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Processing and Effects Plug-ins

Channel Processing

Channel Strip

Channel Strip provides a full set of channel-processing facilities—including EQ, dynamics, and level—in a single plug-in. Insert Channel Strip on any mono or stereo track to cover basic processing needs quickly and efficiently.

Every section of Channel Strip processing offers multiple options:

  • Shape tone with both a low-cut filter and a three-band semi-parametric EQ
  • Manage dynamics with compression and expansion
  • ​Set output gain manually using the onboard Gain fader and output level meter—or let Channel Strip set gain automatically by matching the output-signal power to input signal power


  • One-knob compression and expansion
  • Variable frequency low-cut filter
  • Three-band semi-parametric EQ
  • Graphical EQ display
  • Output gain fader with metering
  • ​Automatic output gain control

Comes with Studio One Free, Artist, Producer, and Professional.

Fat Channel

The Fat Channel plug-in, introduced in Studio One 2.6, is a precise emulation of the PreSonus StudioLive™ 32.4.2AI digital mixer's distinctive Fat Channel processing section. This powerful channel-strip plug-in provides a 4-band fully parametric EQ with switchable shelving on the low and high bands, individual band on/off, and global EQ on/off; a full-featured, studio-grade compressor; a limiter with variable threshold; and an expander/gate with Key Listen and Key Filter. You also get a high-pass filter.


  • High-pass filter: -6 dB/oct., sweepable from Off to 1 kHz
  • Gate: Threshold: 0 to -84 dB; Attack: 0.02 to 500 ms; Release: 0.05 to 2 sec; Bandpass Key Filter: 40 Hz to 16 kHz; second-order resonant bandpass filter Q (0.7) with Key Listen function
  • Compressor: Threshold -56 to 0 dB; Ratio 1:1 to 14:1, LIM=∞:1; Attack 0.2 to 150 ms; Release 2.5 to 900 ms; Makeup Gain 0 to 28 dB; Soft Knee switch; Auto Mode with 10 ms Attack and 150 ms Release
  • 4-band fully parametric equalizer
    • Low EQ: sweepable from 36 Hz to 465 Hz, ±15 dB, switchable shelf or peaking
    • Low Mid EQ: sweepable from 90 Hz to 1.2 kHz, ±15 dB, variable Q 0.1 to 4.0
    • High Mid EQ: sweepable from 380 Hz to 5 kHz, ±15 dB, variable Q 0.1 to 4.0
    • High EQ: sweepable from 1.4 kHz to 18 kHz, ±15 dB, switchable shelf or peaking
  • ​Limiter: variable Threshold -28 dBfs to 0, ∞:1 Ratio

Comes with Studio One Artist, Producer, and Professional.


Pipeline provides a hardware insert for mono or stereo channels that makes using your outboard processors as easy as using a plug-in. It lets you make maximum use of your boutique compressors and EQs, 500-series rack modules, and vintage reverbs and effects boxes, with minimal effort.

Pipeline includes a complete toolkit to let you assign inputs and outputs on your interface to send and receive the channel signal, compensate for the small but significant latency (delay) that occurs when going from Studio One to "the outside world" and back, and match levels going to, and returning from, the processor.

The plug-in generates a test signal, displays the results of the signal's round trip through your outboard processor, allows you to determine and apply the appropriate compensation, and can store the settings so you never need to perform the procedure for that processor again.

Other DAWs force you to freeze a track using an external processor before you can do a mixdown. But when you export a mixdown in Studio One, the software detects the use of Pipeline and automatically does a real-time export that includes the outboard processing.


  • Enables easy integration of outboard processing
  • Adjustable send and return levels
  • Test signal generator and scope display for latency compensation
  • ​Stores presets to make setup a one-time process.

Comes with Studio One Professional.

Amplifier and Distortion Modeling

Ampire XT

Ampire XT is a full-featured modeling plug-in that boasts a wide range of amplifier models for guitar and bass, convolution-modeled speaker cabinets, up to three virtual microphones with variable positioning, and a complement of eight effects stompboxes.

