Every effect

A bitcrusher that roughens your sound by lowering its sample rate.

A trigger-based pitch shift that moves all your pads up or down.

A comb filter with a delay time you control.

Ring modulation at a speed you control.

A stereo reverb that opens up as you go higher.

A beat repeat locked to your song’s tempo.

A threshold gate that decides how loud a sound must be for you to hear it.

Resonant high-pass and low-pass filters, one on each side of the middle.

A gate locked to your song’s tempo, which mutes the sound in rhythm.

A reverse effect with a time you control.

A dub delay whose time and feedback change together.

A stereo delay with a length you control.

A talkbox effect that gives your sound vowel shapes.

A flanger and a wobble effect sharing one bar.

An overdrive.

A one-control compressor that ducks your sound harder at higher settings.

Turns down the loud parts so that the level sits more evenly, and its timing controls can also change how transients come through.

Slices peaks flat, to add loudness and bite or to stop them before they reach a limiter.

A lookahead limiter meant for mastering, which holds down the peaks of a finished mix.

Silences a signal whenever it drops under the level you choose.

A sidechain compressor, where the level of a second signal, the source, decides how far the channel’s volume is pulled down.

A parametric EQ with three bands, for shaping the tone of a channel.

A filter with several types, which your input level or an LFO can set in motion.

Keeps one band of frequencies and removes everything either side of it.

Takes away the frequencies above a point you choose.

Takes away the frequencies below a point you choose.

Three separate band levels in the style of a DJ mixer, each of which can vanish completely or sit at full level.

An echo with its own filter, which you can lock to your song’s tempo.

An echo modelled on analogue tape loops, with a wobble you can adjust.

A no-frills reverb with just a few controls.

A plate-style reverb, whose tail is bright and thick.

A traditional chorus, which makes a sound wider and thicker.

The sweeping, jet-like sound of a flanger.

A swirling phaser, with a choice of how many stages it uses.

Moves a sound around the stereo field, at a free speed or locked to your tempo.

A ring modulator with an LFO of its own, which you can lock to your tempo.

Works in the frequency domain to move a signal up or down by as much as an octave.

Digital damage from lowering the sample rate and bit depth, with jitter you can adjust.

Simple distortion, made by waveshaping.

The wandering pitch of a turntable or a cassette, recreated.

Gives a pad or synth the contours of speech, using a voice signal as the modulator.

A handy set of mixing helpers, for choosing channels, setting gain and flipping phase.

Reads out peak, RMS and LUFS levels as low as -90 dB, plus a spectrum and a waveform, at any point in a chain.

Tunes an instrument from the signal on its channel, with nothing to set.

Puts your microphone’s signal straight onto a mixer channel.

A signal generator. Use it to test your setup, or to give the vocoder and sidechain something to work on.

Spreads a mono signal into wide stereo, and leaves the bass in the middle.

Cuts the picture into turning strips, so it looks like a window blind.

Breaks the picture into circular bands that turn against each other.

Keeps the picture zooming, turning and warping all at once, without a pause.

Keeps the picture zooming without end, with the centre as its anchor.

Bends the picture out of shape.

Gives the picture interlaced lines, the look you’d associate with a CCTV monitor.

Blends a kaleidoscope with psychedelic visuals.

Makes the picture break up like a malfunctioning computer screen.

Separates the picture into red, green and blue layers and slides them over each other.

Reflects the picture around its centre into two moving halves.

Rolls the picture along in one direction, forever.

Leaves the picture still, with nothing moving it.