master Ducker as the very last stage in the signal path. It catches the true summed peak of everything leaving the plugin and guarantees the output never crosses your chosen ceiling — a safety net against clipping when you stack loud effects, and a simple loudness stage when you want one. It is off by default and fully transparent until you switch it on.
| Control | Range | Description |
|---|---|---|
| Enable | On / Off | Master switch. Off by default. While off, the limiter is fully bypassed and adds no latency. This control is not automatable — toggling it changes the plugin's reported latency, and automating that would make some hosts restart the plugin. |
| Drive | −12 – +18 dB | Gain into the limiter. Push harder for more limiting and a louder, denser output; pull back to catch only the loudest peaks. |
| Ceiling | −6 – 0 dBFS | The hard maximum the output will never exceed. Set around −0.3 to −1 dBFS to leave headroom for lossy encoders (MP3/AAC) that can overshoot on decode. |
| Release | 10 – 500 ms | How quickly the limiter recovers after catching a peak. Faster is louder and more aggressive; slower is cleaner and more transparent. |
| True Peak | True Peak / Sample | True Peak (default) catches inter-sample peaks — the overshoots that appear between samples on playback — so your ceiling still holds after MP3/AAC encoding or D/A conversion. Sample is a lighter read on the raw sample values. |
| Style | Clean / Glue / Push | Limiter character. Clean is transparent. Glue uses a longer, program-dependent release for a gentler, more cohesive grab. Push adds a touch of harmonic saturation before limiting for warmth and density. See below. |
| Character | 0 – 100% | Depth of the selected Style. At 0% every Style is identically transparent; raise it to bring in Glue's release stretch or Push's saturation. |
Style (Clean / Glue / Push). Clean is a straight, transparent brickwall. Glue stretches the release in a program-dependent way for a smoother, "glued" master-bus feel. Push runs the signal through a gentle saturation stage before limiting, adding harmonic weight. Character sets how far the Glue or Push flavour is taken.
Metering. A full-width meter under the Master strip shows the output riding against the ceiling, with the amount the limiter is pulling those peaks down shown alongside, so you can see at a glance how hard it is working.
Latency. The limiter uses a short 1.5 ms lookahead to catch peaks cleanly — that small delay is reported to the host as plugin latency only while the limiter is enabled. A disabled limiter adds exactly zero latency, and turning it off leaves your sound untouched: existing presets and projects play back exactly as before.
You can drag slot panels to reorder them. Dragging one slot onto another swaps their contents (effect selection and all parameter values).
Right-click a slot panel to copy its configuration. Then right-click another slot and paste to duplicate the effect and settings.
Spectrus ships with 24 effects across five categories: Modulation, Delay, Reverb, Texture, and Utility. The 7 Free effects are available to all users. The 17 Pro effects (marked below) require a Pro license. The Texture category groups the granular and glitch sound-design effects — Mirage, Cloud Reverb, and Stutterus.
A versatile chorus effect that doubles and detunes the signal using a modulated delay line. Produces anything from subtle thickening to lush, wide textures.
| Parameter | Range | Description |
|---|---|---|
| Rate | 0.05 – 5 Hz | Speed of the LFO modulation. Slower rates produce a gentle swaying motion; faster rates create a vibrato-like effect. |
| Depth | 0 – 100% | How far the delay time is modulated. Higher values produce a more pronounced pitch variation. |
| Mod Type | Sine, Triangle, Square, Sawtooth, Random, MultiWave | Shape of the modulation waveform. Sine is smooth and classic; Random adds unpredictability. |
| Feedback | 0 – 95% | Feeds the output back into the delay for a richer, more resonant chorus tone. |
| BBD Filter | On/Off | Enables vintage Bucket Brigade Device filtering (150 Hz high-pass input, 8 kHz low-pass output) for a retro character. |
| Sync | On/Off | Locks the modulation rate to your DAW's tempo. |
| Sync Division | 8/1 – 1/16D | Note value for the modulation rate when Sync is enabled. |
| Wet Level | 0 – 100% | Level of the chorused signal. |
| Dry Level | 0 – 100% | Level of the original signal blended with the chorus. |
Emulates the classic Roland CE-1 Chorus Ensemble with authentic BBD-style analog tone. Features both Chorus and Vibrato modes with smooth, organic modulation and a warm preamp stage.
| Parameter | Range | Description |
|---|---|---|
| Rate | 0.05 – 5 Hz | Modulation speed. Slower rates produce lush, gentle movement. |
| Depth | 0 – 100% | Width of the delay time modulation sweep. |
| Mode | Chorus, Vibrato | Chorus blends wet and dry signals for thickening. Vibrato modulates pitch only with no dry signal (pure pitch wobble). |
| Preamp | 0 – 100% | Subtle input saturation that adds warmth, emulating the original CE-1 preamp stage. |
| Intensity | 0 – 100% | Controls how much of the modulation range is applied. Adjusts the actual pitch swing magnitude. |
| Sync / Division | — | Locks the modulation rate to your DAW's tempo at the selected note value. |
| Wet / Dry Level | 0 – 100% | Blend of chorused and original signal. |
A classic flanging effect created by mixing the signal with a short, modulated delay. Produces sweeping comb-filter effects from subtle jet-plane swooshes to metallic resonances.
| Parameter | Range | Description |
|---|---|---|
| Rate | 0.01 – 10 Hz | Speed of the LFO sweep. |
| Depth | 0 – 100% | Width of the delay time modulation. |
| Feedback | −95% – +95% | Amount of output fed back into the delay. Negative values invert the phase, producing a different tonal character with deeper notches. |
| Delay Time | 0.1 – 10 ms | Base delay time. Shorter values produce a tighter, more metallic sound; longer values approach chorus territory. |
| Manual | 0 – 100% | Static offset added to the delay time, shifting the frequency of the comb filter notches. |
| Stereo Width | 0 – 100% | LFO phase offset between left and right channels for stereo spread. |
| Mod Type | Sine, Triangle, Square, Sawtooth, Random | LFO waveform shape. |
| Sync / Division | — | Locks the LFO rate to your DAW's tempo at the selected note value. |
| Wet / Dry Level | 0 – 100% | Blend of flanged and original signal. |
A phase-shifting effect using a chain of all-pass filters. Creates sweeping notches in the frequency spectrum for that classic swirling sound.
