01
Init
All defaults. No drive, no FX, Sub mono on. A clean 4-band pass-through to build your own mangle from scratch.
Audubon · Plugins
KEA-001
·
v1.4.0
Multiband Mangler
Kea.
Split it. Mangle it. Keep the sub.
A 4-band neuro splitter for reese and neurofunk bass. Linkwitz-Riley crossovers carve the signal into Sub / Low / Mid / High, then each band gets its own drive curve and TWO serial Color FX slots — frequency shift, key-snapped comb, formants, filter, chorus, bitcrush, spectral smear, disperser, phaser — stacked in any pair, with an envelope follower and control-rate LFOs moving it all. The Sub band is locked clean by design, so the low end can't be ruined.
Under development · v1.4.0
$39
01 — Overview
Brutalize the mids.
Structurally protect the sub.
Kea splits the incoming signal into four bands with Linkwitz-Riley crossovers, then hands each band its own set of mangling tools — a Jackdaw-lineage drive stage plus two serial Color FX slots, a one-knob Squash compressor, and modulation from a tempo-locked LFO and a level-invariant envelope follower. The Sub band is deliberately locked to clean processing only: mono, level, a gentle warm, and a level-only LFO for rhythmic ducking. That's the differentiator versus a general-purpose multiband rack — your low end cannot be destroyed no matter how hard you drive the top three bands.
The neuro splitter — split the bass, mangle the mids, and keep the sub clean by construction.
Three draggable crossover handles set the Sub / Low / Mid / High boundaries. Each of the Low, Mid and High strips carries a drive curve (Soft through Density), two serial Color FX slots (A into B) with nine selectable architectures each, a one-knob Squash compressor, a mid/side Width control, a Level trim, a tempo-syncable control-rate LFO, and an envelope follower that makes patches react to the note. Global Input, Output, Mix, an output Clip pill, and a global Key that snaps the comb's tuning into your track round it out. The band sum is phase-accurate to ±0.0000 dB thanks to allpass sum compensation on the cascaded splits — and every drive stage carries measured auto-gain, so hot settings change timbre, not level.
02 — The Engine
A 4-band split that sums flat.
Kea uses cascaded Linkwitz-Riley (LR4, 24 dB/oct) crossovers at three user-set frequencies to carve Sub / Low / Mid / High. Cascaded LR4 splits don't sum flat on their own — lower bands pass through allpass copies of every crossover above them — so Kea applies matching allpass compensation to the Sub band and to the dry path. The band sum reconstructs the input to ±0.0000 dB (−309 dB dry-null in the sim).
Four Bands, Three Splits
Sub Split (40–250 Hz, default 120), Low Split (150–1500 Hz, default 500), and High Split (800–8000 Hz, default 2500) set the four band edges. Drag the handles directly on the spectrum analyzer. The processor enforces at least a half-octave gap between adjacent splits at runtime, so the crossovers can never cross or collapse.
Allpass Sum Compensation
Each LR4 split introduces an allpass phase shift on the bands below it. Kea passes the Sub band through the same AP@Low and AP@High stages, and phase-matches the dry copy identically, so that Sub + Low + Mid + High reconstructs the source exactly. At 100% Mix with no processing, the output is bit-transparent within the numerical floor.
Zero Latency · HQ 4×
At default settings the whole plugin is zero-latency — every stage is IIR or antiderivative-antialiased (ADAA) drive. Toggle HQ 4× to wrap each strip's drive stage in 4× FIR oversampling (linear phase, integer latency); the Fold and Sine curves arm it automatically (they're the only two that stay dirty at 1×). The spectral Curlew FX carries its own fixed latency when engaged. Every path is delay-aligned and the total is host-reported via PDC.
Sub Locked Clean
The Sub band has no drive types, no FX and no width — only Level, Mono (default on), Mute/Solo, a gentle Warm (Tube ADAA, with measured makeup so engaging it never ducks the level), and a tempo-syncable LFO routed to LEVEL only for rhythmic sub ducking: motion, never color. It guarantees the foundation of a bass patch stays tight and centred while the upper bands get mangled into a reese.
03 — Drive Curves
Seven saturation shapes, per band.
Each of the Low, Mid and High strips has a Drive Type selector and a Drive amount (0–100%). The seven curves are ported verbatim from Jackdaw's validated ADAA shaper set — antiderivative-antialiased at 1× so they stay clean even before HQ oversampling, and each type carries its own measured auto-gain so cranking Drive changes timbre, not loudness. Fold and Sine automatically arm the 4× stage. Set the type, then push Drive to taste. At 0% or type Off the stage is bypassed — and the envelope follower can open a closed Drive knob on the loud notes.
