The Lab

Band-split dynamics3

Cherwell Drum Gate Band-split gate

The Cherwell Drum Gate split into two or three bands, each with its own gate: a kick’s lows can open slowly and close gently while its top snaps shut, a snare’s body can ring on while hat bleed is cut from its top. BAND KEY lets each band open on its own part of the key, LINK lets one band’s gate open another’s. Key filters, EXT key, DUCK and a 2 ms look-ahead.

• 2 or 3 bands
• A gate per band
• Band key + link
• Duck / look-ahead
• 13 presets

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SEN20 Band-split gate

SEN20’s fast, frequency-conscious noise gate split into two or three bands, each with its own threshold, timing and range, and the programme-adaptive release kept: the lows breathe while the top snaps shut, a tom rings on while the cymbal wash is cut. BAND KEY, LINK, key filters, THICK on the output and a 1 ms look-ahead.

• 2 or 3 bands
• A gate per band
• Band key + link
• THICK
• 10 presets

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Cherwell Transient Band-split transient shaper

Sharpen or soften the front of every hit and lengthen or shorten its tail, whatever the level, in two or three bands, each with its own ATTACK, SUSTAIN and SPEED: more click on a kick with less boom, crack on a snare’s top with its body left to ring. BAND KEY lets each band react to its own hits, LINK lets one band drive another. MIX, DELTA and a soft 0 dB CLIP.

• 2 or 3 bands
• Attack / sustain / speed per band
• Band key + link
• Mix / delta / clip
• 14 presets

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Instruments15

DTW 90 Chord-memory synth

The early-90s chord stab of Detroit techno, house and dub. Every key plays a whole chord - a shape from the menu or one you teach it with LEARN - and a 16-step pattern with accents, gate and swing chops it into stabs in time with REAPER. Two oscillators and a sub per note through a ladder filter, an LFO on cutoff, detune and pan, then DRIVE (with OS), chorus, a delay with HPF / LPF in its repeats, space with the classic 500 Hz cut, and FFAT's one-knob squash.

• Chord memory + LEARN
• 16-step pattern
• Drive + FFAT
• Delay + space (500 Hz cut)
• DRIFT humanise
• Mains + warm-up
• 12 presets

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MSP 80 Duophonic lead synth

The mid-70s two-voice lead. Hold one key and both oscillators play it; hold two and the lower goes to OSC 1, the higher to OSC 2 - lines in thirds, fifths or octaves, or a bass line under a melody. UNISON makes it a fat mono lead. Saw, square or pulse with hard SYNC, RING and NOISE, a ladder filter per oscillator, glide on each, a delayed LFO, then DRIVE (with OS), chorus, a delay with HPF / LPF in its repeats, space with the classic 500 Hz cut, and FFAT's one-knob squash.

• Two notes, two oscillators
• Sync + ring
• Glide per oscillator
• Drive + FFAT
• Mains + warm-up
• 18 presets

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Daichi VA polysynth

The Daichi virtual-analogue polysynth with much deeper LFOs. There are three, each with two destinations (20 to choose from, including another LFO's rate or depth), eight shapes including smooth random and a 16-step pattern you draw in the window, GLOBAL or per-VOICE running so chords shimmer note by note, a FADE-in for delayed vibrato, and FREE / SYNC / FLOW timing. DRIFT wanders the LFO speeds too. Eight new presets show them off, and all 40 sit at the house level.

• 3 LFOs, 2 destinations each
• Drawn 16-step STEP shape
• Per-voice LFOs + FADE
• FREE / SYNC / FLOW
• 40 presets

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M1K Layering analogue synth

The six-voice late-80s analogue rack synth, now playing two patches at once. Patch A and patch B are each any of the 100 patches, edited as you like, and both sound on every note: piano with strings behind it, brass over a pad, a bass under a pluck. 27 COMBIs load a matched pair in one click, levelled to sit like one patch. BALANCE mixes them, LAYER B switches B in and out without a click, and with B out it is the original M1K. DRIFT wanders the tuning of both layers, voice by voice.

