Scheps Omni Channel

User Guide
 Scheps Omni Channel
Introduction ................................................................................................................................................. 3
Startup Condition ............................................................................................................................................................................ 4
Using Presets ................................................................................................................................................................................. 5
Components ................................................................................................................................................ 6
Mono Component ........................................................................................................................................................................... 6
Stereo Component.......................................................................................................................................................................... 7
Expanded View ............................................................................................................................................................................... 8
Stereo Mode and Stereo Controls Linking....................................................................................................................................... 9
Common Controls .......................................................................................................................................................................... 11
Sidechain.......................................................................................................................................................................................12
Channel Strip Modules.............................................................................................................................. 15
Pre Module ................................................................................................................................................................................... 15
EQ Module.................................................................................................................................................................................... 16
DS2 Module ................................................................................................................................................................................... 17
Compressor Module...................................................................................................................................................................... 17
Gate Module ................................................................................................................................................................................. 19
Master Module .............................................................................................................................................................................. 20
Insert Plugin Slot........................................................................................................................................................................... 21
Rearranging Processing Sequence............................................................................................................................................... 22
Using Scheps Omni Channel .................................................................................................................... 23
Practical examples........................................................................................................................................................................ 23
Working with M/S .......................................................................................................................................................................... 26
Focus Mode .................................................................................................................................................................................. 28
Controls ..................................................................................................................................................... 29
Controls common to all modules ................................................................................................................................................... 29
Pre Module ................................................................................................................................................................................... 30
DS2 Module................................................................................................................................................................................... 32
EQ Module.................................................................................................................................................................................... 34
Compressor Module...................................................................................................................................................................... 37
Gate Module ................................................................................................................................................................................. 39
Master Module .............................................................................................................................................................................. 41

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 Introduction
Thank you for choosing Waves! In order to get the most out of your new Waves plugin, please take a moment to read this
user guide.

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keep up to date with important information.

We suggest that you become familiar with the Waves Support pages: www.waves.com/support. There are technical
articles about installation, troubleshooting, specifications, and more. Plus, you’ll find company contact information and
Waves Support news.

A note from Andrew Scheps

Hello and welcome to the Scheps Omni Channel user guide! I’m really excited about this plugin, and so
is everyone at Waves. It took a lot of hard work to bring it to life, and I think the final product has not only
met, but exceeded, all of our expectations. The genesis of Scheps Omni Channel came from our desire
to fulfill the classic definition of a channel strip (EQ, Dynamics, and more—in one plugin), while giving the
user the sonic color options and flexibility that you get from mixing and matching equipment or plugins. The
real breakthrough came when we redefined “channel strip" to mean “everything you need to make your tracks
sound better, all in one easy-to-use unified interface.” We think Scheps Omni Channel lives up to that
definition, and then some!

Scheps Omni Channel is a powerful channel strip plugin that was developed in collaboration with multi-Grammy®-
winning mixing engineer Andrew Scheps. It’s made up of the kinds of tools that Andrew has used over the years to
craft the sound of his legendary mixes; tools that help get the mix done, and get it done really well. Scheps Omni
Channel is made up of five processing modules, an input/output section, and an insert point for an additional plugin.
All of these hold up on their own, but together they shine. This is not just a collection of useful, great-sounding
processors, nor is it just an artist signature plugin that delivers the taste and attitude of a specific engineer—It’s both.

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 You can start with the presets to get an idea of how Andrew (and other world-class engineers) would use the plugin.
There’s also a Focus mode that highlights the go-to controls best suited for the loaded preset. This points your eyes
and fingers in the right direction and helps you learn how the modules work together. You can, of course, explore the
plugin on your own. You’ll quickly see just how much freedom you have to create the sound you’re looking for.

Startup Condition
When you instantiate Scheps Omni Channel on a track, all processing modules and all sections within modules are
switched off. A module that’s off does not consume any CPU power. Sections within a module can be bypassed
independently—this does not affect CPU.

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 Using Presets
Use the WaveSystem Toolbar at the top of the plugin to save and load presets, compare settings, undo and redo steps, and
resize the plugin.

