Klevgrand

Transient Fertilizer – Bring life to your drums and percussion

No drum deserves to be dull or lame. Fosfat will add bite and oomph to your drums or percussion (or any percussive sounds). It follows the dynamics of the incoming sound and adds tonal and noise textures to it. Klevgrand thinks of it almost like an EQ, in the way it shapes the sound, but it adds instead of cutting or boosting. It’s perfect for when you have a nutrient-deficient recording (lacking bass or attack in a kick drum for example), or if you just want to add some extra sub or pleasant stereo fizz to any percussive sound.

In addition to the obvious option of using multiple instances of Fosfat across your drum tracks, the possibility to precisely dial in its trigger lets you pinpoint any frequency area or transient of your choice in recordings of whole drum kits or any drum loop sample. This gives you a very efficient and musical way of enhancing specific parts. Together with an oscillator, noise generator, low- and high-cut filters, stereo width, gain and more, you have a beat-fertilizing hothouse letting your percussive sounds really grow and bloom.

• 1. What’s your trigger point? Multiple visualizers make it a breeze to dial in how the trigger should act 
• 2. Toss in some boom – The sub-oscillator will bring body to any kick drum, but thanks to the many options you may very well find it useful for all kinds of sounds. Pitch drop included. Mic drop
• 3. Add the kschh – For additional bite, the noise oscillator is your friend. Envelope control, stereo width and filter.
• 4. Just enough –A balanced diet is essential in every aspect of drum shaping. 
• 5. Ready, preset, go! While Fosfat is really easy to configure from scratch, Klevgrand has included a bunch of presets to get you up and running in no time.

How Fosfat can fertilize your sound

Klevgrand’s new plug-in Fosfat will add bite and oomph to your percussive tracks. It can of course add its magic to any sound you can think of, but where Fosfat shines the most, and what it was primarily designed for, is to cultivate those drums.

Features

• Multiple audio-visualizations makes dialling in accurate settings very easy
• Controls for trigger frequency and width respectively
• Sine wave oscillator with optional pitch drop
• Noise with adjustable stereo width
• Attack and release controls
• Low cut and high cut filters
• Four instances of volume control
• Wave rendition
• Preset collection

A delay playground with endless capabilities

Modley is a modulation delay with effect insert capabilities, which lets you design the whole delay signal with several carefully selected effect modules to create unique signal flows.

The idea behind Modley is to push the boundaries of what a delay effect is capable of – only your imagination sets the limits! While Modley sure can be used to do all the traditional tricks – Stereo delay, Tape delay, Short slapback delay, etc., its true potential lies within the variety of unexpected effect modules that can be applied.

New in v1.1

• New Bitcrusher insert effect
• New Stereo width control insert (Stereoid)
• New Feedback mode, controls the behaviour of loop insert effects
• The Filter insert now features a bandpass type
• The Pitch insert now has a range knob

• 1. Pre-pare for the loop – The first row is the Pre rack – all effects inserted here will process the incoming audio before entering the Loop rack.
• 2. Loop the loop – This is where the fun really starts. The inserted effects will process the audio from left to right, and if the feedback control (4) is set to anything above 0, that amount of the loop output will be re-routed back to the loop input.
• 3. Post-traumatic stress – Same as the Pre rack, but this rack is positioned after the loop rack in the chain.
• 4. Only positive feedback, please – This controls how much fun you want.

Features

• 15 different effect modules – Panning modulation, Phaser, Distortion, Tape Saturation, Pitch Shifter, Delay (!), Reverb and much more.
• Time sync.
• Global modulation of the delay.
• Built-in limiter.
• Freeze function, with pre- or post-loop processing.
• Lots of presets to kickstart the creative flow.
• Dry/wet mix

Wake up any audio signal with this unique distortion plug-in

SquashIt is a powerful distortion filter, with a wide range of uses. Whether you want to completely mangle your sound to the unrecognizable, or just beef up the saturation a bit, SquashIt can be your friend.

A simple and effective interface let you tune in the perfect amount of distortion, on three different frequency bands. Combined with a unique distortion algorithm, SquashIt has become essential in many music producers’ toolset.

• 1. Input – It can go from very soft to way too much.
• 2. Distortion level – Each of the three bands can have individual levels of distortion.
• 3. Crossover frequency – Drag to change where the three bands should split.
• 4. Output – Same as Input, only last.