Like any good guitar amp, Ampire XT has two independent channels that can be set to different sounds and switched between, manually or under automation control. Furthermore, the amp and speaker models are separately bypassable, allowing tricks like putting a synthesizer track through a speaker cabinet without adding amp distortion.

Eleven cabinet models aren’t enough for you? Ampire XT lets you supply your own impulse-response WAV files for custom cabinet emulation. Studio One's IR Maker plug-in (Go Pro) makes it easy for you to sample any cabinet—or, for that matter, pretty much anything that makes sound—and turn the recording into a cabinet model for Ampire XT. Sound design, anyone?

Beyond its primary use emulating guitar amplifiers and cabinets, Ampire XT is a great "grunge-ifying" processor for vocals, drums, or any other source that needs to be roughed up or harmonically enriched.


  • Independently selectable amplifier and cabinet models
  • 13 amplifier models
  • 11 speaker-cabinet models
  • Ability to add user impulse responses for custom speaker emulation
  • Two channels with different amplification and drive characteristics
  • Separate Drive, Bass, Mid, Treble, and Gain controls for each channel
  • Lockable input-trim control
  • ​Up to three virtual microphones with variable positioning

If you want to really dig into Ampire XT and IR Maker, check out this in-depth video.

RedlightDist™ (Free, Artist, Producer, Professional)

RedlightDist™ gives you a choice of six analog-distortion emulations. Tone-shaping tools include up to three distortion stages, high-cut and low-cut filters, separate Drive and Distortion controls, and a Mix control for parallel processing. Not to mention a spicy red neon-light logo. Redlight Dist also works very nicely as a dirty filterbank.


  • Six distortion models (Soft Tube, Hard Tube, Bad Tube, Transistor, Fuzz, OpAmp)
  • Up to three distortion stages in each model
  • High-cut and low-cut filters
  • Drive and Distortion controls
  • Wet/dry Mix control for onboard parallel processing
  • ​Red neon sign (important!)

Dynamics Processing

Compressor (Artist, Producer, Professional)

The Compressor plug-in carries on PreSonus's long legacy of great-sounding compressors. An rms-detecting processor supplements standard compression controls with continuously variable knee-shaping, onboard sidechain filtering, external sidechain input, curve and gain-reduction metering, automatic or adaptive release times, look-ahead, and automatic makeup gain.

The onboard sidechain includes high- and low-cut filters for frequency-sensitive compression effects. Alternatively, a signal from elsewhere in your Studio One Song can be injected into the sidechain for effects such as ducking.


  • Highly flexible rms compressor with musical PreSonus sound
  • Onboard two-band sidechain filter and sidechain Listen mode
  • External sidechain input
  • Variable knee shape
  • Auto makeup gain
  • ​Compression curve and gain-reduction metering

Expander (Artist, Producer, Professional)

Expander is a range-based downward expander with sidechain capability. Standard downward expanders decrease the gain of signals that are below the threshold, while leaving above-threshold signals untouched, thereby increasing dynamic range. (In contrast, compressors decrease the gain of signals that rise above the threshold.) Expanders are typically used in this fashion to decrease levels of unwanted noise or bleed or to restore dynamic range to an overly compressed signal.

Studio One's Expander operates in the standard way when its Range control is set to minimum, but as the Range control is raised, a second threshold appears. Only signals falling between the two thresholds are expanded; signals above or below the threshold are unchanged. The range can be made as narrow as desired, so that, in conjunction with the Threshold control, the Expander can be set to control only a selected portion of a signal's dynamic range.

The Expander includes the same sidechain arrangement as the Compressor: onboard high-and low-cut filtering or injection of a signal from elsewhere in the Song. 


  • Standard or range-based downward expansion
  • Internal sidechain filtering with low and high cut
  • External sidechain input
  • ​Look-ahead for greatest responsiveness

Gate (Artist, Producer, Professional)

Gate is a versatile noise gate with independent open and close thresholds for reducing chatter, onboard sidechain filtering for optimizing gating to reduce bleed, and the ability to generate a MIDI note whenever the gate opens.