Saved presets can easily be shared between instances, whether in the same session, in a different session, or in a
different host application.1 To learn more about managing presets, click the icon on the upper-right corner of the
window and open the WaveSystem Guide. This tiny toolbar can really help you, so it’s worth investigating.
The arrows on the left side of the toolbar provide 32 levels of undo and redo. This includes all plugin functions,
including resequencing the Omni Channel modules.

All presets—factory and user-created—are recalled from the

Presets menu (far left) Access the Presets menu with the big
button in the middle of the toolbar. To restore all controls to
their factory default status, select “Full Reset.”
Use the Save menu to create presets from existing plugin
settings and to copy presets to other instances of Scheps
Omni Channel. To delete a preset, hold Cmd while opening the
Presets menu (Mac).
“Set as Default Preset” saves the current settings as the default preset. It will load each
time Scheps Omni Channel is instantiated. Stereo and mono components have different
default presets. If you do not want any default preset, use the host computer’s operating
system to delete the file. Preset files are located here:
Mac: Users>Shared>Waves>Plug-In Settings
Windows: C:\Users\Public\Waves Audio\Plug-In Settings

1
When working with Pro Tools, you must close and relaunch the application after creating a user preset in order to hear
the results.

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 Components
Scheps Omni Channel has two components: Mono and Stereo.

Mono Component
Collapsed View

Processing Modules Insert Master Section

Point

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 Stereo Component
Collapsed View

Stereo Mode Select

Processing Modules Insert Master Section

Point

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 Expanded View
A module can also be controlled from its Expanded view. It provides
more control options than the Collapsed view, as well as giving you
access to the Left and Right (in Stereo or Duo mode) or Mid and Side
controls (in M/S mode) separately. Knobs are bigger than in the
Collapsed view, so it’s easier to read and it’s better suited for touch
displays.

To open the Expanded view, click on the window symbol at the top
right-hand side of a module strip.

At the top of the Expanded view panel is a bar that controls basic window functions. It varies slightly by module.

Bypass module Click on module name.

Stereo mode Select between the three stereo modes: Stereo, Duo, and M/S.
Link Click to link/unlink the left and right controls.
EXT SC Click to turn on or off the module’s external sidechain.
Close window Click on the window symbol to return to the Collapsed view.

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 Stereo Mode and Stereo Controls Linking
There are two controls that affect stereo channels: Stereo Mode and Stereo Controls Linking.
Stereo Mode Select
In the Scheps Omni Chanel stereo component, there are three modes for processing a
stereo signal within a module: Stereo, Duo, and M/S.

In all modules, the Stereo Mode switch sets whether the stereo input signal will be processed as L/R stereo (Stereo
and Duo modes) or will be converted to M/S for separate control of the mid and side channels (M/S mode).

Additionally, In the dynamics modules (DS2, Compressor, and Gate), the Stereo Mode selection determines how
the sidechain is processed.

Stereo Left and right channels are summed in the sidechain. The sidechain values are the same for left and
right, so dynamic processing will apply equally to both channels.
Duo Left and right channels of the sidechain are processed separately, so dynamic processing may not be
the same for the left and right channels.
M/S Mid and side channels of the sidechain are processed separately, so dynamic processing may not be
the same for the mid and side channels.2

Regardless of a module’s Stereo Mode, its output is always stereo. If needed, it will be converted to M/S at the input
of the next module in the chain. This allows re-ordering of the modules on the fly with no impact on the stereo
processing.

2
Pro Tools provides only a mono sidechain.
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 Linking Controls
In the Collapsed view, there is one control per function (e.g., frequency, gain, SC listen, thump), whether the signal
is mono or stereo. Both channels of a stereo signal are controlled together, and by default, with the same values.
Use the Stereo Linking button in the Expanded view to
decouple left and right controls so that you can adjust
the sides separately.

When you relink variable controls, such as knobs and

faders, their offsets will be maintained.

When Stereo Linking is on, switches are linked, clicking

a left or right switch will set both controls to the same
value (e.g., EQ type, filter on/off, SC on/off, and
dynamics processing mode).