| Parameter | Range | Description |
|---|---|---|
| Rate | 0.01 – 10 Hz | Speed of the phase sweep. |
| Depth | 0 – 100% | Width of the frequency sweep range. |
| Feedback | 0 – 95% | Resonance at the notch frequencies. Higher values produce a sharper, more pronounced effect. |
| Stages | 1 – 12 | Number of all-pass filter stages. More stages create more notches in the spectrum. 4 stages is classic; 8–12 produces a denser, richer phasing. |
| Center Freq | 100 – 5000 Hz | Center frequency of the sweep range. Shift this to focus the phasing on different parts of the spectrum. |
| Stereo Width | 0 – 100% | LFO phase offset between channels. |
| Mod Type | Sine, Triangle, Square, Sawtooth, Random | LFO waveform shape. |
| Sync / Division | — | Tempo-synced modulation rate. |
| Wet / Dry Level | 0 – 100% | Blend of phased and original signal. |
Rhythmic volume modulation that creates pulsing, stuttering, or gently breathing dynamics. A fundamental effect that works beautifully on guitars, pads, and keyboards.
| Parameter | Range | Description |
|---|---|---|
| Rate | 0.1 – 20 Hz | Speed of the volume modulation. |
| Depth | 0 – 100% | How much the volume varies. 100% goes from full volume to silence. |
| Mod Type | Sine, Triangle, Square, Sawtooth, Random, MultiWave | Shape of the volume envelope. Square produces a hard chop; Sine is smooth and classic. |
| Stereo Mode | Mono, Stereo, Ping-Pong | Mono modulates both channels together. Stereo offsets the LFO between L/R. Ping-Pong alternates between channels. |
| Shape | −100% – +100% | Warps the modulation waveform. Negative values sharpen the peaks; positive values flatten them. |
| Sync / Division | — | Locks the tremolo rate to your DAW's tempo. |
| Wet / Dry Level | 0 – 100% | Blend of modulated and original signal. |
Multiplies the input signal with a carrier oscillator to produce metallic, bell-like, and robotic tones. Generates sum and difference frequencies for anything from subtle shimmer to extreme inharmonic textures.
| Parameter | Range | Description |
|---|---|---|
| Frequency | 20 – 2000 Hz | Carrier oscillator frequency. Low values produce bell-like resonance; mid-range creates robotic textures; high values are metallic and harsh. |
| Depth | 0 – 100% | Ring modulation intensity. |
| Fine Tune | −100 – +100 cents | Precise carrier pitch adjustment for fine-tuning the modulation frequency. |
| Wave Type | Pure, Soft, Harsh, Rasp | Carrier waveform. Pure (sine) is clean; Soft (triangle) is smooth; Harsh (square) is aggressive; Rasp (sawtooth) is gritty. |
| LFO Rate | 0 – 10 Hz | Modulation rate for the carrier frequency. Set to 0 for a static carrier tone. |
| LFO Depth | 0 – 100% | Amount of LFO modulation applied to the carrier frequency. |
| LFO Wave | Sine, Triangle, Random | LFO waveform. Random produces sample-and-hold-style frequency jumps. |
| Stereo Spread | 0 – 100% | Detunes the left and right carrier oscillators for stereo width. |
| Low Cut | 20 – 500 Hz | Removes sub-bass rumble from difference frequencies. |
| Sync / Division | — | Locks the LFO rate to your DAW's tempo. |
| Wet / Dry Level | 0 – 100% | Blend of modulated and original signal. |
Simulates the iconic Leslie rotating speaker cabinet with dual rotors spinning at different speeds. Captures authentic Doppler pitch modulation, amplitude modulation, and cabinet resonance in both Chorale (slow) and Tremolo (fast) modes.
| Parameter | Range | Description |
|---|---|---|
| Speed Mode | Stopped, Slow, Fast | Rotor state. Stopped halts rotation. Slow is Chorale mode (~0.8 Hz horn). Fast is Tremolo mode (~6 Hz horn). |
| Acceleration | 0 – 100% | Rotor spin-up/spin-down time. Higher values produce a more realistic momentum effect when switching speeds. |
| Crossover Frequency | 200 – 2000 Hz | Frequency split between the bass drum and treble horn rotors. 800 Hz is the classic Leslie 122 setting. |
| Horn Depth | 0 – 100% | Treble rotor modulation intensity. Controls the shimmer and swirl of the high frequencies. |
| Bass Depth | 0 – 100% | Bass rotor modulation intensity. Adds warmth and low-end movement. |
| Stereo Width | 0 – 100% | Phase offset between left and right rotors. 100% gives the classic Leslie stereo spread. |
| Mic Distance | 0 – 100% | Simulates microphone distance, affecting Doppler pitch wobble intensity. |
| Cabinet Resonance | 0 – 100% | Multi-band cabinet coloration that adds woody warmth and Leslie character. |
| Wet / Dry Level | 0 – 100% | Blend of rotary and original signal. |
Generates stepped random control signals at a variable rate, modulating filter frequency, panning, amplitude, and distortion to create glitchy, stuttering, or stochastic textures. Features glide options for smoothing hard steps into musical transitions.
| Parameter | Range | Description |
|---|---|---|
| Rate | 0.1 – 20 Hz | Sample-and-hold trigger rate. Higher values produce faster, more frantic modulation. |
| Jitter | 0 – 100% | Random variation applied to each trigger time. Creates organic, less metronomic timing. |
| Probability | 0 – 100% | Likelihood of triggering a new sample each cycle. Lower values produce sparser modulation. |
| Filter Depth | 0 – 100% | Amount of S&H modulation applied to filter frequency. |
| Pan Depth | 0 – 100% | Amount of S&H modulation applied to left/right panning. |
| Amplitude Depth | 0 – 100% | Amount of S&H modulation applied to signal level, creating gating and ducking effects. |
| Distortion Depth | 0 – 100% | Amount of S&H modulation applied to a drive parameter. |
| Glide Mode | Off, Glide, Portamento | Off produces instant steps. Glide smooths transitions as a percentage of the cycle. Portamento uses a fixed time in milliseconds. |
| Glide Amount | 0 – 100 | Transition time: percentage of cycle (Glide) or milliseconds (Portamento). |
| Sync / Division | — | Locks the S&H rate to your DAW's tempo. |
| Wet / Dry Level | 0 – 100% | Blend of modulated and original signal. |
A full-featured stereo delay with filtering, cross-feedback, and ping-pong mode. From clean digital repeats to warm, filtered echoes.
| Parameter | Range | Description |
|---|---|---|
| Time | 1 ms – 2 s | Delay time. At 120 BPM, a quarter note is 500 ms. |
| Feedback | 0 – 99% | Amount of the delayed signal fed back for additional repeats. Higher values produce longer echo trails. |
| Cross Feedback | 0 – 99% | Feeds the left channel's delay into the right and vice versa, creating complex stereo patterns. |
| Stereo Width | 0 – 100% | Pan spread of the echo. 0% is mono; 100% is full stereo. |
| Time Offset | −50% – +50% | Offsets the right channel's delay time relative to the left. Creates polyrhythmic echo patterns. |
| Low Cut | 20 – 1000 Hz | High-pass filter on the echo repeats. Cleans up muddy low-end buildup. |
| High Cut | 100 Hz – 20 kHz | Low-pass filter on the echo repeats. Lower values produce a warm, analog-style darkening of each repeat. |
| Ping Pong | On/Off | Bounces the echoes between left and right channels. |
| Sync / Division | — | Locks the delay time to your DAW's tempo at the selected note value. |
| Wet / Dry Level | 0 – 100% | Blend of delayed and original signal. |
A vintage-inspired tape echo emulating classic units like the Roland Space Echo and Maestro Echoplex. Features wow and flutter modulation, tape saturation, multi-head playback, and progressive high-frequency degradation for authentic analog character.
