Utilities

Cut what is in the way and lift what matters.

An EQ turns chosen frequency ranges up or down. It is usually the first place to go when something sounds muddy, harsh or thin.

• Clearing low rumble out of a track
• Taming a harsh or boxy area
• Making room between two similar sounds

In development. The drawing shows what the tool does, not the final plugin.

Trim or boost a signal without colouring it.

Gain changes how loud a signal is and nothing else. It sounds simple, but getting levels right early makes everything after it behave better.

• Setting a sensible level before other plugins
• Matching the level of two takes
• Comparing a sound before and after processing, at equal loudness

In development. The drawing shows what the tool does, not the final plugin.

Fix phase problems between sources.

A polarity flip turns the waveform upside down. On its own it sounds the same, but it matters as soon as two signals of the same source are combined.

• Top and bottom microphones on a snare
• A direct bass signal with a bass amp microphone
• Layered drum samples that sound thin together

In development. The drawing shows what the tool does, not the final plugin.

Clear DC offset to protect your headroom.

DC offset means a waveform sits above or below the centre line. You can't hear it directly, but it still costs you headroom and can cause clicks at edits.

• A waveform that looks off-centre
• Clicks where you cut or fade audio
• Tracks that some saturation has pushed off-centre

In development. The drawing shows what the tool does, not the final plugin.