A — Soft / Tube
Warm & Even
Soft is a smooth symmetric saturator — gentle rounding for glue and thickness. Tube adds even-harmonic asymmetry for a warmer, valve-like character. Both are the mildest curves; good for the Low band where you want body without harsh edges.
B — Diode / Fold / Sine
Aggressive & West-Coast
Diode is a rectifier-style asymmetric clip with buzz and grit. Fold is a wavefolder that generates dense upper harmonics as drive rises. Sine wraps the signal through a sine shaper for metallic, ring-mod-adjacent tones. These are the mid-band mangling curves for reese growl.
C — Hard / Density
Clip & Compress
Hard is a firm clip for square-edged aggression and loudness. Density is a program-dependent saturation that thickens transients and fills the sound — the go-to for a dense, wall-of-sound neuro mid. Pair with the High band's Color FX for the classic snarl.
04 — Color FX Architectures
Two serial slots, nine ways to mangle.
After the drive stage, each of the Low / Mid / High strips has TWO Color FX slots run strictly in series — A into B, switched by a compact tab pair on the strip. Load any of nine architectures in either slot and stack them: Shift into Phaser for barber-pole notches, Formant into Comb for talking metal, Curlew into Crush for smeared grit. The same three macro knobs (P1 / P2 / P3) re-label and re-scale to fit whichever is loaded, and every level-active stage carries measured auto-gain. The UI display mirrors the DSP maths exactly, so the readouts never lie.
Shift — Frequency Shifter
A Hilbert-based single-sideband frequency shifter (new, sim-gated DSP; 44–117 dB sideband rejection). P1 Shift is log-symmetric ±200 Hz — fine near zero for the ±1–20 Hz growl/beat zone. P2 Feedback (0–95%) creates a barber-pole cascade. P3 Mix.
Comb — Key-Snapped
A tuned comb resonator from Shrike. P1 Tune spans 40–2000 Hz and snaps to the global Key's octave+fifth grid when Key is set. P2 Feedback is bipolar ±95% (positive/negative comb). P3 Damp rolls off the resonant top.
Formant — Vowel Morph
Starling's tenor formant tables (F1–F3). P1 morphs the vowel continuously A → E → I → O → U. P2 Resonance sharpens the peaks for a stronger "talking" quality. P3 Mix. The classic talking-reese and vowel-wobble source.
Filter — Morphing SVF
A state-variable filter with a continuous response morph. P1 Cutoff spans 40 Hz–12 kHz (log). P2 Resonance is Q 0.5–20 — screech territory, kept usable by per-response resonance normalisation (measured, not guessed). P3 Morph sweeps the response LP → BP → HP. Stable under slammed LFO modulation.
Chorus — Pan-Distributed
A three-tap chorus whose voices are distributed across the stereo field (measured mono-extra ≤ 5 dB, so it stays bass-safe). P1 Rate 0.05–8 Hz (log). P2 Depth 0–1.2 ms. P3 Mix. Adds motion and width without collapsing in mono.
Crush — Bit & Rate
A bitcrusher plus sample-rate reducer. P1 Bits sweeps 16 → 3 bit. P2 Down is a 1× → 32× downsample. P3 Mix. Dial in digital grit and aliasing on the High band for a crushed-air topping over a clean sub.
Curlew — Spectral Smear
Curlew's 1024-point spectral frame delay, per band. A seeded random walk (BRN = liquid smear, SMP = blocky chops, RESET = flat) delays each frequency bin by a different amount. P1 Amount, P2 Preshift slides the band's bins EARLY — automatable, because the latency is constant. Walks recall deterministically in presets and sessions.
Snipe — Disperser
A 64-stage allpass cascade from Snipe — the frequency-dependent delay that turns transients into laser zips. P1 Stages sweeps 0–64 continuously (fractional stages crossfade in click-free). P2 Freq centers the dispersion 20 Hz–20 kHz. P3 Pinch focuses it. Double-precision state, so low-end zips stay clean.
Phaser — Swept Notches
Six staggered allpasses with positive feedback — the classic neuro notch comb. P1 Center 60 Hz–8 kHz, P2 Feedback 0–90% for resonant screech between the notches, P3 Mix. No internal LFO on purpose: point the band LFO or envelope follower at P1 and the macro architecture does the sweeping.