Gating removes unwanted sounds by reducing or silencing signals that fall below a set threshold, but it can be tricky to set a gate to respond properly. When a signal being gated hovers near the threshold, the gate can erroneously open and close rapidly, an effect called "chatter." PreSonus Gate's separate open and close thresholds provide a mechanism for reducing this effect.

Bleed from sources near a gated microphone signal can also cause the gate to open at the wrong time. In many cases, especially with drums, filtering the sidechain to emphasize the dominant frequencies in the desired signal can help reduce improper opening of the gate due to signal bleed. For example, when gating a kick drum, applying a high-cut filter set as low as 100 Hz can make all the difference.

The Gate plug-in also features an external sidechain input for cross-synthesis effects like gating organ chords from the kick drum or tightening the kick and bass. Gate's ability to generate a MIDI trigger whenever the gate opens is a classic technique for drum replacement. Both the MIDI note being generated and its velocity can be set by the user.


  • Independent open and close thresholds
  • Onboard low-cut and high-cut filtering for internal sidechain
  • External sidechain input
  • ​Can generate a MIDI trigger when gate opens

Limiter (Artist, Producer, Professional)

Limiter gives you absolute level control via brickwall peak limiting. In addition to standard Threshold, Ceiling, and Release controls, Limiter also offers soft clipping, ITU/EBU True Peak limiting, and a choice of K-System or peak/rms metering. Limiter is perfect for preventing clipping on submixes or the master output and for maximizing gain on highly dynamic signals with large crest factors (peak-to-RMS ratios).


  • Brickwall peak limiting
  • K-System or peak/rms metering
  • ITU/EBU True Peak limiting
  • Soft clipping
  • ​Level and gain-reduction metering

Multiband Dynamics (Professional)

Multiband Dynamics is a powerful dynamics processor with five completely independent bands of compression or expansion, variable knee shape, global parameter adjustment over all bands, a wet/dry Mix control for onboard parallel processing, graphical editing, and multiband metering.

Each band can be set to compress or expand in a standard single-threshold manner or using high and low thresholds to designate a limited dynamic range that will be affected. Key controls such as thresholds, ratio, and band gain can be edited for all bands at once, using a relative offset scheme to maintain established relationships between bands.

Multiband compression is a sophisticated and powerful tool for dynamic equalization of signals or for mastering a complete mix. Multiband Dynamics goes to the next level by providing expansion as well as compression.


  • Five independent bands of compression or expansion
  • Multiband metering
  • Global adjustment of parameters across all bands
  • Onboard wet/dry Mix control for parallel-processing effects
  • ​Intuitive graphical editing

Tricomp™ (Artist, Producer, Professional)

Tricomp™ is a basic three-band compressor that is extremely easy to operate. While Tricomp may be simple to work, it is nevertheless quite flexible and includes some bells and whistles.

Tricomp provides a single knob that sets a basic threshold, compression ratio, and makeup gain for all bands. If your signal needs a little more tailoring, the Low and High controls can modify the settings for the low and high bands. Corner frequencies for the low and high bands (which are also the low- and high-frequency boundaries of the mid band) are variable, as is knee shape. Attack and release times can be automatic or can be set with a single knob that modifies both. The finishing touch is the Sat control, which introduces the saturation effects that gave some of the classic levelers their unique sounds.

Tricomp is an excellent tool for finalizing your mix and for adding brilliance or punch to frequency-rich signals without going to a lot of trouble.


  • Easy-to-use three-band compressor
  • Automatic Threshold and Ratio settings
  • Automatic attack and release times or single-knob adjustment
  • Variable knee shape
  • ​Saturation effect mimics classic levelers


Pro EQ (Artist, Producer, Professional)

Pro EQ is a seven-band parametric equalizer comprising three fully parametric bands, semi-parametric low-cut and high-cut filters, and multimode low-frequency and high-frequency filters. It also includes a three-mode spectrum analyzer that can simultaneously display the spectrum of a second signal applied to the plug-in's sidechain input for spectral comparisons.

Add graphical editing, simultaneous peak and rms metering, automatic output gain control, and, most of all, great smooth, warm sound, and you have an EQ plug-in that rivals any other for sound and features.