In Stereo or Duo stereo modes, the left and right control

sections are labeled L and R.
In the M/S mode, the labels will change to M and S, for
mid and side

Left and right, or mid and side, are always linked in the Collapsed view.

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 Common Controls
To activate a module, click on its name button and the light will go on. When the light is off, the module is bypassed.
In addition, certain sections can be bypassed individually:
• In the Pre module, the Saturation and Thump sections can be bypassed.
• In the EQ module, each band can be bypassed individually.
• In the DS2 module, each band can be bypassed individually.

Switches are illuminated when active or selected. The switch, fader, knob, that’s currently
being controlled is outlined in yellow

Copy Channel Parameters

You can copy plugin parameters between left and right sides of any module. While in
the collapsed view, right-click in a blank space of the module. This opens the Stereo
Copy drop-down menu. Copy the parameters of the left side to the right, or vice versa.
Copying overwrites the parameters of the target channel.

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 Sidechain
Compressors, gates, and de-essers use a gain attenuation device to alter the level of a given signal. This gain
attenuator can be a VCA, an FET, a tube, or an opto-resistor, depending on the design of the unit. This device is
controlled by a circuit that looks at the input signal and determines how much to attenuate the gain, based on
different settings (attack, release, ratio, and threshold). This circuit is known as the internal sidechain.

Example: Using an internal sidechain to reduce kick bleed in a snare track

A snare track often contains bleed from the kick. When gating the snare, this bleed can carry enough
energy to open the snare’s gate. This can create a non-musical gate effect, since it should be the snare,
not the kick, controlling the gate. By applying a high-pass filter to the internal sidechain, the kick’s
energy is reduced to the point that it no longer opens the gate. The snare alone is now opening the
gate and there is no impact on the gate’s sound.

External Sidechain
Sometimes you need to control the dynamics of a channel based on the activity of another channel. This is known as
an external sidechain. This process is particularly useful when one channel is interfering with another and you want to
bring it forward or push it back without altering the dynamic characteristics of the entire track. Each of the Scheps Omni
Channel dynamics modules can accept an external sidechain. All modules in a plugin instance receive the same
external sidechain signal.

Example: Using an external sidechain to reduce bass gain to prevent it from clashing with the vocal
It’s common for a bass to interfere with a vocal track. You can, to an extent, tame this problem with level
control or EQ, but this undeniably compromises the performance. What you want is gain reduction on the
bass, based on the vocalist’s activity. Hence, an external sidechain.

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 This does the trick, but you’re compressing the bass in places where you don’t need to. Only at low
frequencies is there a conflict between the bass and the voice, so you want to trigger compression only
when the vocalist sings low notes. Add a sideband EQ boost around 200 Hz to 400 Hz, which is where
bass and voice are most likely to collide. This biases the sidechain to activate the compressor mostly at
low-frequency vocal sounds.

Set the Threshold so that only this accentuated low-frequency boost triggers gain reduction.

Turn the external sidechain on or off with the EXT SC button.

Shaping the Sidechain

The compressor and gate sidechain EQ controls that are located in the SC section of the Expanded view. Use these
filters to shape the frequency content of the sidechain that’s going to the attenuation device. This applies to both
internal and external sidechains. This equalization assigns different compression priorities for different frequencies.

By default, all sidechain controls are inactive: SC on/off; EXT SC;

and all SC EQ controls. Touch any EQ control in the sidechain
panel and the sidechain EQ section will become active. The SC
Filters button—at the top of the Expanded view, or at the bottom
of the Collapsed view—will light, indicating activity in the
sidechain.

Click the SC Filters button to turn all sidechain filters on or off. This
lets you audition the sidechain to hear how sidechain EQ is
influencing sidechain performance.

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 Switch the external sidechain on or off from the Expanded view or the Collapsed view.
Once you’ve set up a sidechain EQ, you can use the Filters button in the Collapsed view to turn
sidechain filters on or off.

Click the Sidechain Listen switch to hear only the sidechain and how it’s influenced by the SC
filters. To easily locate a side band frequency, hold Ctrl and slide vertically over the Frequency
control knob. This engages the Sidechain Listen mode and lets you sweep across the entire
frequency range. Let go and the side band frequency is set.