Features

• Unique distortion algorithm
• Simple but yet powerful user interface
• Low CPU usage

Inspired by the past, designed for the future

Hillman is a synth-like instrument inspired by old combo-organs, string machines, and similar vintage gear. It has 4 voices per note, each with selectable waveform (transistor:ish, tube:ish, sine and special plasma), octave switch and a level control.

The sound is generated with an analog approach but does not use samples or sampled wavetables. Hillman also has an intuitive ADSR envelope control, FX section with Chorus, Phaser & Reverb, and comes with many built-in presets.

• 1. Pick a color – Up to four voices per note, with individual waveform for each voice.
• 2. Back the attack & decay, OK! – An intuitive ADSR control for any envelope needs.
• 3. Join the chorus – Smooth ensemble chorus with 3 different modes,
• 4. Phase yourself – 4-pole phaser with 2 different modes.
• 5. Room service – One-knob space solution

Features

• 4 voices per note
• Each voice has a selectable waveform (transistorish, tubeish, sine and special plasma) + octave switch and level control
• ADSR Envelope control
• Smooth ensemble chorus with 3 different modes
• 4-pole phaser with 2 different modes
• Lush reverb which ranges from small room to churchlike halls
• Rich collection of built-in presets

A groundbreaking way of looping effects

Kuvert defines a whole new way of dealing with effects. In short, Kuvert allows you to draw five different envelopes.

These envelopes control different effect parameters and can be drawn freely or onto a grid. The envelopes are looped, while the incoming audio isn’t (unless you’re feeding it looped material of course).

This is a powerful & fun way of altering your sounds to reach a whole new level, sometimes not even recognizable! Thanks to the looping nature of the plug-in, it will fit very well into any musical context. One way of using it would be to revitalize any looped material (such as beats) within just a few seconds.

Features

• Volume envelope
• Low cut filter envelope (with resonance)
• High cut filter envelope (with resonance)
• ”Glitch” envelope (alters timing)
• Delay send envelope (with tempo synchronized time, filter and feedback

Percussion instrument made by everyday objects

Ting is an instrument providing 28 different percussive sounds originating from everyday t(h)ings laying around at home – such as silverware, a sofa, a toy drum, or a pair of car keys. Each sound is carefully multi-sampled and processed with the common goal to be musically playable.

Ting is intended to be a creative tool and a substitute for the ordinary drum and percussion instruments. Altogether ~1500 individual samples are used to make this instrument.

In addition to the sounds, there is an EQ, a room simulator, a reverb, and a compressor.

• 1. A dozen things – Choose between 28 carefully sampled instruments to populate the 12 sound slots.
• 2. Watch your tone – A lot easier if you have some EQ.
• 3. Plenty of room – Two parallel spaces, a convolution room, and algorithmic reverb.
• 4. Give it a final hug – Single-control compressor for the whole package.

Features

• 28 different high quality sounds, carefully multi-sampled and processed for maximum playability
• Built-in EQ
• Convoluting room ambiance
• Algorithmic reverb
• Individual sound parameters for pan, pitch, dynamics, room send & reverb send
• Master compressor

FM synthesis for the masses

Baervaag is a fairly simple FM synthesizer with one carrier and one modulator. The oscillator waveforms can be modified seamlessly between sine wave to pure square wave with PWM (pulse width modulation).

• 1. Carrier Oscillator – This XY pad controls pulse width modulation on the X-axis and the wave shape on the Y-axis.
• 2. Carrier ADSR – Controls the carrier oscillator envelope. The attack time is optionally reactive to MIDI Velocity.
• 3. Modulator Oscillator – This XY pad works like the Carrier Oscillator, but it also has a frequency multiplier button.
• 4. Modulator relative ADSR – These sliders control the envelope of the Modulator oscillator and are relative to the Carrier ADSR. If all values of the sliders are in the middle, the Modulator envelope will be the same as the Carriers.
• 5. FX & Master section – High-Quality Delay, High-Quality Chorus, High-Quality Master Output Knob.

Features

• FM Feedback, Filter, ADSR Attack and Volume can be modulated by velocity
• Oscillators can be shaped between sine, square and PWM
• One ADSR for each oscillator.
• Controllable wobble factor that adds analogue unpredictability
• 50+ handcrafted presets created by professional musicians

Create a huge variety of sounds with this fully featured monophonic synthesizer

This fully-featured monophonic synthesizer can create a huge variety of sounds. Fat basses, stabby leads, glitchy noises, old style chip tune sounds (including arpeggios), weird percussion, you name it. Enkl does the job!

