AUDIO EFFECTS

// OVERVIEW

Every track — audio, MIDI, group, and master — has its own serial effect chain. Drop an effect onto a track and audio flows through it on the way to the fader. Chain as many effects as you want; the order matters, since a reverb before a delay sounds different from a delay before a reverb.

The built-in effects live in the Audio Effectstab of the left library, alongside Glitch's instruments. Third-party plugins are kept separately in the Plugins tab.

ADDING, REORDERING, REMOVING

• Add — drag an effect from the Audio Effects tab onto the track's effect chain, or click the + button on the chain.
• Reorder — drag effect tiles within the chain to change the processing order.
• Bypass — click the power icon on a tile to toggle the effect on or off without removing it.
• Remove — select the effect and press Delete, or right-click and choose Remove.

Every parameter on every effect can be automated through the standard automation lane system on the track.

Five-band parametric equalizer. Sculpt the frequency content of a track: cut a muddy low-mid, carve room for a vocal, gently brighten a mix. The whole curve is shown live and any band can be dragged directly on the response graph.

PER-BAND PARAMETERS

• Frequency — 20 Hz to 22 kHz.
• Gain — ±24 dB for bell and shelf bands.
• Q — 0.1 to 18 (higher Q is narrower).
• Filter type — Bell, Low Shelf, High Shelf, Low Pass and High Pass at 12 or 48 dB/oct, or Notch.

Each band can be soloed by clicking its number or disabled with its on/off toggle. Pop the curve out into a floating window for finer edits.

Control dynamic range — bring the loud parts down so the quiet parts feel closer. The transfer-curve graph shows the input-to-output relationship in real time, with a draggable threshold dot and a live gain-reduction meter.

• Threshold — −60 to +6 dB.
• Ratio — 1:1 to 20:1 (or up to 1:2 in expand mode).
• Knee — 0 to 18 dB (0 is hard, higher is softer).
• Attack — 0.01 to 500 ms.
• Release — 1 to 3000 ms.
• Lookahead — off, 1 ms, or 10 ms.
• Makeup gain — ±36 dB, with an optional auto-makeup toggle.
• Mix — 0 to 100% for parallel compression.
• Detector — Peak, RMS, or Expand (upward expansion).
• Envelope mode — log (dB-domain) or linear.

Algorithmic reverb for putting a sound in a room — anything from a tight booth to a long hall. The input filter graph lets you carve out low rumble or high fizz before it hits the tail.

• Pre-delay — 0 to 100 ms before the tail starts.
• Room size — 0 to 100% of the simulated space.
• Decay time — 0.1 to 10 s.
• Damping — 0 to 100% high-frequency absorption (lower is brighter).
• Stereo width — 0 to 120° spread.
• Dry / wet — 0 to 100%.
• Low cut & High cut — high-pass and low-pass filters on the input, each with a frequency, Q, and enable toggle. Drag the handles on the filter graph directly.

Tempo-synced or free-running echo. Bounce stereo signals across the field with ping-pong, shape the tone of the tail with low- and high-pass filters, and let the feedback build into a wash.

• Delay time — either a note division (1/16 to 1/1) when synced, or a free time from 1 to 5000 ms.
• Tempo sync — toggle between musical and free.
• Feedback — 0 to 99%.
• Mix — 0 to 100%.
• Stereo mode — mono (both channels identical) or stereo (independent left and right delays).
• Ping-pong — cross-feed left into right and back for a bouncing pattern.
• Low-pass & High-pass — tone-shaping filters on the delayed signal, each with an enable toggle.

A brick-wall limiter for catching peaks and setting an output ceiling. The internal ratio is effectively infinite, so anything above the ceiling is held down hard — drop one on the master to stop a mix from clipping.

• Gain — ±24 dB input boost before the ceiling.
• Ceiling — −30 to 0 dB output cap.
• Lookahead — 1.5, 3, or 6 ms.
• Release — 10 to 1000 ms, or auto.
• Stereo link — linked (one envelope across both channels) or independent (per-channel limiting).

A gain-reduction meter at the top of the panel shows how much limiting is being applied at any moment.

A bus-style “glue” compressor with stepped controls and an external sidechain input. Drop it on a bass and key it from the kick to make the bass duck on every hit, or run it on a drum bus for classic glue without the sidechain.

• Audio from— pick the sidechain source: none (the track's own signal) or any other track in the session.
• Threshold — −30 to +10 dB.
• Ratio — 2:1, 4:1, or 10:1 (stepped).
• Attack — 0.1, 0.3, 1, 3, 10, or 30 ms (stepped).
• Release — 100, 200, 400, 600, 800, or 1200 ms, or auto.
• Makeup gain — 0 to +20 dB.
• Dry / wet — 0 to 100% for parallel use.

An LFO-driven stereo panner. Sweep a sound across the stereo field at any rate from very slow to audio-rate, free-running or locked to the project tempo. Useful for movement, width, and tremolo-like effects.

• Amount — 0 to 100% pan depth.
• Rate — free-running 0.05 to 90 Hz, or musical note divisions from 1/64 to 8 bars when tempo-synced.
• Phase — 0 to 360° offset between left and right.
• Shape — morph between sine, triangle, and square waveforms.

A live waveform readout shows the left and right pan curves as they move.