This is particularly useful in the DS2 module, since a precise side band frequency is very important. You can use the
same technique in the EQ module to quickly and accurately locate a frequency.

When Sidechain Listen is engaged, the output faders control monitor level for the
sidechain. This is indicated by a change in color.

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 Channel Strip Modules
Pre Module
The Pre module is used primarily to add harmonic distortion, much like analog devices add odd or even harmonics,
or clipping, to a signal. The name “Pre” suggests the type of harmonic distortion that one would normally associate
with driving preamps. But don’t be misled by this module’s default position at the beginning of the chain. Think of it
instead as a processor that adds warmth and color that can be located at any point in the signal path. At the heart of
the module is the Saturation section, which controls the type and amount of added harmonic distortion. There are
also HP/LP filters and an EQ that adds a gentle low-frequency “thump” or resonance.

Expanded view button

Collapsed Stereo mode selector
View

Saturation Control Panel

HP/LP filter on/off

HP/LP filter frequency

HP/LP filter slope Expanded View

Thump on/off and gain

select

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 EQ Module
The EQ module is a four-band equalizer. Each band provides a distinct musical sound that holds up on its own, while
blending well with the other bands. Rather than being restricted to certain frequency ranges per band, each band can be
centered at any audio frequency. Plus, any band can become fully parametric.
The High and Low sections each have shelves with fixed Q, as well as one adjustable parametric bell. There are two
other EQ sections: Mid and Tone. They are identical except in the wide mode, where Mid is a wider, cleaner filter, best
suited for enhancing the characteristic sound of the source. Tone is a bit narrower and can really help a source pop out
of the track without too much EQ. Since it’s somewhat smeary, it’s good for coloring and gluing a track together.

Expanded view button

Collapsed Stereo mode selector

View
High section

High filter type

Mid bell EQ

Mid bell filter type

Tone bell EQ

Tone bell EQ filter type Expanded View

filter type Standared
Low section

Low filter type

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 DS2 Module
The DS2 module has two identical dynamic processing sections. Like a de-esser, gain reduction is activated based
on a frequency-defined sidechain. Unlike a de-esser, each of the two DS2 processors can selectively control
dynamics at any frequency, with adjustable bandwidth and shape. The sidechain for the module can be an internal or
an external source. One external side band supplies both processing sections.

Expanded view button

Collapsed Stereo mode selector

View DS2 #1 sideband filters types
DS2 #1 on/off

DS2 #1 frequency

DS2 #1 gain reduction meter

DS2 #1 threshold
DS2 #1 sidechain listen

DS2 #2 controls are the same as DS2 #1

Expanded View

DS2 module level adjust

External sidechain on/off

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 Compressor Module
The Compressor module is made up of three different compressor units, each with very different characteristics.
• VCA is a very fast, transparent, linear compressor.
• FET is a slightly slower compressor. It has more distortion and color than the VCA, and it’s smoother.
• OPT (opto) is slow and very smooth, so transients are maintained.
Changing the compressor type does not alter the parameter settings, so you can efficiently compare the impact of
each compressor type on the signal.

Expanded view button

Stereo mode selector
Collapsed Compressor type
View
Threshold

Gain reduction meter

Ratio

Attack

Release
Expanded View

Module output level and mix

Access Expanded view to adjust sidechain EQ

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 Gate Module
The Gate module is a standard gate/expander with controls for threshold, attack and release. It also has controls for
Floor and Close, which let you adjust the maximum reduction to maintain a consistent noise floor. The sidechain can
be internal or external and also can be filtered. Its ability to gate in M/S can yield some amazing results.