Enkl comes with 93 high-quality factory presets, all crafted by professional music producers. Of course, it is possible to create new ones and save them.

Features

• Realtime rendered audio – no samples involved
• Two separate oscillators with individual LFO’s
• Oscillators can generate Triangle, Sawtooth, Square or Noise waveforms
• Oscillators can be added, subtracted or multiplied together
• Each LFO has its own ADSR and modulates its oscillator’s pitch or volume
• High cut and low cut filter with resonance (also controllable via MIDI)
• Chiptune-style arpeggiator
• Legato mode
• Ping-pong delay as a post effect
• Three-band EQ as a post effect
• Comes with 93 factory presets

A very playable electric piano in its own right

Tines emulates an electric piano. With internal effects like a stereo tremolo, a multiband distortion panel, and a subtle roomy reverb, Tines can sound like anything between a dreamy slick Rhodes to a nasty Wurlitzer (however, it is not designed to be a ”vintage” emulation, but a modern and playable instrument).

A fine-tuned velocity curve makes Tines a true joy to play on a MIDI keyboard.

• 1. Wobble Depth / Wobble Speed – Sets how each note should vibrate dynamically (like a Tremolo but on each note).
• 2. Phase / Decay – Controls the phase offset between the left and right output channels. Decay sets a note’s decay time.
• 3. 3-band EQ – If you need more, rearrange your song.
• 4. Fresh air – A well-balanced room reverb + stereo spread.

Features

• Tremolo depth and speed (XY pad) with phase offset
• Variable decay time
• Variable Air (room) amount
• Multiband distortion

A classic EQ unit reinvented for the digital age

GotoEQ is a new evolution of a vintage passive tube-based program equalizer, expanding on that classic sound with dynamic EQ bands.

GotoEQ performs the classic ‘low-end trick’ with dual Boost and Attenuate controls for its low shelf, but it also offers the ability to perform a ‘high-end trick’, with a similar formulation of high shelving.

With continuous frequency selection, you can tune each band as you like. But most importantly of all, GotoEQ’s two mid bands offer dynamic attenuation, bringing a musical approach to the classic EQ unit.

Usage

Simultaneously boost and cut the low shelf to create that low-mid scoop on bass tracks. De-ess vocals or de-harsh overheads by engaging dynamic attenuation and tuning the high-mid band. Add air to signals with the high shelf filter, and ‘scoop’ the high-mids using a ‘high-end trick’. Get control over the ‘nose’ of bass tracks with dynamic attenuation of the Low Mid and High Mid bands. Subtly EQ a whole mix or bus using light settings and mild compression

• 1. Prepare for treatment – To let the dynamic processors work at their best, make sure to set the right input level.
• 2. Classic style filters – Two shelving filters with separate Boost & Attenuation controls. To achieve the ‘Pultec’ effect, both boost and attenuation must be above 0 dB.
• 3. Dynamic parametric EQs – These work a bit differently than the Low & High filters – a dynamic processor attenuates the signal. Fine-tune with the gain knob.
• 4. Level like a boss – VU-meters for Input or Output levels.

Features

• Low and High Shelf filters, with detailed modelling of a classic passive EQ unit
• Two parametric dynamic filters
• High-pass filter: 20/40/80 Hz
• Preset library
• Continuous frequency selection for all four bands
• Boost and Attenuation for the Low and High shelving bands
• Gain, Q, and Dynamic Attenuation for the two mid bands
• Finely-tuned compression algorithm makes mid bands react dynamically to the signal
• Global Input and Output Gain controls (+/-24dB)
• Global bypass and individual band bypass
• Peak metering for the input or output

A golden throat at your fingertips

Jussi emulates male voice vowels in a unique way. Thanks to a set of powerful parameters you can make Jussi sing anything from soft and airy choir-like vowels to hard and angry shouting. Formants are controlled by playing with different velocity, which makes it fun and easy to play using a MIDI keyboard.

• 1. Character – Drag the XY pad to alter tone intensity. The ’intense’ axis controls the formant’s Q value and the ’narrow’ axis is the formant’s gain value.
• 2. Throat – This XY pad controls grain-factor (Y-axis) and the tonality/noise-factor (X-axis).
• 3. Three legato modes – Off: Like an ordinary polysynth. On: Normal legato mode (use XY pad to control). Hold: Smart polyphonic mode (see documentation for full info).
• 4. ADSR / Turn in & out – The ADSR controls the volume envelope of a triggered note with an option to slide the pitch (Turn in/out).