• Two patches layered
• 27 matched COMBIs
• BALANCE + LAYER B
• Mod Rack built in
• 100 patches

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Ensemble Placed string machine

The divide-down string machine with its four sections placed in the stereo field. VIOLIN, VIOLA, CELLO and BASS each sit left, centre or right, or on both sides at once with the two sides gently detuned, and each place has its own three-phase ensemble, so violins stay on one side and cellos on the other. SPREAD sets how wide, and DRIFT lets left, centre and right breathe like three separate machines.

• L / C / R per section
• Ensemble per place
• Both sides, detuned
• Orchestra Seating

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VCE 90 Velocity-layered e-piano module

The half-rack electric piano module with its five synthesised pianos - tine, reed, pluck, clav and buzz - playing two at once. Pick a SOFT piano and a HARD piano: gentle playing brings one, hard playing the other, with SPLIT setting where they meet and BLEND how gradually. Drive, tone, pan vibrato, chorus and autowah.

• SOFT and HARD pianos
• SPLIT and BLEND
• DRIFT: two pianos apart

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PC70 Sound module with a bass split

The 90-patch sound module - pianos, organs, strings, pads, brass, leads and basses - with a key split. Turn SPLIT on and the keys below the split point play a bass of their own (twelve from the bank, with octave and level), while the keys above play the main patch. Set the split by clicking the keyboard picture or with LEARN. Each side has its own DRIFT dial.

• Bass under the left hand
• Split by click or LEARN
• BASS and MAIN DRIFT
• Mod Rack FX row

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Tonewheel Tonewheel organ

A tonewheel organ with 91 spinning wheels, nine drawbars, percussion, key click and scanner vibrato / chorus, with a rotary speaker built in: slow or fast from the mod wheel or the sustain pedal. The Lab copy adds MAINS / EQUATOR PROXIMITY in its ? pop-up: the classic organ-room hum, supply sag in the preamp and rotary amp, and a warm-up (the wheels themselves stay in tune).

• 9 drawbars
• Percussion
• Rotary speaker
• Mains + warm-up

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Seventy Mono synth with an FX section

The 70s mono synth with an FX section built in: FFAT (the drive and one-knob squash from Ffat, with TUBE, FUZZ, RECT or CRUSH and an OS key), a phaser, a string-machine chorus and a ping-pong delay in time with the project. Each has its own IN key, and every preset brings its own FX. DRIFT adds a little supply sag when you play loud.

• FFAT drive and squash
• Phaser, chorus, delay
• An IN key for each
• Presets with FX

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Motra Poly synth with step lanes

The analogue poly with its four-track sequencer and two new step lanes. FILTER sets the filter type for each step (2-pole or 4-pole low-pass, band, high or notch), and STACK sets how many voices each step plays, from one to four, spread across the stereo field. Any step can follow the panel instead. Filter changes glide and voices fade in and out, so the steps never click.

• FILTER type per step
• STACK: 1 - 4 voices per step
• Filter TYPE menu on EDIT
• Three new presets

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Glow Additive synth with spectral morph

The additive synth with two screens per oscillator, START and END. MORPH moves each oscillator from one to the other during every note - once, looping, or following an envelope - with TIME, CURVE, DEPTH and VELOCITY, and MORPH is also an LFO destination. With morph off it sounds as before.

• START and END screens
• MORPH: once, loop or envelope
• MORPH on the LFO
• 22 presets

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Flurry Hyper-saw synth with strings

The hyper-saw synth with a STRINGS section beside it. Every note also plays a string-machine divider chain with 16', 8' and 4' keys, its own slow ATTACK and RELEASE and TONE, then a three-phase ENSEMBLE. BLEND runs from synth only to strings only. DRIFT gives the strings their own supply: they drift in tune together and the ensemble breathes.