Expanded view button

Collapsed
Stereo mode selector
View
Gate/Expander mode select

Threshold

Attenuation Meter

Gate Floor (attenuation)

Gate close (max attenuation)

Attack time Expanded View

Release time

Access Expanded view to adjust sidechain EQ

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 Master Module
The Master module is divided into four sections:
• Twin VU meters that display input, gain reduction, and output level
• A Monitor section for selecting the output and monitoring format
• A brickwall limiter
• Input and output faders and meters

Output VU meters: Input, Output, Gain Reduction

Meter trim pot

Output/monitor mode

Output brickwall limiter

Input phase invert

Input/output peak and clip indicators

Stereo Link

Input/output faders and meters

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 Insert Plugin Slot
You can add one plugin in the channel strip to provide additional, specific processing. To insert a plugin, click the plus (+)
sign at the top of the slot and select a plugin from the menu. This allows you to, for instance, add a second EQ plugin so
you can have one before and one after dynamics processing, or double-compress a signal.

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 Rearranging Processing Sequence
You can change the position of a module in the channel strip, and thus its place in the signal flow. Click+Drag on the
left/right arrows above the module’s name. In this example, we move the EQ module to the last place in the plugin’s
signal flow.

1. Grab arrows at the top of module. 2. Move module to its new position. 3. Let go. Other modules move left.

The position of a module in the proceeding chain can dramatically alter its influence on the overall sound of the
signal. Experiment!

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 Using Scheps Omni Channel
Practical examples
Andrew Scheps gives us a few examples of using Scheps Omni Channel in the studio.

Example #1: Kick Drum

• When mixing a kick drum, you’ll usually want to start with the EQ.
• You can get to work right away on the main interface and start with the EQ while completely ignoring the rest of
the modules in the strip. Maybe boost a little 60 Hz shelf, boost 12 kHz shelf for air, and somewhere around 5
kHz to 7.5 kHz broad tone for the beater.

• While adjusting the low shelf, you may notice it’s getting a little messy in the low end. Head over to the Pre
module and dial in the HPF at 30 Hz with an 18 dB-per-octave slope to clean up the sub while keeping the
boom.

• While still in the Pre module, check out the Saturation and the Thump sections to see if either gives you more of
what you’re looking for. You might find that with the Thump engaged you can reduce gain of the low shelf a bit.

• Now that the EQ is sculpted (with some other goodies along the way), you can decide whether or not to
compress with a slow attack time to bring out a little punch (quickly auditioning the three compressor types to see
what suits this recording), or possibly use the gate to try to better isolate the drum mic.

• Now, with dynamics engaged, you’re into processing where the order can really make a difference. Therefore,
drag the Compressor module pre- and post-EQ and see what works better for you. You can even expand the
dynamics controls and see if putting a high-pass filter on the compressor sidechain keeps it from pumping too
much. You can also try smashing a little more than you otherwise would and then dialing back the wet/dry
control to turn it into a parallel compressor.

• While trying to tweak the gate, you realize that it’s working OK, but what you’re really trying to get rid of is bleed
ringing from the floor tom that happens every time the drummer plays the kick drum. A gate can’t help

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 with that, but the DS2 certainly can. Use the Ctrl modifier (Mac) to solo the sidechain while finding the trouble
frequencies. Try a couple of different filter shapes to isolate the bleed as much as possible, and then use the
threshold control to suck out the bleed as much as you can without taking too much tone away from the drum.

Example #2: Vocal

• Here you might reach for the high pass filter first just to control the boom of the recording and some plosives,
but the first major port of call would probably be the compressor.

• Set up a 4:1 compressor with relatively slow attack and fast release for presence and then try out the
compressor types to see what works best on this voice.

• Now it’s time for the rest of the preamp controls, using a little Saturation to add some grit and maybe even a
little thump to add some body.

• From here, you move to the EQ, open up the top with the resonant high shelf, and try the two different mid-
range bands to see which the voice responds to best. Then, it’s on to the DS2. Band 1 can be set up for
classic de-essing, and then dial in Band 2 in the 2.5 kHz to 3.5 kHz range and just crack the threshold to
handle the increased nasal quality of the voice when the singer sings loudly.

• Try moving the DS2 module pre- and post-compressor to see which placement handles the artifacts better.

• Lastly put the Expander first in the chain to help duck the headphone bleed for you automatically to cut down
on the amount of fader rides you’ll need to do later.