Features

• ADSR with ”Turn-in” and ”Turn-out” option (Turn-in and Turn-out affects the pitch and maps it to attack and release) Voice character XY pad (Intensity and Narrowness)
• Legato mode (glides between notes and velocity levels)
• Legato Hold mode (polyphonic legato when using a sustain controller, consult the documentation for more info) Throat emulation XY pad (Grain and Tonality)
• Built-in reverb

Scratches, hum, wear and noise is optional

DAW LP is a vinyl player simulation plug-in. It simulates various artifacts associated with vinyl – all the way from the vinyl record surface, to the output cable of the RIAA amplifier. Tune in anything from an old 78:s player to a modern HiFi sound.

Set the level of hum, scratches & noise along with the quality of amp, needle & cable. Fine-tune using the in, out & mix

• 1. Where and when – Emulate a travelling around the world with just a click. (Decide what type of mains hum you want)
• 2. Quality matters – Sets the quality of the RIAA amplifier, pickup needle and cable.
• 3. Bring the noise – How much scratches/hum/wear/noise do you need?

Features

• Scratches/crackles rate, level and ducking
• Control vinyl noise, amplifier noise and low-frequency hum levels
• Continuous control of amplifier, pickup needle and cable quality
• Switch between 50 Hz and 60 Hz hum
• Additional input gain, output gain and dry/wet mix parameters for convenience

Tomofon is a groundbreaking new synth from Klevgrand.

This virtual instrument is using a new innovative ”Audio Model” format with a unique capability to process very large volumes of waves, extracted from real audio. Whether you want to play around with the included Audio Model Starter Pack (instruments & voices) and presets, or import your own audio to shape your own unique soundscapes – it is fair to say that you are in for a creative journey.

There are already lots of synths and samplers around, so why this?

Simply put, Tomofon is not a sampler. It is a musical instrument in its own right and doesn’t necessarily aim to imitate real instruments or voices. Tomofon introduces a new “Audio Model” format where the generated sounds are seamlessly morphed between different layers and sections of a massive amount of real audio waves. This gives an instantly playable synthesizer that can sound very organic, but also like something out of this world. The possibilities of changing the character of the sounds are so vast and multi-layered that it will add a new extra dimension to your music production.

How does it work?

Tomofon converts audio files into a large set of oscillating waves, which are then mapped into pitch zones where each wave represents one layer (a bit similar to how a sampler structures different velocity zones). The main difference is that since each zone is populated with waves instead of ordinary samples, the synth engine can morph between them (both layers and zones). This makes all transitions between zones and layers continuous and seamless. The structure containing these organized wavetables is called an Audio Model and gives Tomofon its dynamic properties and characteristic sound.

Create and share your own unique sounds

A significant feature of this plug-in is that users can import their own audio files and create new and unique Audio Models. Ordinary audio files (preferably with monophonic content) can easily be imported and distributed into different pitch zones over the keyboard range, either automatically or manually. Doing an automatic import is basically a one-click process which instantly results in a proper playable Audio Model. A manual import gives the user full control of which waves should end up in which pitch zone. Last but not least you can easily share your own created Audio Models with others.

Included in Tomofon v1.0

Tomofon comes pre-loaded with a pack of 124 Audio Models. Included with your download is also over 180 presets to choose from, to get you going right away. From there on you can venture further and experiment with the existing Audio Models, or start using the built-in editor of the plug-in, importing your own sounds to shape and deconstruct. More instruments (Audio Model Packs and presets) will be added by Klevgrand in the future.

Keep your eyes open for upcoming releases – the Tomofonia has just begun!

Features

The synth engine is packed with features that emphasizes the musical and audible possibilities of how to play back an Audio Model. Everything is displayed in an intuitive manner that supports a musical workflow.

• Pitch and (layer) depth envelopes that can be edited by the user
• 124 instruments
• Over 180 presets
• Envelope times can separately be controlled via MIDI velocity
• Several LFO’s (including Sample and Hold with randomness)
• Modulation matrix (2 x MIDI CC, Velocity and Keymap)
• Monophonic playback with separate glide times for pitch and velocity
• Polyphonic legato playback where started notes syncs envelopes with currently playing ones
• Up to 4 doubling voices with separate pitch, pan and level
• Filter with modulation possibilities
• Post Reverb, Delay and EQ

A versatile, morphable polyphonic synthesizer

Syndt is a high-quality polyphonic synthesizer with a lot of possibilities. The oscillator waveform can be morphed between pure sine to pure square and supports altering of pulse width. Both the shape and pulse width can be modulated by two independent LFOs.