05 — Key & Modulation
In-key resonance and per-band motion.
Three systems keep Kea musical. The global Key snaps the comb resonator to your track's root without a pitch tracker. Each upper band carries its own tempo-syncable control-rate LFO — the flame-coloured motion accent. And each band has an envelope follower that tracks the note's shape, not the gain staging, so patches react to what you play at any level.
A — Key
Global Key Snap
Set Key to Off or any root C…B. When active, the Comb FX's Tune snaps to the root's octave-and-fifth grid — the power-chord definition of "in key" — so metallic comb resonances always land in the track's key. No pitch tracker, no sidechain; it's a deterministic grid snap. The knob readout shows the resulting note name when Key is on.
B — LFO
Control-Rate Per-Band LFO
Each of Low / Mid / High has one LFO with six shapes — Sine, Tri, Saw Up, Saw Dn, Square, S&H — evaluated at CONTROL RATE (every 32 samples), so a 1/32 chop at 174 BPM traces ~64 points per cycle and keeps its shape. Sync (default on) locks to host tempo across 12 divisions (4/1 down to 1/8T); Sync off gives a free 0.02–20 Hz Rate. Route it to FX P1, FX P2, Level, or Width — Level and Width only dip, never boost, so modulation stays safe. The Sub has its own level-only LFO for rhythmic ducking.
C — Env
Envelope Follower
A per-band follower normalised against its own slow reference — LEVEL-INVARIANT, so the same patch growls the same at −30 dB as at −6 dB. Bipolar Depth (±100%): positive opens the target with the note, negative squashes it. Seven targets: FX P1/P2 (slot A), Level, Width, Drive — env-to-Drive rides the saturation with your playing — plus FX B P1/P2 to sweep the second slot. The acid env dot on the strip header lights as it tracks.
06 — Controls
Every parameter, grouped.
Master and global controls, the locked-clean Sub band, and the identical Low / Mid / High strips. Ranges and defaults below trace directly to the plugin's parameter layout.
Input
−24 to +24 dB · def 0
Input trim applied before the split, with a live In meter. Use it to drive the saturation stages harder or to match gain into the plugin.
Output
−24 to +24 dB · def 0
Final output trim after the dry/wet blend, with a live Out meter. Compensate for level changes from driving and Color FX.
Mix
0 – 100% · def 100
Global dry/wet between the phase-matched dry path and the summed wet bands. The dry copy is allpass-matched, so any blend stays phase-coherent.
Key
Off / C … B · def Off
Global root. Snaps the Comb FX's tune to the root's octave+fifth grid. Off = free-running comb tuning.
Sub Split
40 – 250 Hz · def 120
Crossover between the Sub and Low bands. Drag the leftmost handle on the analyzer. Everything below stays locked clean.
Low Split
150 – 1500 Hz · def 500
Crossover between the Low and Mid bands. Kept at least a half-octave above Sub Split at runtime.
High Split
800 – 8000 Hz · def 2500
Crossover between the Mid and High bands. Kept at least a half-octave above Low Split at runtime.
HQ 4×
On / Off · def Off
Wraps each drive stage in 4× FIR oversampling for lower aliasing on heavy drive. Adds host-reported latency. Off = zero latency.
Sub Level
−12 to +12 dB · def 0
Level trim for the Sub band. The only tonal shaping the sub gets besides Warm — no drive, no FX.
Sub Warm
0 – 100% · def 0
A gentle Tube (ADAA) saturation on the sub only, DC-blocked. Adds subtle harmonic weight without breaking the low end.
Sub Mono
On / Off · def On
Sums the Sub band to mono. On by default for a centred, phase-solid foundation. Turn off to preserve stereo sub content.
Mute / Solo
per band · def Off
Every band (Sub included) has click-free Mute and Solo. Solo on any band auditions it in isolation; multiple solos stack.
Drive Type
Off · Soft · Tube · Diode · Fold · Sine · Hard · Density
Per-band saturation curve (Low / Mid / High). Eight choices including Off. See section 03 for character.
Drive
0 – 100% · def 0
Drive amount into the selected curve. 0% or type Off = bypassed. Drive scales both pre-gain and harmonic density.
Color FX A / B
Off · Shift · Comb · Formant · Filter · Chorus · Crush · Curlew · Snipe · Phaser
Two serial effect slots per band, switched by the A/B tabs — the signal runs A into B. Each slot loads any of the nine architectures; an engaged dot on the tab shows a slot is live. See section 04.