| Parameter | Range | Description |
|---|---|---|
| Delay Time | 10 ms – 1.5 s | Primary playback head delay time. |
| Motor | 50 ms – 2 s | How quickly the tape transport slews to a new delay time when you move Delay Time or change the sync division. Short values snap to the new time; longer values give a slow, audible repitch sweep as the tape changes speed. |
| Feedback | 0 – 105% | Amount fed back for repeats. Values above 100% allow runaway oscillation for creative effects. |
| Wow Depth / Rate | 0 – 100% / 0.1 – 2 Hz | Slow pitch drift modulation characteristic of worn tape transport mechanisms. |
| Flutter Depth / Rate | 0 – 100% / 3 – 12 Hz | Fast, subtle pitch variation from tape-head irregularities. |
| Saturation | 0 – 100% | Tape warmth and harmonic coloration on the delay signal. |
| Age | 0 – 100% | Macro control affecting saturation and overall degradation. Higher values sound more worn and vintage. |
| Degradation | 0 – 100% | High-frequency loss applied to each repeat cycle, simulating tape wear. Creates natural darkening over successive echoes. |
| High Cut | 1 kHz – 15 kHz | Low-pass filter on the delay path. |
| Low Cut | 20 – 500 Hz | High-pass filter on the delay path. Removes rumble from repeats. |
| Head Bump | 0 – 100% | Low-mid emphasis around 100 Hz, emulating the mechanical resonance of a tape playback head. |
| Stereo Width | 0 – 200% | Stereo spread of the echoes. 0% is mono; 100% is natural; 200% is exaggerated wide. |
| Head Mode | Single, Dual, Triple | Number of playback heads. Dual and Triple create polyrhythmic echo patterns. |
| Head 2/3 Offset | 0.25x – 2x | Time multiplier for additional playback heads relative to the primary delay time. |
| Head 2/3 Level | 0 – 100% | Output level of each additional playback head. |
| Sync / Division | — | Locks the delay time to your DAW's tempo. |
| Wet / Dry Level | 0 – 100% | Blend of delayed and original signal. |
A filterbank-based delay that splits the signal into multiple frequency bands, each with its own independent delay time. Creates complex temporal-spectral effects where different parts of the frequency spectrum echo at different rates.
| Parameter | Range | Description |
|---|---|---|
| Band Count | 4 / 8 / 12 / 16 | Number of parallel frequency bands. More bands provide finer spectral control at higher CPU cost. |
| Base Delay | 1 ms – 2 s | Base delay time for the primary frequency band. |
| Delay Spread | −100% – +100% | How delay time varies across the spectrum. Positive values delay higher frequencies more (spacious shimmer). Negative values delay lower frequencies more. |
| Spread Curve | Linear, Logarithmic, Exponential | Shape of the delay time distribution across bands. |
| Feedback | 0 – 150% | Global feedback. Values above 100% allow self-oscillation for infinite sustain effects. |
| Stereo Spread | −100% – +100% | Independent delay offset between left and right channels for stereo width. |
| Low Cut | 20 Hz – 1 kHz | High-pass filter in the feedback path. Prevents muddy low-end buildup. |
| High Cut | 1 kHz – 20 kHz | Low-pass filter in the feedback path. Darkens repeats for natural decay. |
| Mod Rate | 0.01 – 10 Hz | LFO rate for modulating the delay spread pattern. |
| Mod Depth | 0 – 100% | Amount of LFO modulation on the spread. Creates evolving, shifting spectral textures. |
| Sync / Division | — | Locks the base delay time to your DAW's tempo. |
| Wet / Dry Level | 0 – 100% | Blend of spectrally delayed and original signal. |
A tempo-synced glitch / slice repeater. Captures live input at every division boundary and loops the slice for the duration of that division, optionally layered with a captured or loaded sample for dual-source mangling. Per-slice randomization (reverse, pitch jitter, timing jitter, hold shape) plus a tape Stop/Start machine and tape Wobble for rate-ramp variations on top of the stutter.
| Parameter | Range | Description |
|---|---|---|
| Division | 8/1 – 1/16D | Tempo-synced stutter rate. 17 steps from 8 bars down to 1/16 dotted, including triplets (1/3, 1/6, 1/12, 1/24) and dotted notes (1/2D, 1/4D, 1/8D, 1/16D). |
| Probability | 0 – 100% | Per-trigger chance of firing a slice. Below 100% leaves dry-only gaps in the rhythm. |
| Slice Length | 10 – 100% | Captured slice as a percentage of the division. Auto-loops to fill the division window. |
| Hold | 0 – 100% | Per-slice envelope shape. 0% = pluck (long decay tail). 100% = sustained / gate-like (held flat with a brief release). |
| Env Mode | Standard, Reverse-Swell | Envelope-to-direction binding. Standard plays a forward envelope regardless of playback direction. Reverse-Swell flips the envelope on reverse slices for a tape-reverse swell. Only audible when Reverse > 0. |
| Reverse | 0 – 100% | Probability per slice of reverse playback. |
| Pitch | 0 – 12 st | Random +/- semitone range rolled per trigger. |
| Jitter | 0 – 100% | Randomizes slice length and trigger micro-timing. Behavior depends on Jitter Mode. |
| Jitter Mode | Drift, Sync, Burst | Drift = jitter affects both trigger timing and slice length (off-grid feel). Sync = triggers stay on-grid; only slice length jitters. Burst = each trigger rolls a (1/4x, 1/2x, 2x, 4x) multiplier on the division — fast picks give pitched/robot character, slow ones give rhythmic variation; Jitter then sets the chance per trigger of rolling a non-1x multiplier. |
| Crush | 0 – 100% | Bit reduction + sample-rate decimation. Adds lo-fi grit to the sliced output. |
| Stereo In | 0 – 100% | Stereo input distribution into the live capture buffer. 0% = mono sum, 100% = full stereo. The dry passthrough always preserves source stereo. |
| Sample Mix | 0 – 100% | Equal-power crossfade between the live stutter layer and a loaded sample layer. 0% = live only, 100% = sample only. Has no effect when no sample is loaded. |
| Sample Spread | 0 – 100% | Per-slice stereo treatment on the sample layer. With a mono sample, applies a random L/R pan per trigger. With a stereo sample, rotates the stereo image randomly per trigger. |
| Drift | 0 – 100% | Slow LFO detune on the sample layer only (+/-15 cents at maximum). Sampled once at trigger time so intra-slice pitch stays steady. The live layer is unaffected. |
| Drift Shape | Sine, Triangle, Random, Saw | Drift LFO waveform. Sine is a smooth wobble; Triangle is classic wow / flutter; Random is stepped sample-and-hold; Saw is a glitchy steady-rise. |