  • Versatile seven-band equalizer with musical sound
  • Semi-parametric high-cut and low-cut filters
  • Multimode high-frequency and low-frequency bands
  • Spectrum metering with three analysis types and spectral-comparison capability
  • Optional automatic output gain control

Metering and Analysis

Level Meter (Artist, Producer, Professional)

Level Meter is a highly configurable, high-resolution level meter offering a host of options, including peak/rms and K-System metering, True Peak metering, and a correlation meter to indicate the degree of difference between left- and right-channel content. Level Meter can be resized larger for maximum visibility and can have either a horizontal or vertical orientation.


  • Simultaneous peak/rms scale with programmable peak-hold and rms averaging times
  • K-System scales (K20, K14, K12)
  • Correlation metering for monitoring stereo content
  • Resizable for greater visibility
  • Horizontal or vertical orientation
  • ​ITU/EBU True Peak metering

Phase Meter (Artist, Producer, Professional)

Phase Meter displays phase behavior in a signal on two different meters to aid in checking stereo playback issues and mono compatibility. The main part of Phase Meter is a large goniometer at the center of the plug-in window, while a correlation meter resides at the bottom of the window. The correlation meter includes a numeric correlation-value display, as well.


  • Resizable for greater visibility
  • Goniometer shows phase and channel behavior
  • ​Correlation meter with correlation value field

Scope (Artist, Producer, Professional)

Scope is not a toy, but a sophisticated, multi-trace digital oscilloscope. Scope features three signal channels plus a math channel that can calculate and display sum or difference signals. Flexible triggering options, display of values in dB or as percentages, and a crosshair cursor for precise value measurement make Scope a serious tool for debugging problems in the studio, such as analyzing crosstalk and noise levels.


  • Full-featured oscilloscope
  • Three signal channels
  • Math channel for viewing sum or difference signals
  • Flexible triggering options
  • ​Display values in decibels or as percentages

Spectrum Meter (Artist, Producer, Professional)

Spectrum Meter offers more ways to view the spectrum of a signal than you can shake a drumstick at. The display can be set to octave, 1/3-octave, or FFT resolution, and it can be switched to a vertical (waterfall) or horizontal sonogram. (The FFT setting displays all of the constant-bandwidth FFT bands, rather than grouping them into octaves.) Peak hold and rms values can be overlaid, with programmable peak-hold and rms averaging times. Spectrum Meter can be set to monitor only within a specified frequency or level range on one channel, the sum of the channels, or the difference between the channels.


  • Octave, 1/3-octave, and FFT display resolutions
  • Vertical or horizontal sonogram display
  • Peak-hold and rms overlay displays with programmable times
  • Metering can be constrained to only specified level and frequency ranges
  • ​Display analysis for one channel, the sum of both, or the difference between them

Tone Generator (Artist, Producer, Professional)           

Tone Generator is capable of generating noise, log or linear frequency sweeps, and other signal types commonly used for signal-path testing and calibration. Tone Generator is ideal for use with the Scope plug-in to analyze a signal path or device under test or calibration, but it is also useful for calibrating levels going to outboard equipment or anywhere else a test function is called for.

Frequency sweeps have programmable times, start and end frequencies, and phase shift. Tone Generator's output can be gated by a MIDI note from an external controller.


  • Generates sine, saw, and rectangle waveforms, pink and white noise
  • Create log or linear frequency sweeps
  • Gated mode allows output to be triggered via MIDI note
  • ​Perfect companion to Scope for testing and analysis

Tuner (Artist, Producer, Professional)

You'll never get the guitarist to turn down but you might be able to convince him to tune up, at which point you will find Tuner to be invaluable. Tuner's display can be switched between a standard meter-type display and a strobe display and shows the signal's exact frequency, as well as the difference between the instrument's pitch and the desired pitch. A Calibration knob enables Tuner to be set to any reference frequency between 415 Hz and 465 Hz.