• STRINGS: 16' / 8' / 4'
• Three-phase ENSEMBLE
• BLEND synth to strings
• Three new presets

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CZ77 Phase distortion synth with drawn waves

The phase distortion synth with a ninth wave, DRAWN. On the DRAW page you draw two bends, A and B, and MORPH moves between them - by hand, or with the sweep, the DCW envelope, the LFO, velocity, the mod wheel or the key. DRIFT also lets each voice's morph wander. The old presets sound as before.

• Draw your own bent waves
• MORPH A - B
• Morph by envelope, LFO, wheel or key
• 31 presets

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PCM 12 12-bit drum machine with a pad synth

The 12-bit drum machine with a PAD SYNTH page. Each pad can build its own sound from a tone with sweep, noise, metal, a click, drive, room and gate, then store it at a chosen RATE and BITS to play through the same converter as the built-in sounds. RUN and FOLLOW, 16 patterns plus a bank of 15, ACCENT, and the house pad order and colours. DRIFT is supply sag.

• PAD SYNTH per pad
• RATE and BITS per pad
• RUN / FOLLOW, 15-pattern bank
• 10 kits

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Clockwork Rhythm box with echo and spring

The rhythm box with 16 editable rhythm memories (MAIN, VAR B and FILL, LENGTH, 16ths or triplets), 15 classic rhythms preloaded, and two effects built in: a tape ECHO (TIME in note values, FEEDBACK through tape, TONE, WOW) and a SPRING reverb (two tanks, DECAY, TONE, HPF and LPF on the send). Every voice has its own ECHO and SPRING send, so the rim can echo while the kick stays dry. Tails ring on after the rhythm stops. RUN, FOLLOW and an EDIT voice page.

• 16 editable rhythms
• Tape ECHO send per voice
• SPRING send per voice
• RUN / FOLLOW, EDIT page

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Effects5

Ffat Multi-FX

A fat multi-effect (the old Phat, rebuilt - "ff" is fortissimo). Drive it as TUBE, FUZZ, RECT or CRUSH, level-matched and optionally oversampled, through two resonant filters moved by a tempo-synced LFO and an envelope. Then frame it with BAND (high-pass and low-pass, each with resonance), add weight and a sub-octave with MAGIC, sweep it with the FLANGER, even it out with the over-easy COMP, and squash it fat with one knob. BYPASS and OS in the top bar.

• Tube / fuzz / rect / crush
• 2 filters + BAND
• MAGIC low end
• Flanger
• Over-easy comp
• Mains + warm-up
• 15 presets

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OC77 Soundscape + noise

Two tools in one. SOUNDSCAPE is a shoreline: waves that build, break, wash up the sand and draw back, with fizzing foam, gusting wind, rain from a few drops to a downpour and a deep ocean rumble, through its own chorus, delay, reverb and width. CALIBRATION is a precise white, pink or brown noise generator: the level you set is the RMS that comes out, full band, speaker band, sub or any octave, stereo, mono, left or right.

• Waves, foam, wind, rain
• Shoreline + spectrum windows
• Exact calibration noise
• Octave bands
• Chorus, delay, reverb, width
• 10 presets

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EA77 Soundscape synth

A listening post at the edge of the desert. Tune a shortwave receiver across 1 to 30 MHz and stations drift past as whistles, morse, data and garbled voices over the static; under it, counter-rotating sine carriers you play from the keys and an old transformer's hum, with crackles, pops and computer bleeps. Each source fades in and out of view on its own LFO, and an LCR delay and a flanger open it all up. RUN keeps it going on its own.

• Shortwave receiver
• Counter-rotating sines
• Mains hum
• Pops + bleeps
• Fade LFOs
• LCR delay + flanger
• 12 presets

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G-Matic Lo-fi tape

A worn broadcast video deck's audio track, pushed into lo-fi. A record amp that crunches, tape hiss, a shuttle wheel that runs the tape from half to one-and-a-half speed, wow, flutter and oxide dropouts. The red STUTTER key repeats a slice of sound and GLITCH makes the deck stutter by itself; CRUSH is a cheap digital track (bits and rate) and RADIO a small, honky speaker. Level-matched; DRIFT wanders the speed and warps the tape.