| Tape Mode | Stop/Start, Wobble | Stop/Start = full rate ramp owning N divisions (uses Balance and Speed x division). Wobble = single asymmetric dip-and-return inside one division (Balance disabled, Speed sets dip width). Wobble stays rhythmically locked to the grid. |
| Tape % | 0 – 100% | Probability that any given trigger fires a tape ramp instead of a normal stutter slice. 0% = pure stutter, 100% = tape only. |
| Tape Balance | −100 – +100 | Stop vs Start balance (Stop/Start mode only). -100 = always tape start, 0 = 50/50, +100 = always tape stop. Disabled in Wobble mode. |
| Tape Speed | 1x, 2x, 4x | In Stop/Start mode, ramp duration as a multiple of the current division (1x = one division, 4x = four divisions of slow ramp). In Wobble mode, dip width: 1x is about 70% of the division, 4x about 17% (vibrato territory). |
| Tape Depth | 0 – 100% | How far the tape ramp deflects from unity rate. 0% = no ramp (no audible effect). 100% = Start begins around 3.5 octaves down; Stop ramps fully to silence. Curve is exponential -- fast initial change, gradual coast to the floor. |
| Wet / Dry Level | 0 – 100% | Independent levels for the stutter output and original signal. |
The waveform display hosts the sample layer. Drop a WAV/AIFF file onto the display to load it (max 5 minutes; auto-resampled to your session rate). Or click Capture Live to copy the most recent ~4 seconds of incoming audio into the sample buffer. Drag the markers on the waveform to trim a scrub region — only the trimmed range is used for slicing. Right-click the waveform for additional options including Save capture as WAV… to convert a captured sample into a path-referenced one that round-trips across save/load.
Inspired by the classic EMT 140 plate reverb, this effect simulates the sound of audio vibrating through a large metal plate. Known for its smooth, dense reverb tail that works especially well on vocals, snare drums, and guitars.
| Parameter | Range | Description |
|---|---|---|
| Size | 0 – 100% | Simulated plate dimensions. Larger values produce a bigger, more spacious reverb. |
| Decay | 0 – 100% | Length of the reverb tail. |
| Pre-Delay | 0 – 150 ms | Time before the reverb onset. Adds separation between the dry signal and the reverb, improving clarity. |
| Diffusion | 0 – 100% | Density of the reverb texture. Higher values produce a smoother, more blended tail. Lower values let individual reflections through. |
| Brightness | 0 – 100% | Tonal character of the plate. Lower values produce the classic warm, dark EMT 140 sound. Higher values open up the highs for a brighter plate. |
| Character | Classic, Modern, Hybrid | Diffusion algorithm style. Classic is dense and immediate; Modern is open and spacious; Hybrid blends both qualities. |
| Mod Rate | 0.1 – 5 Hz | Internal modulation rate that adds subtle movement to the reverb tail. |
| Mod Depth | 0 – 100% | Amount of internal modulation. Adds life and prevents the reverb from sounding static. |
| Mod Type | None, Sine, Triangle, Square, Sawtooth, Random | Modulation waveform applied to the reverb tail. Defaults to None (no modulation), so existing Plate presets are unaffected — pick a waveform to bring Mod Rate and Mod Depth to life. Sine and Triangle give smooth chorusing; Square and Sawtooth add stepped movement; Random is a sample-and-hold wander. Depth is scaled per delay line, so the tail moves musically instead of warbling. |
| High Damping | 0 – 100% | How quickly high frequencies decay within the reverb. Higher values produce a warmer, darker tail. |
| Low Damping | 0 – 100% | How quickly low frequencies decay. Higher values thin out the low end of the reverb. |
| High Cut | 100 Hz – 20 kHz | Output filter that rolls off high frequencies from the reverb signal. |
| Wet / Dry Level | 0 – 100% | Blend of reverb and original signal. |
A hybrid algorithmic reverb with character-based delay patterns (Prime, Fibonacci, Golden Ratio, and more). Features attack envelope control for transient shaping and sophisticated modulation for movement and depth.
| Parameter | Range | Description |
|---|---|---|
| Room Size | 0 – 100% | Overall reverb space size and density. |
| Decay Time | 0 – 100% | Reverb tail length. |
| Attack | 0 – 100% | Transient envelope control. Shapes how quickly the reverb responds to input. |
| High Damping | 0 – 100% | How quickly high frequencies decay within the reverb. |
| Low Damping | 0 – 100% | How quickly low frequencies decay within the reverb. |
| Early Diffusion | 0 – 100% | Diffusion applied to early reflections. Higher values produce a smoother onset. |
| Late Diffusion | 0 – 100% | Diffusion in the decay tail. Higher values produce a denser, more blended tail. |
| Character | Tight, Wide, Fibonacci, Golden, Coprime, Mixed | Delay pattern algorithm that defines the mathematical character of the reverb's coloration. |
| Mod Rate | 0.01 – 10 Hz | Internal modulation speed. |
| Mod Depth | 0 – 100% | Amount of internal modulation for movement in the tail. |
| Mod Type | None, Classic, Chorus, Random, Shimmer, Complex, Harmonic | Modulation waveform applied to the reverb tail. |
| High Cut | 100 Hz – 20 kHz | Output filter that rolls off high frequencies from the reverb signal. |
| Wet / Dry Level | 0 – 100% | Blend of reverb and original signal. |
A chamber-style reverb combining feedback loops with reverb delay networks. Creates smooth, dense reflections with a lush, enveloping character suited to vocals, strings, and pads.
| Parameter | Range | Description |
|---|---|---|
| Room Size | 0 – 100% | Chamber space size, affecting early/late reflection balance. |
| Decay Time | 0 – 100% | Length of the reverb tail. |
| Pre-Delay | 0 – 200 ms | Time before the reverb onset. Adds separation for clarity. |
| Diffusion | 0 – 100% | Diffusion intensity — higher is smoother and denser. |
| Diffusion Stages | 0 – 8 | Number of diffusion stages. More stages produce a silkier, more blended character. |
| High Damping | 0 – 100% | High-frequency damping for a warm, natural decay. |
| Low Damping | 0 – 100% | Low-frequency damping to control bass buildup. |
| Mod Rate | 0.1 – 2 Hz | Delay line modulation rate for organic movement. |
| Mod Depth | 0 – 100% | Amount of modulation in the reverb tail. |
| High Cut | 100 Hz – 20 kHz | Output low-pass filter for taming brightness. |
| Low Cut | 20 Hz – 5 kHz | Output high-pass filter. |
| Wet / Dry Level | 0 – 100% | Blend of reverb and original signal. |
A dense 16-delay feedback network reverb with integrated per-delay harmonic processing. Creates rich, warm textures with five harmonic coloration modes for diverse sonic character.