FX P1 / P2 / P3
0 – 100% · def 50 / 25 / 100 · per slot
The three macros of each Color FX slot. Their meaning (e.g. Shift/Feedback/Mix, or Cutoff/Reso/Morph) depends on the loaded type. With Curlew loaded, P3's spot becomes the Walk buttons: BRN and SMP deal fresh random delay curves, RESET flattens.
Squash
0 – 100% · def 0
One-knob upward+downward compression toward the band's OWN running average — the OTT feel, level-invariant by construction. No threshold to set; makeup is structural. 0% is bit-inert.
Env Depth
−100 to +100% · def 0
Bipolar envelope-follower amount. Positive: quiet parts pull the target down (gate-shaped). Negative: loud parts pull it down (squash-shaped). The follower is level-invariant — same response at any gain staging.
Env Target
FX P1 · FX P2 · Level · Width · Drive · FX B P1 · FX B P2
Destination for the envelope follower. Drive lets the note open the saturation stage; the FX B targets sweep the second slot's macros — a phaser in B swept by your playing.
Clip
On / Off · def Off
Global output soft clip after the Output trim: parabolic knee, bit-transparent below 0.75, exact 0 dBFS ceiling. No true-peak lookahead — loudness-first by design.
Width
0 – 200% · def 100
Mid/side width for the band. 0% = mono, 100% = unchanged, 200% = maximum side. Per band on Low / Mid / High only.
Level
−12 to +12 dB · def 0
Per-band output trim after drive, FX and width. Balance the mangled bands against the clean sub.
LFO Shape
Sine · Tri · Saw Up · Saw Dn · Square · S&H
The band's modulation waveform. Six shapes. S&H gives stepped random movement for glitchy wobbles.
LFO Rate / Sync
0.02–20 Hz · Sync def On (1/4)
Sync on locks to tempo across 12 divisions (4/1 … 1/8T, default 1/4). Sync off exposes a free-running Hz Rate knob.
LFO Depth
0 – 100% · def 0
Modulation amount for the band's LFO. 0% = no movement (the LFO dot stays dark). Raise to introduce wobble.
LFO Target
FX P1 · FX P2 · Level · Width
Destination for the LFO. FX P1/P2 wobble the current Color FX macros; Level and Width only dip (never boost).
LFO Sync Rate
4/1 … 1/8T · def 1/4
Tempo division used when Sync is on. Twelve options including dotted (1/4., 1/8.) and triplet (1/4T, 1/8T).
LFO Sync
On / Off · def On
Chooses between the tempo-locked Sync Rate and the free-running Hz Rate. Toggling swaps which control is shown on the strip.
07 — Factory Presets
Sixteen neuro starting points.
Factory presets reset every parameter to default and then apply their overrides, so each is a clean, reproducible starting point. Crossover frequencies stay where you set them unless a preset explicitly moves them.
02
Reese Rotator
Tube Low, a mid frequency-shift whose feedback swells on the hits via the env follower, chorused wide High. The core rotating reese.
03
Talking Reese
Density Mid through a formant morph on a 1/2 LFO sweep, drive opened by the note (env → Drive), crushed air on top.
04
Env Growl
The follower showcase: the vowel morph rides the note's envelope, so the growl follows your playing. Warm sub, wide chorus top.
05
Metal Neck
Tube-driven Low into a key-snapped comb, plus a crushed High. Metallic, resonant, aggressive.
06
Neuro Roller
Density Mid through a 1/8 motion filter, squashed for glue on both low bands. The rolling neurofunk workhorse.
07
Wobble 1/16
Tight dual-band 1/16 filter wub — the control-rate LFO flex. Low and Mid wobble in lockstep, squashed, crushed top.
08
Phase Roller
The phaser at work: 1/4-swept resonant notches over squashed tube lows. Swirling, vocal, rolling.
09
Stacked Growl
The two-slot showcase: a frequency-shift growl runs INTO a phaser, the env follower sweeping the phaser's center with the note.
10
Hoover Carve
Soft-driven Mid through a morphing filter at screech Q with a saw-down LFO synced to 1/1. Classic hoover sweep motion.
11
Clean Sub Wide Top
No drive or FX — just progressively wider Low, Mid and High bands over a mono sub. A pure stereo-shaping tool.
12
Growl Stack
Tube Low, a mid downshift whose feedback breathes with the input, chorused wide High. Stacked growl with movement up top.
13
Crushed Air
Heavy bitcrush and width on the High with the env ducking the blasts, a subtle chorus on the Mid. Digital sparkle over a clean foundation.
