Every knob has a tooltip that says what it does and when to use it. Hover for about two and a half seconds.
Turns the vocal down when the singer is not singing, removing bleed, breaths and noise between phrases.
Use it: First in the chain, before compression raises the noise floor.
Removes mud, boxiness, harshness and rumble with high-pass and low-pass filters.
Use it: Before compression so cuts happen before the level is evened out.
Evens out the vocal level so quiet words are heard and loud ones do not jump out.
Use it: After the gate and cutting EQ.
Turns down harsh S and T sounds.
Use it: After compression, which can make sibilance louder.
Changes the stereo width, with a live scope showing what the signal is doing.
Use it: Lightly on doubles and backing parts; keep the lead mostly centred.
Stacks extra voices behind the original for a thicker, doubled or choir-like sound, with filters, tone, echo and reverb on the added voices.
Use it: Chorus and backing parts.
Adds distortion, saturation and digital crunch for edge and aggression.
Use it: Lightly for presence, hard for scream tones and effects.
Adds body, presence and air with boosts.
Use it: As a finishing tone shape after cleanup and dynamics.
A heavy, character-rich leveling and tone stage that pins the vocal flat and thick.
Use it: Late in the chain, before the spatial effects.
Places the vocal in a space with early reflections and a dense tail.
Use it: Short, dark rooms for depth; larger halls for effects and ballads.
Echoes that follow the song tempo or free timing.
Use it: Subtle slapback for thickness; synced echoes at the ends of lines.
The last stage: loudness with a clipper or limiter, stereo image, low end and the final ceiling.
Use it: End of the chain, before your master bus.
