07 · EFFECTS

EQ, Compression, Sends

Every track has its own 6-band EQ and compressor. Send buses carry reverb and delay with character — not just clean utilities.

Per-Track EQ

Each track has a 6-band equalizer for surgical or creative shaping:

HPFHigh-pass filter (roll off lows)

Low ShelfBoost or cut low frequencies

Low-MidParametric band

High-MidParametric band

High ShelfBoost or cut high frequencies

LPFLow-pass filter (roll off highs)

Each band has frequency, gain, Q, and enable/disable controls.

Per-Track Compressor

Dynamics control for each track with standard compressor parameters:

Threshold−60 to 0 dB

Ratio1:1 to 20:1

Attack0.1–200 ms

Release5–2000 ms

Makeup gain−12 to +24 dB

MeteringVU-style gain-reduction needle (0–20 dB)

Send Buses

Route tracks to send buses for shared effects processing. Each bus has its own effect processor and output gain. The dry signal goes directly to the master — sends are fully wet.

Plate Reverb

A classic plate-style reverb for adding space and depth:

Room Size0.0–1.0 (small to large)

Damping0.0–1.0 (bright to dark)

Width0.0–1.0 (mono to stereo)

Tempo-Sync Delay

A delay with character. Sync to tempo or set free time. Add crush, damping, and modulation for lo-fi echoes.

Sync modeFree (ms) or tempo-locked

Note divisionsWhole to 1/32 triplet

Feedback0–95% per channel

DampOne-pole LP in feedback loop

CrushBit-reduction on echoes

Rate/DepthSine LFO wobble (wow/flutter)

Ping-PongCross-channel feedback

Max time~6 seconds

CHARACTER CONTROLS

Damp — Echoes get progressively darker, like tape aging.
Crush — Echoes get progressively crunchier, like hardware degradation.
Rate/Depth — Adds pitch wobble to echoes for tape-style modulation.

Master Processing

The master bus has a compressor for overall dynamics control and glue:

Master compressorWith makeup gain

Bus architectureSumming with headroom

Sends Matrix

Control send levels from any track to any bus in the sends matrix. Adjust how much of each track goes to reverb, delay, or other effects.