| Parameter | Range | Description |
|---|---|---|
| Room Size | 0 – 100% | Delay network scaling factor affecting perceived space size. |
| Decay Time | 0 – 100% | Reverb tail length (extended range up to 150 seconds internally for vast spaces). |
| Pre-Delay | 0 – 100% | Input diffuser delay scaling. |
| High Damping | 0 – 100% | High-frequency damping intensity. |
| Low Damping | 0 – 100% | Low-frequency damping intensity. |
| Early Diffusion | 0 – 100% | Diffusion on the input signal for density. |
| Late Diffusion | 0 – 100% | Internal network diffusion. |
| Character | Small, Medium, Large, Shimmer, Dark, Vintage | Physical space character that defines delay and filter characteristics. |
| Mod Rate | 0.01 – 2 Hz | Network modulation speed. |
| Mod Depth | 0 – 50% | Network modulation amount. |
| Mod Type | None, Sine, Triangle, Random, Complex | Modulation waveform shape. |
| Harmonic Enable | On/Off | Master toggle for per-delay harmonic processing. |
| Harmonic Character | Off, Warm, Vintage, Bright, Dark, Lo-Fi | Harmonic coloration mode applied inside each of the 16 delay lines. |
| Harmonic Amount | 0 – 100% | Intensity of harmonic processing. |
| Harmonic Mix | 0 – 100% | Parallel mix between clean and harmonically processed delay signals. |
| High Cut | 100 Hz – 20 kHz | Output filter for vintage warmth. |
| Wet / Dry Level | 0 – 100% | Blend of reverb and original signal. |
An ethereal pitch-shifted reverb that adds octave-shifted (or other interval) feedback to the reverb tail. Creates lush, evolving textures that bloom upward in pitch. Optional dual-voice mode enables rich harmonic complexity.
| Parameter | Range | Description |
|---|---|---|
| Room Size | 0 – 100% | Core reverb space size. |
| Decay Time | 0 – 100% | Reverb tail length. |
| Shimmer Amount | 0 – 100% | Blend between the normal reverb and the shimmer (pitch-shifted) feedback path. |
| Shimmer Pitch | −24 – +24 semitones | Primary pitch shift interval. Default is +12 (one octave up). |
| Shimmer Tone | 20 – 2000 Hz | High-pass filter on the shimmer path. Higher values produce an airier, more crystalline shimmer. |
| Shimmer Feedback | 0 – 100% | Additional feedback for the shimmer path, controlling how much the pitch-shifted signal recirculates. |
| Dual Voice | On/Off | Enables a second pitch-shifted voice for richer harmonic shimmer. |
| Second Pitch | −24 – +24 semitones | Pitch interval of the second voice. Default is +7 (perfect fifth). |
| Grain Size | 10 – 130 ms | Granular pitch shifter grain size. Larger values produce smoother, less grainy shimmer. |
| Diffusion | 0 – 100% | Early and late diffusion for smoothness. |
| Scatter | 0 – 100% | Cross-mixes the reverb's delay lines into a denser, fuller wash. 0 is the original Shimmer; higher values are lusher and more diffuse, with the stereo width preserved. |
| High Damping | 0 – 100% | High-frequency damping (kept low by default for airy shimmer). |
| Character | Tight, Wide, Fibonacci, Golden, Coprime, Mixed | Core reverb delay pattern algorithm. |
| Mod Rate / Depth | 0.01 – 2 Hz / 0 – 25% | Internal modulation for movement in the reverb tail. |
| High Cut | 100 Hz – 20 kHz | Output filter. |
| Wet / Dry Level | 0 – 100% | Blend of reverb and original signal. |
An infinite sustain reverb that captures and endlessly sustains the current reverb texture. Perfect for ambient sound design, with smooth fade transitions, optional input bleed for layering, and continuous modulation for evolving frozen textures.
| Parameter | Range | Description |
|---|---|---|
| Freeze | On/Off | Toggle freeze mode. When enabled, the current reverb texture is captured and sustained indefinitely. |
| Freeze Fade Time | 10 – 2000 ms | Transition time for smooth freeze/unfreeze. Longer values create gradual, cinematic transitions. |
| Freeze Input Bleed | 0 – 100% | Amount of new input allowed during freeze. 0% is a pure freeze; higher values let you layer new material over the frozen texture. |
| Freeze Decay | 0 – 100% | Slow decay during freeze. 0% is truly infinite; higher values allow the frozen texture to gradually fade away. |
| Room Size | 0 – 100% | Core reverb space size. |
| Decay Time | 0 – 100% | Pre-freeze reverb tail length. |
| Diffusion | 0 – 100% | Early and late diffusion for density. |
| High / Low Damping | 0 – 100% | Frequency-dependent damping. |
| Character | Tight, Wide, Fibonacci, Golden, Coprime, Mixed | Reverb delay pattern algorithm. |
| Mod Rate / Depth | 0.01 – 2 Hz / 0 – 25% | Modulation continues during freeze for evolving, non-static textures. |
| High Cut | 100 Hz – 20 kHz | Output filter. |
| Wet / Dry Level | 0 – 100% | Blend of reverb and original signal. |
A freeze reverb based on a plate-style architecture with three unique diffusion character presets (Crystal, Glacier, Arctic). Combines the smooth density of a plate reverb with freeze capability for capturing and sustaining textures.
| Parameter | Range | Description |
|---|---|---|
| Size | 0 – 100% | Plate/room size affecting the reverb's spaciousness. |
| Decay Time | 0 – 100% | Reverb tail length. |
| Pre-Delay | 0 – 150 ms | Time before the reverb onset. |
| Diffusion | 0 – 100% | Input diffusion for density and smoothness. |
| Brightness | 0 – 100% | Tonal character. Lower values produce a darker, warmer sound. |
| Character | Crystal, Glacier, Arctic | Diffuser preset. Crystal is tight and dense; Glacier is expansive; Arctic is vast and wide. |
| Freeze | On/Off | Toggle infinite sustain mode. |
| Freeze Fade Time | 10 – 2000 ms | Smooth transition time into/out of freeze. |
| Freeze Input Bleed | 0 – 100% | New input allowed during freeze. 0% is a pure capture. |
| Freeze Decay | 0 – 100% | Slow decay during freeze. 0% is truly infinite. |
| Mod Rate | 0.1 – 5 Hz | Internal modulation speed. |
| Mod Depth | 0 – 100% | Internal modulation amount. |
| High Damping | 0 – 100% | High-frequency damping. |
| Low Damping | 0 – 100% | Low-frequency damping. |
| High Cut | 100 Hz – 20 kHz | Output filter. |
| Wet / Dry Level | 0 – 100% | Blend of reverb and original signal. |
A granular cloud reverb that replaces traditional delay lines with granular processing. Creates ethereal, smeared textures by spawning clouds of audio grains with randomized parameters. Combines a grain engine with a 4-line feedback delay network (FDN) reverb tail and diffusion for sounds ranging from subtle ambience to vast, otherworldly soundscapes.