With fine-tuned low pass and high pass filters combined with a separate filter attack setting, (optionally based on velocity) this synth can create some raw and interesting sounds.

The additional LFO can be shaped exactly as the oscillator, and optionally controls filters, gain, and pitch (using a modulation wheel or just automatically). This LFO can be synchronized to an AUv3 host.

Globally there’s a nice stereo chorus, ping pong stereo delay (that also can sync to an AUv3 host’s BPM), and EQ.

• 1. Oscillator – This XY Pad sets the wave shape. X-axis: pulse width (pure sine to the left, short pulse width to the right). Y-axis: morphs between pure sine and square.
• 2. Mini LFO:s & Filters – These sliders affect the oscillator’s values. These LFOs only output pure sinewaves. If the NOTE ON SYNC is ticked, the LFO will be reset on a new note. If not, it will keep ongoing. HP & LP Filters with separate resonance control.
• 3. LFO – A powerful LFO that can affect filters, gain & pitch.
• 4. ADSR – Controls the Attack time, Decay time, Sustain Level and Release time of the voice.
• 5. Special effect – A very competent delay section, a chorus, EQ & more.

Features

• 70+ professionally made presets
• XY pad based oscillator and LFO (PWM on the X-axis and morphs between sine and square on the Y-axis)
• Independent mini-LFO (sine only) for each axis of the oscillator XY-pad.
• LP / HP filter with resonance
• LP Filter can be velocity-sensitive
• LP Filter has an optional attack time
• LFO can affect LP filter, HP filter, gain level, and pitch
• LFO has an optional attack time
• LFO can be synchronized with an AUv3 host (AUv3 mode only!)
• Ping pong delay
• Stereo Chorus
• Three-band EQ
• Legato mode with glide speed parameter
• Pitch bend range

An advanced audio noise reducer with a simple and straightforward interface

Brusfri is a highly advanced audio noise reducer, packed into a simple and straightforward interface. It is very well suited for cleaning up noisy audio recordings while retaining sound quality.

Unlike many other noise reducers on the market, Brusfri doesn’t mess with audio phasing to suppress noise (a technique that often comes with audible side effects). Instead, multiple fine-tuned gates are used to silence unwanted noise.

• 1. Attack / Threshold / Release – These parameters control all the internal expanders relatively.
• 2. Learn Button – Brusfri needs some noise to be analysed. Most of the time, this is the only thing that’s needed. Push and hold to feed audio data and create a noise profile.
• 3. Tonality – Most of the time, Brusfri does a good job in creating a noise profile that works as expected, but in some cases (especially when there’s heavy noise involved) one needs to tweak a bit.

What is that noise?!

Can we shut down the vent system for the whole building, please?

You know the feeling when you just have recorded the best take ever for your new creation and it’s time to edit when you realise there’s a constant hiss in the background interfering with the performance. It happens to us all, whether you’re working with music, film, podcasts or radio, unwanted noise is a problem that pops up now and then. With the improvement of sound quality over the years, what was once hidden behind tape hiss can now be audible and bothersome and we need noise reduction to tackle it.

Features

• Several frequency-trimmed expanders build an intelligent noise suppressor
• No phase-altering, which leaves the desired sound untouched (no squishy artifacts as in many other noise reducers)
• Intuitive and unique user interface

Design your own spaces, in this delay/reverb hybrid

This audio effect filter is a hybrid between a simple reverb and a very complex delay.

R0Verb consists of up to 50 separate delay lines and puts you in charge of every single delay with controls for volume, pre-delay, feedback & high shelf. It can be used for everything from simple delays to complex spaces, whatever your mix needs. It also has a nice Randomizer if you’re feeling lucky!

• 1. Delay lines – Rôverb consists of multiple delay lines, each with separate parameters for pan, pre-delay time, delay time, gain, decay & high-shelf. The direction of each delay line tells how the output will be panned; if it points to the left, the output will be panned to the left and vice versa. The size of the circles denotes gain levels. The first circle (from origin) is the gain value. The outer circle represents decay.
• 2. Toolbox – Use these to switch between Time change, Delete, Volume, and High shelf gain.
• 3. Randomizer – This tool makes it possible to create a new reverb with user-defined bounds. Weeha!