• Varispeed 0.5 - 1.5x
• Wow, flutter, dropouts
• Stutter + glitch
• Crush + radio
• OS 1x / 2x / 4x
• Mains + warm-up
• 12 presets

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BOB34 Modular effects with a patch bay

The 34-series modular effects rack with a PATCH BAY. Three cables, red, amber and blue, take any module's envelope, an LFO, the noise or the input's own envelope to any of 12 controls - cutoff, resonance, carrier, sweep, rate, drive, noise or a module's mix - with AMOUNT either way and LAG. Each module lights its CV IN jacks in the cable colours. An OS key runs the whole chain.

• Three patch cables
• 12 destinations, AMOUNT and LAG
• CV IN jacks lit by colour
• OS key for the chain

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Amps8

Ramp Modular guitar amp

One guitar amp built from interchangeable pieces: the preamps, power amps and cabinets of Amp Head, Fullerton 65, Mali 120 and GR-120, any piece into any other. A matched set is the original amp; mixed sets are rigs that never existed, level-matched. An FX loop between preamp and power amp lends the Mali's chorus / vibrato, a spring tank and the Fullerton's optical tremolo to any preamp, and each piece drifts as its original did.

• 4 preamps, 4 power amps, 7 cabs
• FX loop: chorus, spring, trem
• 1x / 2x / 4x OS
• 13 presets

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Ramp Mini Modular practice amp

One small guitar amp built from interchangeable pieces: the preamps, power amps and speakers of the Desert Ten, the MT-15 and the BED34's Ape 20, Sprite 10 and Tenor 20, any piece into any other. A matched set is the original amp; mixed sets are rigs that never existed, level-matched. A BROKEN speaker works on any cabinet, the Tenor's spring goes wherever its preamp goes, and each piece drifts as its original did.

• 5 preamps, 3 power amps, 6 speakers
• BROKEN speaker on any cab
• 1x / 2x / 4x OS
• 13 presets

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B Ramp Modular bass amp

One bass amp built from interchangeable pieces: the preamps, power amps and cabinets of Amp Head's BASS model, the AD-200, the 5F6 and the new SB-80 (in the spirit of the 80s British solid-state bass amps: a compressor, a mid-scoop PRE-SHAPE and a seven-band graphic), any piece into any other. A matched set is the original amp; mixed sets are rigs that never existed, level-matched. A clean DI blend sits in time with the amp, and each piece drifts as its original did.

• 4 preamps, 4 power amps, 7 cabs
• New SB-80 solid-state head
• DI blend, AD-200 SUB
• 1x / 2x / 4x OS
• 16 presets

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Drive81 Studio drive

The Stable Drive81 - eight studio and broadcast drive circuits in two half-rack units, each with a blend and its own EQ, in VFD and MATRIX modes - with an OS key (1x / 2x / 4x; 2x is the Stable sound) and MAINS / EQUATOR PROXIMITY in the ? pop-up: a very faint mains hum, supply sag and a warm-up from cold.

• 8 drive circuits, two units
• OS 1x / 2x / 4x
• Mains + warm-up
• 13 presets

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5F6 Tweed bass amp

A stereo four-input valve bass amp with four 10-inch speakers, after the 1950s tweed circuit that became the template for the rock amp: both channels in one BLEND knob, a cathode-follower tone stack and presence, in TWEED and GREYBEARD voicings. The Lab copy adds MAINS / EQUATOR PROXIMITY in its ? pop-up: UK or US mains hum, a supply that sags as you dig in, and a warm-up that depends on the room.

• 4x10 tweed
• TWEED / GREYBEARD
• Jumper BLEND
• Mains + warm-up

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Fullerton 65 Valve combo amp

A stereo 2x12 valve reverb combo in the spirit of the mid-60s American classics: Normal and Vibrato channels with the passive treble / middle / bass stack and its mid scoop, a long dark three-spring reverb, the optical tremolo, jumpering, and each speaker on its own side. The Lab copy adds MAINS / EQUATOR PROXIMITY in its ? pop-up: UK or US mains hum, a supply that sags as you dig in, and a warm-up that depends on the room.