  • Switchable between standard and strobe displays
  • Reference frequency can be calibrated from 415 Hz to 465 Hz
  • ​Shows exact instrument frequency and difference from correct pitch


Auto Filter (Artist, Producer, Professional)

Auto Filter is far more than your usual envelope-controlled filter. Auto Filter features two resonant filters, each of which can be set to one of six filter models, including Moog-like ladder filters and state-variable filters that blend low-pass, bandpass, and high-pass. The filters can be configured in series or in parallel, with their cutoffs set up to two octaves apart. The filters' cutoff frequencies and resonances can be modulated by a tempo-syncable LFO, using standard waveforms (sine, triangle, square, or saw) or a 16-step sequencer.

An envelope detector extracts the signal's dynamic envelope and makes it available for modulating the filter, mixed with, or in place of, LFO modulation. A sidechain input enables controlling Auto Filter with an envelope extracted from a different track. Last, but not least, the Mix control lets you combine the filtered signal with the original.

Auto Filter can create filtering effects ranging from basic filter sweeps to complex tempo-synced rhythmic filter patterns.


  • Two independent resonant filters
  • LFO with standard waveforms (triangle, sine, sawtooth, and square) or 16-step sequencer
  • LFO speed can be synced to song tempo
  • Mix LFO and envelope filter modulation
  • Create filter sweeps and tempo-synced, rhythmic filter patterns
  • Sidechain input for envelope control based on a different track
  • ​Variable envelope length

Chorus (Free, Artist, Producer, Professional)

Chorus is a chorus/doubler offering up to three voices with a wide range of delay spacing (from flanging to echo!). LFO modulation using any of four waveforms is available, along with a stereo width control and tonal sculpting capabilities provided by the high frequency and low frequency controls.


  • Chorus/doubler with up to three voices
  • Spacing control adjusts the delay time between Chorus voices.
  • LFO with four waveforms for delay-time modulation; LFO Width adjusts the range of the modulation of Spacing. A value of 100% modulates the Spacing parameter from 0 to 2x.
  • Stereo Width control​

Flanger (Free, Artist, Producer, Professional)

Flanger is a straightforward, delay-based, sweepable comb filter with tempo-syncable LFO modulation. We kept Flanger simple because it didn't need more to sound awesome.


  • Thick flanging with tempo-syncable LFO modulation
  • ​Mmm-mmm good!

Phaser (Free, Artist, Producer, Professional)

Phaser can give you anything from an airy shimmer to a deep sweep and can be contoured to your exact needs, thanks to its comprehensive set of variable parameters.

Where Flanger uses delay to create comb filtering, Phaser passes the input signal through up to 20 allpass filters, in series, and an overall feedback loop, then sweeps the filters with a tempo-syncable LFO. (Allpass filters pass all frequencies at the same level but with differing amounts of phase shift, producing the classic phaser sound.)

Phaser gives you tremendous control over the stages, letting you set the number of filter stages up to the maximum of 20, vary the spread of the allpass delay, set the highest and lowest center frequencies for the filters, and find the optimal mix between the phase-shifted signal and the original, which determines the intensity of the effect.


  • Any number of allpass filter stages up to a maximum of 20
  • Programmable delay spread
  • Tempo-syncable LFO modulation of center frequencies
  • ​Programmable maximum and minimum filter center frequencies

X-Trem (Artist, Producer, Professional)

Looking at the clean panel appearance of X-Trem, you might conclude that it is a simple tremolo effect. Wrong. While X-Trem is intuitive and easy to operate, its possibilities are far greater than its small number of controls seem to indicate.

X-Trem can create both tremolo and auto panning effects, and it features tempo-syncable modulation by a four-waveform LFO, 16-step sequencer, or 16-gate sequencer. The sequencers can produce effects from subtle to radical. X-Trem can give you tempo-synced, glitchy, gated drums; trancy, gated pads; panned hi-hats; and many more popular sounds.


  • Tremolo and auto panning effects
  • Tempo-syncable modulation by LFO with 4 waveforms, 16-step sequencer, or 16-gate sequencer
  • ​Graphical modulation display for easy step/gate sequencing

Delay and Reverb

Analog Delay (Artist, Producer, Professional)           

Analog Delay emulates a vintage, single-head tape delay and adds features tape delays never had, such as tempo sync, LFO modulation, and filtered feedback. Analog Delay can create degenerating echoes, echoes with changing delay and pitch, and flanging/chorus effects.