14
Pump Sub 1/4
The sub LFO ducking level on 1/4 saw — sidechain pump with no sidechain — over lightly driven, env-tamed lows.
15
Vowel Chops
A square 1/8 LFO gating the vowel morph — chopped talking bass, click-free thanks to the smoothed control path.
16
Full Mangle
Everything on: warm sub, diode Low + comb, density Mid + shift stacked into a B-slot phaser with env-driven drive and squash, disperser High. Maximum destruction.
08 — Workflow
How to use it.
01
Set your crossovers. Drop Kea on a bass channel or bus. Drag the three handles on the analyzer so the Sub band captures your fundamental (around 120 Hz is default), the Low holds the body, and the Mid/High carry the growl and air. The half-octave gap enforcement keeps the splits sane.
02
Protect the sub. Leave Sub Mono on and keep Sub drive-free — that's the whole point. If you want a touch of weight, add a little Warm. Solo the Sub to confirm it's clean and centred before you start mangling the top.
03
Drive the mids. On the Mid band, pick a Drive Type — Density or Fold for reese growl, Tube for warmth — and push Drive. Solo the band to hear it, then unmute the rest to place it in the stack. Add Low drive sparingly to keep the transition to the sub smooth.
04
Add Color FX — then stack. Load an architecture in slot A: Formant on the Mid for talking reese, Comb (set a Key first) for metallic resonance, Filter for sweeps, Crush on the High for digital air. Then hit the B tab and stack a second one in series — Shift into Phaser is the classic barber-notch move. Tune P1/P2/P3 per slot — the readouts show real units.
05
Bring it to life. On the moving band, set an LFO Shape, keep Sync on and pick a division (1/8 or 1/16 for fast wobble — the control-rate engine keeps the shape), then raise Depth and route the Target to FX P1. Now add the env follower: positive Env into FX P1 or Drive makes the patch react to every note. Squash glues it. The flame and acid dots confirm both are running.
06
Balance and blend. Level-match each band against the clean sub, use per-band Width for the stereo picture, then set global Output to match bypass. Use Mix for parallel mangling, or automate it for drops. Save the result as a user preset.
09 — Specifications
Everything, on one page.
Bands
4 — Sub / Low / Mid / High · cascaded LR4 (24 dB/oct) with allpass sum compensation
Sub Split
40 – 250 Hz · default 120 Hz
Low Split
150 – 1500 Hz · default 500 Hz
High Split
800 – 8000 Hz · default 2500 Hz · ≥ half-octave gap enforced
Input / Output
−24 to +24 dB each · default 0 dB · live In/Out meters
Mix
0 – 100% · default 100% · phase-matched dry path
Key
Off / C … B · snaps the Comb FX tune to root octave+fifth grid
HQ 4×
Off by default · 4× FIR (linear phase) oversampling on drive stages
Sub band
Locked clean — Level ±12 dB · Warm 0–100% (Tube ADAA) · Mono (def on) · Mute/Solo
Drive (per band)
Off / Soft / Tube / Diode / Fold / Sine / Hard / Density · Drive 0–100% (def 0) · measured per-type auto-gain · Fold/Sine auto-arm 4×
Color FX (per band)
2 serial slots (A → B) · Off / Shift / Comb / Formant / Filter / Chorus / Crush / Curlew / Snipe / Phaser · P1/P2/P3 macros per slot (def 50/25/100%) · Curlew walk pair (seed + Brown/Simple) per slot
Squash (per band)
0–100% (def 0) · up+down comp toward the band's own average · level-invariant · knob-0 bit-inert
Width / Level (per band)
Width 0–200% (def 100) · Level ±12 dB (def 0) · Mute/Solo
LFO (per band)
Control-rate (32-sample ticks) · 6 shapes · Sync (def on, 12 divisions, def 1/4) or free 0.02–20 Hz · Depth 0–100% · Target FX P1/P2/Level/Width · Sub: level-only LFO
Env follower (per band)
Level-invariant (fast/slow-normalised) · Depth ±100% (def 0) · Target FX P1/P2/Level/Width/Drive/FX B P1/FX B P2
Output Clip
Off by default · parabolic knee soft clip · transparent < 0.75 · exact 0 dBFS ceiling
Latency
Zero at default · HQ 4× adds integer OS latency · Curlew adds 5120 smp per engaged strip-max (10240 if both slots) · all host-reported (PDC)
Format
VST3 · Windows 10 / 11 · macOS 10.13+ (Universal — Apple Silicon & Intel) · 64-bit
MIDI
None — audio effect only
Presets
16 factory · user presets saved to Documents (.keapreset)
Version
1.4.0
10 — Fine Print
Documentation.