• 2x12 stereo
• Spring + trem
• Mains + warm-up
• 12 presets

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Desert Ten Practice amp

A little 10-watt solid-state practice combo with an 8-inch speaker - from clean to the raspy, fuzzy saturation heard on desert-rock records. The Lab copy adds MAINS / EQUATOR PROXIMITY in its ? pop-up: UK or US mains hum and a cheap supply that sags as you dig in (being solid state, it barely warms up).

• 10-watt combo
• Saturation switch
• 8" speaker
• Mains + sag

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Amp Head Guitar / bass amp

Two all-valve amp heads in one, chosen with the MODEL keys. GUITAR, in the spirit of the classic 50-watt heads: clean and drive channels, a tone stack, spring reverb and a 2x12 or 4x12 cabinet. BASS, in the spirit of the classic 300-watt heads: ultra low and high, a sweepable midrange, an 8x10 cabinet and a DI blend. The Lab copy adds MAINS / EQUATOR PROXIMITY in its ? pop-up: UK or US mains hum, a supply that sags as you dig in, and a warm-up that depends on the room.

• Guitar / bass models
• Spring reverb, 8x10 cab
• Mains + warm-up
• 20 presets

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Channels2

C2ME Channel strip

The Stable C2ME, a 70s British broadcast-console channel (input stage and iron, a four-band channel EQ, a linked pair of compressor / limiter modules, ORDER, parallel MIX and WIDTH), that tells REAPER how much it is turning the sound down: the gain-reduction bar shows on the track's meter and in the mixer with the plug-in closed. Compressor and limiter together, MIX taken into account. Needs REAPER 7 or later; same panel and sound as the Stable C2ME.

• GR on REAPER's track meter
• Compressor + limiter, MIX-aware
• Channel EQ + dynamics
• 9 presets

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OBQ-1 Channel strip

A location-mixer channel in the spirit of a 70s / 80s British portable field mixer: a transformer pre on a 12 V battery rail that rounds and squeezes earlier when pushed, a high-pass, and a broad broadcast-style three-band EQ. COMP is a slow voice compressor that dips the harsh 800 Hz - 2 kHz band when it stands out and lifts the lows and highs to keep the level. SPACED PAIR pan places a sound the way a spaced pair of mics hears it, and the mono fold-down never combs. DRIFT is BATTERY: tired cells, a sagging rail. Mono in, mono out; stereo in, stereo out.

• Voice COMP with DEPTH
• Mono-safe SPACED PAIR pan
• 12 V rail, BATTERY drift
• 1x / 2x / 4x OS
• 11 presets

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Dynamics6

VAL60 Valve compressor

The Stable VAL60 valve channel, in the spirit of the 90s British dual-channel valve processors, with a stackable preamp in front of its soft-knee, optical-style compressor. Four stages, IRON, TRANSISTOR, SOLID STATE and VALVE, each with its own DRIVE and its own tone (pushed lows, a mid lift, pushed highs, a mid dip). Switch any of them in and move them along the stack with the arrow keys: the same stages sound different in a different order. GUARD tames hot sources, MIX gives parallel compression, and DRIFT moves each stage in its own way.

• 4 preamp stages in any order
• GUARD for hot sources
• 1x / 2x / 4x OS
• 12 presets

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Heft Bus compressor

The stepped stereo VCA bus compressor with TWIN PREAMPS in front of it: the signal splits at SPLIT (110 Hz - 1.1 kHz) and the lows and highs each run through their own preamp - IRON, TRANSISTOR, SOLID STATE or VALVE - with their own DRIVE. TILT leans it darker or brighter before the compressor. PUSH, NEW / OLD, LINK with LINK FILTER, MIX, OS, BYPASS, and a DRIFT of preamp heat and comp timing.

