Multiband saturator and adaptive peak clipper. The clipper pre-filters before the soft-clip curve and restores highs afterwards, so it gains loudness on a master bus without the foldback fizz most clippers leave behind. For mix-bus loudness and drum bus glue.

Ten-band parametric EQ with eight parametric bands plus dedicated HP and LP filters, ±18 dB, oversampled, low latency. A workhorse for mixing and corrective work when you'd rather have ten bands on one screen than reach for three plugins.

A complete one-window mastering chain modelled on the TC Finalizer: input, de-esser, gate, three-band multiband compressor, five-band parametric EQ, look-ahead brick-wall limiter and soft clipper in a fixed serial order, all oversampled with auto-makeup gain per the original spec. Ships with 30 TC Finalizer-inspired factory presets and every parameter is DAW-automatable. For getting a mix to finished loudness in one plugin instead of stacking six.

The Alesis 3630 (the $99 compressor on every late-90s French house record) without the noise floor or the digital nasties. It's the same pump with a cleaner output. For producers who want that specific bus-pump character and don't want to pretend the 3630 wasn't where it came from.

Dub delay with a filter inside the feedback loop, so each repeat is darker, brighter, or narrower than the last. Crank the feedback through a band-pass and it falls into spring-tank territory; back it off and it's a clean dotted-eighth. For dub, dance, and anyone who finds stock DAW delays too tidy.

The original 1962 Schroeder reverb algorithm, the one every digital reverb descends from, running on modern oversampling so it doesn't alias the way the 80s units did. Two knobs: mix in percent, decay in seconds. For people who'd rather pick a tail length than navigate a 40-parameter algorithmic reverb.

Eight views in one window, picked from a menu: an oscilloscope rendered with the actual phosphor decay of a CRT in linear and circular modes, the Flurry particle mode, a log-frequency spectrum analyser, a mel-scale spectrogram, an octave-band LED equalizer, a 3D spectrum waterfall you can rotate, and Semaphore, three lamps driven by lows, mids and highs. Analysis, livestream visuals and phase checks without loading three separate plugins.

Four-band compressor with a Lock control that ties parameters across bands, so you can dial in one band's attack and release and snap the rest to it instead of setting twelve knobs by hand. Per-band solo for setup. For mastering and bus work where the usual multiband interface is the bottleneck.