| Parameter | Range | Description |
|---|---|---|
| Grain Size | 5 – 250 ms | Length of individual grains. Shorter grains produce smoother textures; longer grains create more distinct echoes. |
| Density | 1 – 25 g/s | Number of grains spawned per second. Higher values create denser, fuller clouds. |
| Position Scatter | 0 – 100% | Randomizes grain read position in the buffer. 0% reads from the same position; higher values spread grains across the buffer. |
| Spread | 0 – 100% | Grain dispersion. 0% is clustered (smooth); 100% is scattered (diffuse). |
| Pitch Scatter | 0 – 12 st | Range of random pitch variation applied to grains, in semitones. |
| Pitch Mode | Random, Harmonic | Random applies fully random pitch shifts; Harmonic quantizes to musical intervals. |
| Window Type | Hann, Gaussian, Trapezoid | Grain envelope shape. Hann is smooth cosine; Gaussian is bell curve; Trapezoid is linear attack/release. |
| Feedback | 0 – 100% | Feeds processed output back into the grain buffer for infinite cloud buildup. |
| Stereo Spread | 0 – 100% | Width of grain panning across the stereo field. |
| Stereo Input | 0 – 100% | Stereo width of the input signal. 0% sums to mono; 100% preserves full stereo. |
| Sync | On/Off | Locks grain density to the host tempo. |
| Sync Division | 8/1 – 1/16D | Note division for tempo-synced grain density. 17 steps from 8 bars down to 1/16 dotted, including triplets and dotted notes. |
| Room Size | 0 – 100% | Diffusion network size affecting spaciousness. |
| Decay Time | 0 – 100% | Reverb tail length. |
| Tail Mix | 0 – 100% | Balance between granular output and the FDN reverb tail. |
| Tail Decay | 0 – 100% | Independent decay length for the FDN tail. |
| Early / Late Diffusion | 0 – 100% | Amount of diffusion applied to early and late reflections. |
| Morph | Button | Randomizes the feedback diffuser pattern for a new character while keeping all other settings. |
| Freeze | On/Off | Toggle infinite sustain mode, capturing the grain buffer contents. |
| Freeze Fade Time | 10 – 2000 ms | Smooth transition time into/out of freeze. |
| Freeze Input Bleed | 0 – 100% | New input allowed during freeze. 0% is a pure capture. |
| Freeze Decay | 0 – 100% | Slow decay during freeze. 0% is truly infinite. |
| Freeze Feedback | 90 – 99.99% | Feedback amount during freeze. Higher values sustain longer. |
| High Damping | 1 kHz – 20 kHz / 0 – 100% | High-frequency damping frequency and amount. |
| Low Damping | 20 – 500 Hz / 0 – 100% | Low-frequency damping frequency and amount. |
| Mod Rate / Depth | 0.01 – 10 Hz / 0 – 100% | Internal modulation speed and amount. |
| Mod Type | None, Sine, Triangle, Square, Sawtooth, Random, MultiWave | Modulation waveform shape. |
| High Cut | 100 Hz – 20 kHz | Output low-pass filter for darker tails. |
| Wet / Dry Level | 0 – 100% | Blend of reverb and original signal. |
A hybrid reverb using sparse early reflections combined with a Dense Velvet Noise (DVN) late tail. Produces natural, smooth decay without metallic artifacts. Ideal for drums, percussion, and transient-rich material that needs organic room ambience.
| Parameter | Range | Description |
|---|---|---|
| Room Size | 0 – 100% | Affects early reflection spacing and late tail density. |
| Decay Time | 0 – 100% | Reverb decay length (optimized for short drum-style reverbs). |
| Pre-Delay | 0 – 150 ms | Time before early reflections. |
| Density | 0 – 100% | DVN impulse density. Sparse produces a grainy texture; dense is smooth and full. |
| Density Shape | 0 – 100% | Impulse distribution. 0% is linear; 100% is front-loaded for punchier drums. |
| Damping | 0 – 100% | High-frequency damping. 0% is bright; 100% is dark. |
| Early/Late Mix | 0 – 100% | Balance between early reflections and the DVN late tail. |
| Smooth | 0 – 100% | Diffusion smearing applied to the late tail. 0% is pure DVN; 100% adds maximum smearing. |
| Quality | 100 – 2500 | Impulse count ceiling. Higher values produce denser, more realistic tails at the cost of CPU. |
| Low Cut | 20 – 500 Hz | Output high-pass filter. |
| High Cut | 1 kHz – 20 kHz | Output low-pass filter. |
| Mod Rate / Depth | 0.1 – 2 Hz / 0 – 100% | Early reflection modulation for subtle movement. |
| Freeze | On/Off | Infinite sustain mode for capturing reverb textures. |
| Wet / Dry Level | 0 – 100% | Blend of reverb and original signal. |
A sophisticated hybrid reverb combining Dense Velvet Noise (DVN) for natural early character with a Feedback Delay Network (FDN) for extended tail length. Ideal for halls, cathedrals, and large spaces.
| Parameter | Range | Description |
|---|---|---|
| Room Size | 0 – 100% | Affects early reflection spacing and FDN delay times. |
| Decay Time | 0 – 100% | Decay range. |
| Pre-Delay | 0 – 150 ms | Time before reverb processing begins. |
| Density | 0 – 100% | DVN impulse density in the early section. |
| Damping | 0 – 100% | High-frequency damping. 0% is bright; 100% is dark. |
| DVN/FDN Mix | 0 – 100% | Balance between DVN character (natural warmth) and FDN tail extension (length and sustain). |
| Character | Small, Natural, Large, Hall, Cathedral, Infinite | FDN character preset affecting delay times and space coloration. |
| Mod Rate | 0.1 – 2 Hz | FDN delay line modulation rate. |
| Mod Depth | 0 – 100% | FDN modulation depth. |
| Mod Type | None, Sine, Triangle, Square, Sawtooth, Random | FDN modulation waveform. |
| Low Cut | 20 – 500 Hz | Output high-pass filter. |
| High Cut | 1 kHz – 20 kHz | Output low-pass filter. |
| Wet / Dry Level | 0 – 100% | Blend of reverb and original signal. |
A continuous granular pitch-cloud. Mirage shatters the incoming audio into a cloud of overlapping grains that you can spray across time, pitch, freeze into a still snapshot, scrub through by hand, and feed back into itself — anywhere from a shimmering ambient wash to glitchy, stuttering texture. It anchors the new Texture category alongside Cloud Reverb and Stutterus.