Features

• Up to 50 parallel delays
• Every delay has parameters for volume, pre-delay, feedback, delay time & a high shelving filter
• Randomizer – creates a space with user-defined bounds
• Multi-select and edit several delay-lines in one gesture
• Post 3-band EQ
• Comes with a few factory presets for inspiration

For all the melodies you have in you

Speldosa is the result of a unique collaboration between Klevgrand and the Swedish artist Wintergatan/Martin Molin. Wintergatan has primarily worked in the physical world (the Marble Machine is probably the most astonishing example), while Klevgrand has performed its craft within the digital sphere. When these two worlds now meet, it results in a product that both visually and audibly inspires the creation of music that you didn’t know you had in you.

Speldosa (Swedish for “Music Box”) is the essence of the shared beliefs of Klevgrand and Wintergatan, and their fascination with minimalism. A simple melody played on a music box can contain an equal amount of emotional power as any symphonic work. There is something about the music box sound that never ceases to fascinate.

The instrument itself has been meticulously recorded by Wintergatan and transformed into a playable digital instrument plugin. It features four different models (Modern, Vintage, Antique, and Eternal = Reversed), two different Room models, and an algorithmic reverb.

Wintergatan on Speldosa

“I created the sound by sampling a music box using an acoustic guitar as resonance box. I chose the best samples and it was instant magic. The Music Box went on to become the sonic signature for my two bands, Detektivbyrån and Wintergatan, both recognised for their unique sound. The Speldosa has been the secret sauce in my music career and I hope other musicians finds it as useful as I have.

There is a special quality to this exact music box sound that lifts it above the novelty feeling of a toy and turns it into a real music instrument. It just sounds so good, that’s really it. And it is a sound that makes you write music instantly – the music comes from the sound itself.

During the collaboration with Klevgrand, when they sent me the first beta version of the plugin, I ended up playing around with the sound for three hours, losing track of time. I wrote three songs that day when I was scheduled to actually do something else. That’s what the sound does to me, and I think it will do the same for other

Anatomy

1. Four models: If you want a fresh music box, try the “Modern” model. For a music box that have lived, try “Vintage” or “Antique”. For a music box going backwards, use “Eternal”.
2. Get two rooms! For placing the music box in a spatial context.
3. Space out: When a room just isn’t enough.
4. Falling stars: Dreamy visualization of the played notes. Useful for enjoyment, if your volume is down or if your memory is short.

Features

• Four different instrument models
• Two different room simulations
• Algorithmic reverb
• Simple UI
• Carefully recorded samples by Wintergatan

Natural Panner – A pan knob for the human ear

Pana is a sophisticated stereo tool designed to let you do more elegant, natural audio positioning than what regular balance panning might accomplish.

Panning an audio signal can be done in several ways, where the most common is to alter the volume on one channel. This is a CPU-efficient way (and many times the best) to achieve a sense of positioned audio. Almost every DAW and mixing console has this feature built-in.

Another way is to add a short delay to one of the channels – the Haas method. This renders a richer sound, but can also make a sound come off as somewhat unnatural.

A more elegant way is to apply a low pass filter to one of the channels. This maintains the audio energy on both channels, but at the same time makes it sound positioned. This works very well on transient rich sounds like drums or other percussive instruments.

Pana uses both the delaying and filtering methods in combination, to achieve a more natural positioning. This makes Pana a very versatile tool for most types of sounds – and having these features in one plug-in makes for a great mixing experience. To top it all off, there’s also a crossover filter that makes it possible to leave the low-end frequencies completely untouched, letting the bass remain fully centered, to prevent the mix from tipping over on one side.

• 1. Pan the mic – The pan knob in Pana is actually more of a macro controller, controlling multiple parameters for filter and micro delay.
• 2. Set your head size – Binaural hearing (how humans perceive sound) is highly dependent on time difference between the ears, rather than sound level difference (as set by a normal pan knob). This time difference is bigger if you have a large head. To feel smarter, turn this knob to the right.
• 3. Keep your bottom in the middle – To prevent the mix from “tipping over”, you can keep the low frequencies in the middle.
• 4. Steepen the curve – Apart from time difference, binaural hearing also relies on the filtering of high frequencies on the opposite side of the sound source. This knob controls that.
• 5. Not just a phase – For checking the mono compatibility, if your audio signals are in or out of phase.

Features

• Adjustable micro-delay, tuned after human head size (variable size)
• Adjustable low-pass filter on opposite channel
• Bass crossover filter, keeps high-energy low frequencies in the center (to prevent the mix from tipping)
• Quick button for checking mono compatibility
• Correlation meter for checking the phase
• Pan lock – for locking the pan knob when browsing presets
• A collection of ready-made presets