• Twin preamps: low + high band
• 4 models per band
• TILT before the comp
• Stepped controls, PUSH
• 13 presets

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ACC24 Auto compressor

The Stable ACC24, in the spirit of the mid-80s British rackmount auto-compressors: attack and release that follow the music (one AUTO key), make-up gain and a fast peak limiter, with no latency. This Lab version adds a CHARACTER dial. Towards PUNCH, the front of each hit gets through and the gain is back before the next one. Towards GLUE, it eases in gently, ignores the deep bass and holds a bus or a mix together. In the centre it is the Stable ACC24 exactly. THICK, parallel MIX, a DRIFT key and a click-free BYPASS.

• PUNCH / GLUE dial
• One AUTO key
• Peak limiter
• 14 presets

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GLU34 Bus compressor

The Stable GLU34 bus compressor, in the spirit of the classic British console bus compressor: stepped threshold, ratio, attack and release with a two-stage AUTO release, a sidechain high-pass, a stereo external key, parallel MIX and VCA DRIVE from clean to console grit. This Lab version adds Sifon's COLOUR after it: LOW adds weight, HIGH adds sheen and air, each with its own TEXTURE, WIDTH and a dynamic DIP key, and a SOLO key to hear them. VCA DRIVE and COLOUR are oversampled 1x / 2x / 4x, and the gain-reduction meter is lit from behind in blue.

• Console bus compressor
• LOW / HIGH colour with DIP keys
• 1x / 2x / 4x OS
• Blue backlit meter
• 12 presets

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SUP34 Channel strip with HEAT

The 34-series strip with HEAT: HEAT, beside DRV in the preamp, lets the compressor's gain reduction push the DRV stage, so the harmonics rise as it works harder while the level is made up. It is a tight drive: the lows skip it and stay solid, the mids and highs take the colour. A lamp glows amber, then red past 9 dB. DETECTOR is a menu of PEAK, RMS and RMS SLOW. An OS key oversamples the DRV and HEAT stage, and DRIFT breathes its supply.

• HEAT: harmonics follow the compression
• PEAK / RMS / RMS SLOW
• OS key
• Six new presets

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Cherwell De-Esser De-esser with a harshness band

The Cherwell de-esser with a second section, HARSHNESS: its own detector and dynamic bell for the hard 2 - 5 kHz edge, with FREQ, WIDTH, THRESH, RANGE, RELEASE and LISTEN. It is slower and gentler than the sibilance band, so it rides shouty notes and leaves single consonants to SIBILANCE. Switch each section in with its title lamp. Zero latency, no drift.

• HARSHNESS band, 1.1 - 8.8 kHz
• Own threshold, range and LISTEN
• House BYPASS key
• 18 presets

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EQ & filters1

C2E Console EQ

The Stable C2E, a 70s British broadcast-console EQ (input iron, HPF / LPF, four proportional-Q bands), with mid / side on every band - each works on STEREO, MID or SIDE - and two dynamic bands: HMF for tracks and LMF for the mix buss, each moving only when its frequency gets loud. One DEPTH dial sets how low it reacts and how far it moves. OUTPUT dial and a click-free BYPASS; with every band on STEREO and DYN off it sounds exactly like the Stable C2E.

• M / S per band
• Dynamic HMF and LMF
• One-dial DEPTH
• Console iron + DRIFT
• 11 presets

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Summing2

SUM DR2 Summing mixer

The 16-channel active summing mixer, in the spirit of the modern two-bus summing boxes, with a COLOUR SEND on every stereo pair: each stem feeds as much as you like to HARMONICS (odd and even harmonics) and PARALLEL LIMIT (a gritty limiter blended beside the dry mix), and the colour comes back beside the untouched stems with no delay, so nothing combs. Glowing BLEND and IRON dials, an L / R LED meter in the channels' colours, MONO per pair, and a BYPASS that crossfades to the plain sum. No drift.

