The Effects


The Filter effect contains both LPF (Low Pass Filter) and a HPF (High Pass Filter) switchable by clicking the corresponding buttons.

A LPF filter is a filter that lets frequencies below the Cutoff frequency through and attenuates all frequencies above the Cutoff frequency.

A HPF filter does the exact opposite of a LPF filter.

The Resonance knob determines how much resonance will occur alongside attenuation giving a "ringing" feel to the sound.


A Reverb is a delay unit which simulates reverberation, i.e. the remainder of sound in a room after the original sound has died out.

Size governs how large that room is.

Damp governs how much transients will be reproduced in that room. I.e. the difference between sounds played in a room with tiles or a room with heavy drapes all over.

Width governs how much of the simulated reverb will be in Stereo or Mono, this gives the sound a wider, bigger character. Or in reverse, smaller more narrow feel.

Wet governs loudness of the generated reverb.

Dry governs loudness of the original sound.


A delay unit (usually) records incoming audio and then plays it back after a set period of time to make the sound repeat itself, resulting in an echoing effect.

Time Left governs the delay time in the left channel.

Time Right governs the delay time in the right channel.

Feedback governs how much of the delayed signal is routed back through the buffer, thereby creating feedback.

Wet governs loudness of the generated delays.

Dry governs loudness of the original sound.


The Degrader is a Sample Rate reduction effect which relies on the fact that reducing the Sample Rate of a signal introduces quantization distortion.

This effect is often used to add a 'retro' quality to sounds, like those very popular gaming machines that had 8 bit sound.

Rate governs how much reduction takes place.

Gain governs the amplitude of the incoming signal to the effect.


A phaser takes the input signal and splits it into two channels and either slightly delay, or phase shift, one channel creating a moving comb filter effect. The phase shift is modulated by an LFO to create a characteristic whooshing effect.

Feedback governs how much of the delayed/phase shifted signal is routed back through that channel thereby accentuating the comb filter effect.

Rate governs the speed of the sweep.

Depth governs the how low in the frequency spectrum the sweep should affect the signal.

Color changes the perceived tone of the generated effect.

Wet governs loudness of the phaser.

Dry governs loudness of the original sound.


Distortion is usually described as the result of any process that alters the signal shape, or introduces new sound to the original.

For example hiss generated by the recording equipment when recording.

Distortion is also used to describe effects that in any way overdrives the original signal thereby causes the signal to clip.

Our Distortion effect has 5 ways to squash and wreak havoc on your sounds.

Clip is probably the simplest and most common mechanism for distortion, which occurs in the digital realm when a signal's amplitude is restricted by a set limit for example the Bit depth of the sequencer. In the analog world this is achieved when a signal is driven beyond the gain capacity of an amplifier, effectively cutting off the tops of the sound wave.

Foldback mirrors the signal back onto itself when the amplitude exceeds clipping level.

Waveshaping(WS1 WS2 WS3) is a technique of distortion which explicitly alters the shape of the original waveform by forcing its amplitude to conform to the shape of a nonlinear transfer function, thereby giving the effect its own unique sound.

Gain governs the amplitude of the input signal.

Volume governs the amplitude of the output signal.


A compressor is an effect that reduces i.e compresses the dynamic range of the signal input. It varies the output volume based on the input volume. It makes the low stuff louder and the loud stuff lower ;)

Threshold governs when the compressor should start to compress the incoming signal. For example, if we imagine a signal has an amplitude register of 0 to 10 (0 being silent and 10 full volume), and you set the threshold to 6, the compressor will only compress the part of the signal that is louder than 6.

Attack governs when the compressor kicks in after the signal has reached the threshold. By having a slow attack time you will allow for some of the snap/transients from the input signal to be unaffected.

Release governs when the compressor will decrease gain reduction to the level determined by the ratio, in other words for how long it will compress the signal.

Ratio governs the input/output ratio for signals above the threshold. For example, a 4:1 ratio means that a signal overshooting the threshold by 4 dB will leave the compressor 1 dB above the threshold.

Gain often called "make up gain", governs how loud the output signal from the compressor will be. This is pretty handy since in the ratio example we lowered the output signal by 3 dB by setting a 4:1 ratio. If we set the Gain to + 3dB the audio material will be as loud as it was when it entered the compressor.


An equalizer is essentially a multi mode filter capable of attenuating or raising different parts of a signals frequency spectrum. Our equalizer is very simple yet brutally effective with three different settings.

Low governs amplitude between 20Hz to 880Hz of the frequency spectrum.

Mid governs amplitude between 880Hz to 5 000Hz of the frequency spectrum.

High governs amplitude between 5 000Hz to 20 000Hz of the frequency spectrum.


A limiter is a compressor with a higher ratio, and generally a fast attack time. Most engineers consider a compressor with ratio of 10:1 or more as limiter. A limiter does not allow any audio material whatsoever leave the limiter over the set threshold value.

Threshold governs when the limiter should start limiting.

Release governs when the limiter will decrease gain reduction.

Gain often called "make up gain", governs how loud the output signal from the limiter will be.