| Parameter | Range | Description |
|---|---|---|
| Position | 0 – 2 s | How far behind the live input the grains read. Small values feel tight and live; large values pull a washed, ambient cloud out of the recent past. (When Freeze is on, Scrub takes over the read position.) |
| Spray | 0 – 0.5 s | Random scatter of each grain's start point around Position. 0 = grains stack tightly; higher spreads them into a thicker, more diffuse cloud. |
| Size | 5 – 300 ms | Length of each grain. Short grains sound granular and buzzy; long grains sound smooth and overlapping. |
| Density | 1 – 100 /s | How many grains spawn per second. Low = sparse and pointillist; high = a solid, continuous wash. |
| Shape | 0 – 100% | Grain envelope contour, from soft and rounded to sharper and more percussive. |
| Spread | 0 – 100% | Stereo width of the cloud. 0 = centered; higher scatters grains across the stereo field. |
| Pitch | −24 – +24 st | Transposes the whole cloud, up or down two octaves. |
| Jitter (Wobble in Flatten) | 0 – 12 st | Adds pitch variation. In Repitch mode it scatters each grain's pitch; in Flatten mode it becomes a single coherent pitch wobble (vibrato / drift) across the whole cloud. |
| Pitch Mode | Repitch / Flatten | How grains are pitched. See below. |
| Scale | Off, Chromatic, Major, Natural Minor, Dorian, Major/Minor Pentatonic, Whole Tone, Harmonic Minor | Quantizes the cloud's pitch to a musical scale. Off = free (no quantization). Works with Root. |
| Root | C – B | Root note of the selected Scale. |
| Drift (Glide in Flatten) | On / Off | Mode-dependent. In Repitch, each transient nudges the cloud to a new random pitch offset (±1 st) that slides over Drift Time — transient-gated (sustained material won't retrigger), and active only when Scale is Off. In Flatten it becomes Glide, sliding pitch smoothly between detected notes (portamento) instead of jumping. |
| Drift Time (Glide Time in Flatten) | 5 – 500 ms | Mode-dependent. In Repitch, the slew time for each random pitch drift to reach its new target after a transient. In Flatten, how long each glide between notes takes. |
| Reverse (Lock in Flatten) | 0 – 100% | Mode-dependent. In Repitch, the chance that any grain plays backward. In Flatten, a "liveliness vs lock" control — low keeps the tone lively and moving, high locks it into a steadier, more static pad. |
| Freeze | On / Off | Snapshots the current buffer into a static cloud you can hold and scrub. Off = the cloud tracks live input. |
| Scrub | 0 – 100% | When frozen, sets the read position across the frozen buffer — drag it to move through the captured moment by hand. |
| Scrub Play | On / Off | When frozen, plays the scrub position forward through the region on its own at normal speed (looping) instead of holding still. Toggled by the Play glyph on the waveform. |
| Reg Start / Reg Len | 0 – 100% | Bound the scrub (and the tempo march / ping-pong) to a sub-window of the frozen buffer. A short region loops quickly for rhythmic stutters; the full range covers the whole capture. |
| Ping-Pong | On / Off | When frozen and synced, bounces the read position back and forth across the region instead of looping forward — one sweep per Division. |
| Bleed | 0 – 100% | While frozen, how much live input seeps back into the frozen snapshot. 0 = a pure static freeze; higher gradually refreshes the capture toward the present. |
| Sync | On / Off | Locks the grain-spawn clock (and the freeze scan) to the host tempo grid — a cloud on a grid. Off = free-running. |
| Division | 8/1 – 1/16D | Tempo grid when Sync is on, from 8 bars down to 1/16 dotted (including triplet and dotted values). |
| Feedback | 0 – 98% | Feeds the cloud back into itself for growing, evolving, self-regenerating textures. High settings sustain and build. |
| Regen Tone | 0 – 100% | Tone of the feedback path — darker at low settings, brighter at high — shaping how the regenerating cloud evolves. |
| Wet / Dry Level | 0 – 100% | Independent levels for the granular output and the original signal. |
A Randomize button re-rolls the whole grain texture — Position, Spray, Size, Density, Shape, Reverse, Spread, Feedback, Regen Tone, and Pitch Mode — while leaving your tuning (Pitch, Scale, Root) and transport (Sync, Freeze) untouched, so you can chase new textures without losing the musical context.
Turn on Freeze to capture the current audio into a still cloud. From there, Scrub moves through the captured moment by hand, Scrub Play lets it play through on its own, and Region Start / Length confine it to a slice you can loop. Ping-Pong (with Sync on) bounces the playhead across the region for rhythmic sweeps, and Bleed lets fresh audio slowly seep into the frozen snapshot so it evolves rather than repeating exactly. A ghost overlay of the frozen waveform appears behind the live one while Bleed is up.
A versatile saturation/distortion module with five algorithms. The Shape knob does something meaningful in every mode: in 1.3.0 it was rewired so Cubic, ArcTangent, and Asymmetric each give Shape its own musical role instead of leaving it inert outside Chebyshev.
| Parameter | Range | Description |
|---|---|---|
| Amount | 0 – 100% | Drive intensity. Low values add subtle warmth; high values produce obvious distortion. |
| Shape | 0 – 100% | Mode-dependent. See below. |
| Mode | Soft Clip, Cubic, ArcTangent, Asymmetric, Chebyshev | Saturation algorithm. See below. |
| Output Gain | 0.1x – 2x | Compensates for level changes caused by saturation. Useful for A/B comparison at matched volumes. |
| Wet / Dry Level | 0 – 100% | Blend of saturated and original signal. |
The visualizer's transfer curve and harmonic bars update live to reflect Shape's behavior in the current mode.
Click the preset name in the Preset Navigator (top left) to open the preset browser. Factory presets are organized by effect category. Use the left/right arrow buttons to step through presets sequentially, or click the shuffle button (crossed arrows) to run Random Mix.
Most factory presets capture a single effect, and Spectrus loads each one into the first slot that is free to receive it. Paired with Slot Locking, this lets you build a full four-effect rack one preset at a time:
The rule is the same everywhere a preset loads — browsing, the arrow buttons, or Random Mix: a preset's effects fill the unlocked slots in order, skipping any that are locked. Unlock a slot at any time to make it the next target again. (User presets saved from a full rack can hold several effects; those fill several unlocked slots at once, still left to right.)
To send a preset to one specific slot instead of filling slots left to right, select the slot first. Click its box in the signal flow diagram along the top — it gains a purple border, marking it as the load target. While a slot is selected, browsing presets or stepping the left/right arrows loads into that slot only, leaving every other slot (and your master settings) untouched.