Operating System
Windows 10 or 11 (64-bit) — the editor uses WebView2, which is built into Windows 11 and most current Windows 10 installs. macOS 10.13 High Sierra or later — one Universal build runs natively on both Apple Silicon and Intel Macs.
DAW
Any VST3-compatible host — Ableton Live, FL Studio, Bitwig, Reaper, Studio One, Cubase. Insert on any mono or stereo track; best on bass channels and buses. VST3 only — Logic Pro and GarageBand load Audio Units, not VST3, so they are not supported.
Latency
Zero at default settings. HQ 4× adds a small, integer oversampling latency that is reported to the host and compensated automatically via PDC.
Activation
No iLok, no dongle — activation is offline with the serial from your Members Area. Your download stays accessible in your Members Area.
Personal & Commercial Use
One licence covers all your personal and commercial productions. No royalties, no project restrictions.
Terms & Refunds
See the Terms of Service and Refund Policy for full details.
No Redistribution
You may not resell or redistribute the plugin binary. Source code is not included.
v1.4.0 — Update check, from the logo
The Audubon Audio wordmark in Kea’s header is now a button. Click it and Kea asks audubonaudio.com one question — which build is current — then shows that number beside the one you are running, with a link straight to the members area if there is something newer and a plain “you have the current version” if there is not. If it cannot reach us it says so rather than claiming you are up to date. This is the only moment Kea touches the internet, it happens only on that click, and nothing about you goes with it — no serial, no licence, no machine id, not even your version or operating system. The comparison happens on your own machine.
v1.4.0 — Disperse holds its level
Disperse eases its stages in continuously, and at any Amount between two whole stages the part-engaged stage was mixed in rather than run through. Mixing a signal with its own phase-rotated copy cancels instead of rotating, so a dip opened up centred exactly on Disperse's own frequency control — roughly 6 dB a quarter of the way between stages, and a total null half way. Because Amount spans 64 stages across one knob, almost every position sat somewhere in that dip, and it bit hardest on low-band settings where the notch landed on the fundamental. The part-engaged stage is now a true allpass that eases in by pole radius, so Amount changes group delay only and the band's level never moves.
v1.3.0 — FX Slot B
Every Low / Mid / High strip gains a second Color FX slot, strictly in series after the first — any of the nine architectures in either slot, switched by an A/B tab pair with engaged indicators. Envelope-follower targets extended to sweep slot B's P1/P2. Latency handling generalised so even a strip running Curlew in BOTH slots stays perfectly time-aligned and host-reported. New "Stacked Growl" preset; Full Mangle now stacks a phaser on the shift (16 factory presets).
v1.2.0 — Feels Alive
Control-rate modulation (LFOs tick every 32 samples — fast wobbles keep their shape). Per-band level-invariant envelope follower with bipolar depth onto FX P1/P2, Level, Width or Drive. Measured auto-gain across every drive type, the comb, filter resonance (Q ceiling raised to 20), formants and shifter. Phaser Color FX. Per-band Squash (one-knob OTT-style comp). Output Clip pill. Auto-4× for Fold/Sine. Presets rebuilt hot.
v1.1.0 — Spectral Pass
Curlew spectral frame-delay FX (seeded walk curves, automatable preshift, constant latency) and Snipe 64-stage disperser added to the Color FX list. Sub band gains a level-only tempo-syncable LFO for rhythmic ducking. Smoothed LFO-to-Level/Width paths. UI label and spacing rework.
v1.0.0 — Initial Release
4-band LR4 crossover with allpass sum compensation. Locked-clean Sub band (mono, warm, level). Per-band Jackdaw drive curves (Soft / Tube / Diode / Fold / Sine / Hard / Density, ADAA). Six Color FX architectures (Shift / Comb / Formant / Filter / Chorus / Crush). Global Key snap for the comb. Per-band tempo-syncable LFO with four targets. HQ 4× oversampling (off by default). Draggable crossover handles over a live spectrum analyzer. WebView2 UI.
Full User Guide
A step-by-step guide covering every control, the two serial Color FX slots and all nine architectures, the seven drive curves, the envelope follower and Squash, and workflow recipes (reese bass, talking neuro, stacked growl, clean-sub widener, crushed top).
Open User Guide →