• Colour send per stem
• Harmonics + parallel limit
• Output iron
• Click-free bypass
• 11 presets

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RON16 Summing mixer

A 16-channel summing mixer that gives each stem its own room. It listens to all eight stereo pairs at once: UNMASK lets the less important stem step back a little where two collide in a band (judged over 900 ms), TRANSIENT lets hits speak first, and DEPTH sets BACK stems further away. FRONT / MID / BACK per pair, FOCUS to make the room in the middle or at the sides, and a ROOM MAP showing who makes room where. Names, SOLO / MUTE, MONO and NUDGE (3 ms steps) on every strip, and FAST for a quicker release. Clean unless you engage TONE (Sifon's LOW / HIGH TEXTURE with DIP 220 / 3K, OS). MATCH keeps the level; BYPASS goes to the plain sum. Zero latency unless a pair is nudged earlier; no drift.

• Makes room by frequency, time and depth
• ROOM MAP
• FRONT / MID / BACK + FOCUS
• Names, SOLO / MUTE, NUDGE
• FAST release
• 7 presets

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Mastering4

RMS 201 Mastering limiter

A mastering compressor and true-peak limiter in the spirit of a classic 1970s broadcast limiter that listened to the average (RMS) level: smooth, programme-led control with a musical knee. The detector has a sidechain high-pass (20 - 300 Hz) and a Mid / Side balance; TILT COMP spares the top end when the bass is driving the compression, so a loud master stays open; AUTO gives a release that follows the music. A 1.5 ms look-ahead true-peak limiter, then TAPE, TUBE or DIODE colour (oversampled 1x / 2x / 4x, level-matched) with a ceiling stage after it. LINK, L / R meters, a live transfer curve and its own click-free BYPASS.

• RMS detector
• TILT COMP
• Adaptive AUTO release
• True-peak limiter
• Tape / Tube / Diode colour
• 12 presets

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Sifon Bus compressor

A bus compressor in the spirit of a transformer-coupled master-bus processor. Feed-forward or feedback detection (peak or RMS), AUTO release, a sidechain high-pass and BLEND for parallel, working on L / R or M / S with LINK. Transformer IRON is always in; LOW and HIGH COLOUR add harmonics, each with its own TEXTURE and WIDTH, DIP keys (220 Hz / 3 kHz) that tame the low mids and harshness dynamically, and a SOLO key to hear them, oversampled 1x / 2x / 4x. A stereo field section (WIDTH, DEPTH, SIDE HPF) and a limiter last: zero latency or a true-peak brickwall. Its own BYPASS crossfades, so comparing never clicks.

• Feed-forward / feedback, peak / RMS
• LOW / HIGH colour with DIP keys
• Stereo field
• Brickwall limiter
• Click-free bypass
• 11 presets

gfx-lab-sifon.jsfxManual PDFDownload+ system files

Cherwell Lift Band-split loudness enhancer

The Cherwell Lift inflator with BAND CURVES: with BAND SPLIT on, the lows, mids and highs each get their own LIFT and CURVE, so the low end can be fattened hard while the top stays gentle. Two movable splits with readouts (x10 makes the upper one follow the lower), SOLO per band, and the summed bands held at 0 dBFS. At its defaults it sounds exactly like the Stable Lift. Oversampled 1x / 2x / 4x, and its own BYPASS crossfades, so comparing never clicks.

• A Lift curve per band
• Movable splits + x10
• SOLO per band
• 1x / 2x / 4x OS
• Click-free bypass
• 15 presets

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UMX-2 Mastering maximiser

The two-fader UMX-2 maximiser (1.5 ms lookahead brickwall, ARC auto release, true peak, IDR dither and noise shaping) with TRANSIENT KEEP: a second, very fast limiter takes the tip off each drum hit on its own, so the mix isn't ducked by the hits and the drums keep their snap at the same ceiling. At 0 % it sounds exactly like the Stable UMX-2. ATTEN meters L and R (mint shows KEEP at work), and its own BYPASS crossfades, so comparing never clicks.

• TRANSIENT KEEP
• No pumping on drum hits
• True-peak brickwall
• IDR dither + shaping
• Click-free bypass
• 11 presets

gfx-lab-umx-2.jsfxManual PDFDownload+ system files