Analog Delay can behave just like a good old tape delay in many ways. There's a Speed knob you can drag around to change delay time and pitch simultaneously, the Sat knob adds tape saturation distortion, tape-speed slew rate can be adjusted with the Inertia control, and echo repeats can be filtered so that they get darker on each pass. But there never was a tape-delay system that let you control stereo imaging of the echo repeats, and Analog Delay does.

Analog Delay gives you the sounds that defined echo as an essential musical tool. Warm, dirty, spacy, or outright twisted, Analog Delay is always rich with classic vibe.


  • Single-head tape delay emulation with tape speed, saturation, and slew control
  • Warm analog sound
  • Filtered feedback for classic high-frequency rolloff on echo repeats
  • Stereo imaging control for repeats
  • Manual or LFO modulation of tape speed
  • ​Tempo sync of basic delay time and LFO rate

Beat Delay (Free, Artist, Producer, Professional)

There was a time when achieving tempo-synced delay required calculating the proper delay time for a given tempo. No more. Beat Delay is a tempo-synced delay that makes tempo-synced delay effortless, then adds cross delay and filtered feedback to let you spice things up a bit. Beat Delay is great for adding/changing the feel of rhythmic parts (e.g., adding off-beats) or “spatially doubling” parts (for instance, slap echo).

Even more sophisticated syncopations can be created with the Offset control, which adds or subtracts from the basic Beats setting.


  • Easy-to-use rhythmic delay
  • Cross-delay effects
  • Lockable wet/dry Mix control
  • Stereo imaging control for repeats
  • ​Great for creating syncopated delays

Groove Delay (Professional)

Groove Delay is a powerhouse effects processor built on a four-tap, tempo-synced delay line. But Groove Delay is not like other multitap delays. Yes, each tap has its own level and pan controls, but each also has a filter that can be continuously varied between low-pass, high-pass, bandpass, and peaking; tempo-syncable LFO modulation of the filter cutoff; and modification of the groove ranging from classic swing, through straight, to dotted values. Plus, the resolution of the beat grid can be set to anything from a half-note to a sixty-fourth note.

The best part is the graphical interface for controlling all of these options. Level, pan, filter cutoff, and swing can be set by simply dragging in the color-coded display, but the fun really starts with the two matrices that let you drag to vary the filter type, cutoff, and resonance. You can play for days and never run out of entrancing delay effects.

With Groove Delay, you can create tempo-synced delay patterns ranging from simple subdivision taps to intricate evolving grooves or granular effects.


  • Four-tap, tempo-synced delay
  • Level, pan, filter, and swing for each tap
  • Continuously variable filter type
  • Graphical manipulation of most parameters
  • ​Beat grid variable from half-note to sixty-fourth note

Mixverb™ (Free, Artist, Producer, Professional)

Mixverb™ is a simple reverb that is well suited for use as an insert effect. Mixverb has a low impact on your CPU and includes the basics—adjustable room size, predelay, and damping—but still manages to include extras for creating reverb effects, such as an onboard gate, stereo width control, and up to 500 ms of predelay.


  • Efficient reverb
  • Adjustable Size, Predelay, Damping
  • Onboard gate
  • Stereo Width control
  • ​Up to 500 ms of predelay for echo/reverb effects

Open AIR (Professional)

Rich, glorious, ultra-realistic reverberation is the hallmark of Open AIR, a highly efficient convolution reverb that uses impulse responses captured both from real spaces and classic hardware reverbs. Open AIR offers extensive shaping options, such as shortening or lengthening the reverb, fading it in or out, and tonal shaping.

For those that need even more, reverb time changes can be performed with or without time-stretching, the ratio of early reflections to reverb can be set, and configurable cross-feeding is available for enhanced stereo effects. Open AIR's display lets you see how the timing and envelope of the response varies as the controls are changed.

Open AIR's library of impulse responses includes hundreds of choices, but it's easy to import other impulse responses, and you can even create your own impulse responses using Studio One's IR Maker plug-in.