Multi-effect presets load in full. Selection steers single-effect presets — and every factory preset is single-effect. If you load a user preset that holds several effects while a slot is selected, Spectrus ignores the selection and loads the whole chain across the slots as usual, so you never have to deselect just to recall a full rack. Locked slots are still skipped either way.
Selection is the inclusion twin of Slot Locking: instead of locking the slots you want to protect, you pick the single slot you want to change. A slot can never be both locked and selected — locking a selected slot clears its selection, and a locked slot cannot be selected.
Your selection is saved with the project, so a slot you targeted stays selected when you reopen the session.
After tweaking your sound, click the save icon in the Preset Navigator to save a user preset. You can name it and choose a folder for organization. User presets appear in a separate section of the preset browser.
The Init option resets all slots to Empty and all parameters to their default values. Use this as a clean starting point.
The Random Mix button — the shuffle icon (crossed arrows) just to the right of the left/right arrow buttons — fills every unlocked slot with a randomly chosen preset in a single click. Because it respects locks, it pairs naturally with Slot Locking:
When you lock a slot (using the lock icon in the slot header), that slot's effect and settings are preserved when you load presets, use Random Mix, Next/Prev buttons, or Init. A locked slot shows an orange border. This is powerful for auditioning. For example, lock a reverb you like in Slot 3 and browse through different modulation presets in the other slots.
Once slots are loaded, you can rearrange and duplicate them without returning to the preset browser. Below each slot's visualizer is a dashed drag strip — the cursor becomes a hand when you hover over it.
Right-click any continuous knob or Mute/Solo button and choose Lock Control to freeze it against Spectrus's own write paths. Locked controls ignore preset recall, Randomize, Random Mix, knob drag, scroll wheel, double-click reset, and per-module Randomize/Morph buttons.
Locked knobs render desaturated with a small padlock badge. Locked Mute/Solo buttons keep their active red/amber color with the same badge. Hovering shows a tooltip: Locked. Right-click to unlock.
What Mix Lock covers:
Documents\Spectrus\Presets. Back up this folder to preserve your presets.
Before activating a Pro license, Spectrus offers two ways to use the plugin. You can switch between them at any time by clicking the DEMO / FREE toggle button in the routing row.
Demo mode is active by default when you first install Spectrus. It gives you access to all 23 effects through Stutterus (plus the per-slot extras Stereo In, Out Hi/Lo Cut, Air, and Body) so you can explore the heart of Spectrus before deciding to buy.
The trade-off: a periodic audio fade reminds you that you're running in demo mode. At a random interval (roughly every 45–75 seconds), the output smoothly fades down over 4 seconds, holds silence for 1 second, and then fades back up over 4 seconds. The fade applies to the entire output (both dry and wet signals).
If you prefer uninterrupted audio, switch to Free mode. In Free mode, only the 7 free effects produce audio: Chorus, Flanger, Phaser, Tremolo, Echo, Plate Reverb, and Saturator. There is no audio fade or time restriction.
Pro effects are still visible in the Module Picker but are marked with a yellow PRO badge. If a Pro effect is loaded in a slot, it is silently emptied so it doesn't affect your signal.
Starting with 1.3.0, both Demo and Free modes are feature-frozen at the pre-Ducker line. Pro features added after Stutterus stay gated to a Pro license regardless of which mode is active.
Once you activate a Pro license key, the Demo/Free toggle disappears entirely. All 24 effects work without any restrictions, fades, or badges. See License & Support for activation instructions.
| Feature | Demo Mode | Free Mode | Pro |
|---|---|---|---|
| Available effects | All 23 | 7 free effects | All 24 |
| Audio fade | Yes (periodic) | No | No |
| PRO badges shown | No | Yes | No |
| Random Mix draws from | All effects | Free effects only | All effects |
| Production-ready | No (fade interruptions) | Yes (7 effects) | Yes (all effects) |
All Spectrus parameters are automatable from your DAW. Parameters follow the naming convention s{slot}{Effect}{Parameter}. For example, s1ChorusRate is Slot 1's Chorus Rate, and s3PlateDecayTime is Slot 3's Plate Reverb Decay.
Slot-level controls like level, mute, and solo are also automatable using names like slot1Level, slot1Mute, and slot1Solo.
To automate a parameter, use your DAW's standard automation workflow (e.g., right-click a control in some DAWs, or find the parameter in your DAW's automation lane browser).
Spectrus automatically creates a log file that records plugin lifecycle events, module loading, and errors. If you encounter a problem, this file helps us diagnose it.
Log locations:
Windows: %APPDATA%\Spectrus\logs\Spectrus.log
macOS: ~/Library/Spectrus/logs/
Linux: ~/.config/Spectrus/logs/
The log auto-rotates at 256 KB and supports multiple simultaneous instances (each tagged with an instance number). Please attach this file when submitting bug reports.
Verify the plugin files are in the correct locations for your platform (see Installation above). Then rescan your plugin directories from your DAW's preferences.
Try increasing your audio buffer size. Some effects (especially reverbs with long decay times) are more CPU-intensive. Disable slots you are not using by clicking the power button to off.
Spectrus includes a safety limiter that mutes the output if dangerously loud levels are detected. This can happen with extreme feedback settings. Reduce the feedback on the offending effect and the mute will release automatically.
Please report bugs by emailing support@morphulus.com. Include:
1. A description of the problem and steps to reproduce it.
2. Your DAW name and version.
3. Your OS version and audio interface/buffer size (on Linux, also note your audio setup: ALSA, PipeWire, or JACK).
4. The diagnostic log file (see Diagnostic Log above for the path on your platform).
Spectrus Free includes 7 effects: Chorus, Flanger, Phaser, Tremolo, Echo, Plate Reverb, and Saturator. The full 4-slot architecture, routing system, and preset system are fully functional.
Spectrus Pro unlocks 17 additional effects including Vintage Chorus, Ring Modulator, Rotary, Sample & Hold, Tape Delay, Spectral Delay, Stutterus, the new Mirage granular pitch-cloud, Cloud Reverb, and 8 additional reverb algorithms (Prism, Bloom, Ember, Shimmer, Freeze, Glacier, Velvet Room, and Velvet Hall).
After purchasing Spectrus Pro, you'll receive a license key via email. To activate:
1. Right-click the Spectrus logo in the top-right corner of the plugin.
2. Select "Enter License Key..." from the menu.
3. Either paste the key directly into the text field, or click "Load File" to browse for a .lic file.
4. Click "Activate".
Verification is instant. No internet connection required. On success, the plugin immediately unlocks all Pro effects and the Demo/Free toggle disappears.
Once activated, right-click the Spectrus logo to see "Licensed to: [your email]" displayed in the menu. Select "Manage License..." to view your license details or clear the license from this machine.
Your license key is saved locally at Documents\Spectrus\license.key and persists across DAW restarts and system reboots. You can use the same key on multiple machines.
Website: morphulus.com
Email: support@morphulus.com