  • Highly efficient convolution engine
  • Extensive control of reverb characteristics
  • Included Studio One Impulse Responses Soundset provides hundreds of presets
  • ​Import impulse responses or make your own with IR Maker

Room Reverb (Artist, Producer, Professional) 

Room Reverb is a room simulator that lets you create reverb by specifying the characteristics of a virtual room. Room Reverb has four room models, for which you can vary the dimensions, the positional relationship between the sound source and the listener, and the impact of variables like humidity, smoothness of surfaces in the room, and even the number of people in the room. Room Reverb's display provides a visualization of the room as you've defined it, as well as showing the timing and shape of the reverb. Use Room Reverb to create realistic spaces, or let your imagination run wild and make ridiculous spaces with wonderful sounds.


  • Generates reverb from virtual room models
  • Numerous parameters adjust characteristics of the room
  • Places virtual source and listener at user-defined locations in the room
  • ​Graphical representation of room and reverb

Stereo Imaging

Binaural Pan (Artist, Producer, Professional)           

Binaural Pan is a stereo panning and imaging tool that is sophisticated in its inner workings yet simple to use. Binaural Pan leverages Mid-Side (MS) matrix technology to vary the width of the stereo image from mono to double width. The balance of the resulting stereo image can be adjusted with the Pan control. For quick mono compatibility checks, just click Binaural Pan's Mono button.

Use Binaural Pan on any stereo channel to tightly control its stereo width and pan, as well as to check for mono compatibility.


  • Easy stereo panning and imaging adjustment
  • Stereo width varies from mono to double-width
  • ​Mono button for quick mono compatibility checks

Dual Pan (Artist, Producer, Professional)

Dual Pan is an effective stereo balance utility that starts by letting you correct stereo channel imbalances in a signal with its Input Balance control, then supplies a choice of two imaging schemes and five pan-law responses with which to process the signal.

When the channels are unlinked (which is the default), each channel can be panned independently of the other. When the channels are linked, stereo width can be varied from full stereo, through mono, to full reverse stereo (channels swapped), and the stereo balance of the resulting signal is adjusted.

Dual Pan is ideal for correcting stereo recordings with uneven channel balance (as can happen on drum overheads or with asymmetrical mic setups, for example), unbalanced synthesizer patches, and channel-reversed signals. It is also effective in narrowing hard-panned sounds and keeping sounds stereo while shifting them off-center for better definition in a mix.


  • Solves channel balance problems
  • Choice of five pan law responses (-6 dB Linear, -3 dB Constant Power Sin/Cos, -3 dB Constant Power square root, 0 dB Balance Sin/Cos, and 0 dB Linear)
  • Independent panning of left and right channels
  • ​Stereo image width can be collapsed to mono, then expanded out to reverse stereo


IR Maker (Professional)

IR Maker is a utility plug-in that allows you to capture your own impulse responses for use with Open AIR, the cabinet section of Ampire XT, and other convolution plug-ins. IR Maker uses an output and input on your interface to send a test signal to a space or device and then captures its response. The sweep length and impulse-response size are programmable, and the Latency Compensation field lets you correct for signal-path latency. The process of capturing an impulse response is simple, and the resulting file can be used with most convolution processors.


  • Create your own impulse responses for use in Ampire XT and Open AIR
  • Automatically generates a test signal and captures a space's or device's response
  • ​Variable sweep length and impulse-response size

If you want to really dig into Ampire XT and IR Maker, check out this in-depth video.

Mixtool (Artist, Producer, Professional)

One of these days, you will be very, very glad you have Mixtool. Mixtool provides a set of common save-your-bacon channel utilities. You know, the kind that seem so basic, yet become absolutely critical more often than any of us expect.

Mixtool allows you to add (or subtract) up to 24 dB of gain, separately invert the polarity of the left and right channels of a stereo signal, and swap the channels. Mixtool even includes an MS matrix for decoding Mid-Side recordings to the regular left/right format (or for that matter, encoding left/right signals to MS).

Use Mixtool when inverting channels to correct for phase cancellation or polarity-reversal issues, to boost under-recorded signals, and to provide MS decoding.


  • Up to ±24 dB of gain adjustment
  • Invert polarity of left and right channels independently
  • Channel swap
  • ​MS decoding