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 Example #3: Overheads

• Dealing with overheads can be tricky and every recording is different. But let’s assume this is a relatively
straight-ahead recording acting as cymbal mics, as opposed to trying to capture a complete, full-frequency
picture of the drum kit.

• The first thing to do might be to put a 12-dB-per-octave HP filter on both sides to take care of any sub from
the kick or toms.

• Next, let’s EQ in M/S mode. This will let you add a little low mid in the middle of the image to give body to the
kit. Then add some top shelf to the sides in order to open up the cymbals without stepping on the snare or
vocal. Then, in Expanded view, put one midrange band in parametric mode, link the controls, and find the
harsh area around 3 kHz using the Ctrl solo shortcut, and then suck some of it out to make things clearer.

• From here, make sure your Compressor is post EQ and start with the VCA compressor for some clean punch,
or maybe the FET compressor for some dirt. Really play with the attack and release times to get the
excitement that the compression can add without destroying the transients and dynamics.

• Also, don’t forget to try the compressor in Duo mode instead of Stereo mode. Unlinking the compressors
might make the drums feel wider.

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 Working with M/S
M/S mode can be tricky if you’re new to it. Below are some general guidelines that can help get you started thinking
in M/S for each module.

Using the Pre module in the M/S mode

You’re working with the stereo overheads track and you want to add a bit of separation and “attitude” to the kick and
snare that are on the O/H track. Choose M/S audio format. Open the Expanded view and add Clip to the Mid part of
the signal only until you find the right amount of crunch that comes with a clipped signal. This will certainly draw
attention to the kick and snare.

Try adding some Even harmonics to the side. This may defocus the edges a bit.

Using the EQ module in the M/S mode

EQ processing a mid/side signal is a classic way to open up a track and make space for an instrument that’s at the
center of a stereo image. You can use M/S EQ processing to help focus and separate the bass drum and snare from
the overheads. You will have pretty good control of the mono tracks, but add the stereo overhead and the mix can
become mushy, since the bass and snare are less focused in the O/H. To reconcile these two types of tracks, set
the EQ module audio format to M/S for the O/H, and then brighten up the sides and pull back the mid.

You can also think of it as helping an instrument work with the rest of the tracks. On a piano, adding low mids and
some focused upper mids can make it sound more powerful and have more tone. But this can fight with the bass and
vocal. Try adding these frequencies just to the sides and actually dialing back the low end in the middle. This will
leave more room for bass and vocals in the middle while still giving you a present, powerful piano.

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 Using the Compressor module in the M/S mode

Compressing in M/S can be harder to conceptualize than some of the other processes. But you can use it in very
creative ways, especially when you have a source like a loop that has multiple elements to it. With M/S compression
you can really focus on one set of elements in the Mid and the rest on the Sides. For instance, use a slow attack
VCA compressor in the middle to add attack to the kick and snare in a loop, while quickening up the attack and
slowing down the release on the sides to even out and add sustain to percussion and cymbals.

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 Focus Mode
Click the blue button on the WaveSystem Toolbar to enable the Focus mode. This mode simplifies working with
Scheps Omni Channel presets. Load a preset in this mode and certain controls will be highlighted. These are the
controls that you are most likely to use with this particular preset. All other controls will also remain active.

The Focus mode leads you to the

relevant controls as soon as a preset is
loaded. Your eyes know where to go so
no time is wasted.

It helps you understand the interaction

between controls and between
modules, so you can quickly get to
know the plugin and develop your own
strategies.

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 Controls
Controls common to all modules
Module on/off
Click on the module name to bypass the module.
Range: Not illuminated=bypass; Illuminated=not bypassed

Access the Expanded view

Click the window icon at the upper right corner to open the module’s Expanded view.
Stereo Mode
This selection serves two purposes:
In all modules, the Stereo Mode switch sets whether the stereo input signal will be processed as L/R stereo (Stereo and Duo
modes) or will be converted to M/S for separate control of the mid and side channels (M/S mode).
In the dynamics modules (DS2, Compressor, and Gate), the Stereo Mode selection also determines how the signal will be used in
dynamics processing for calculating the signal as it relates to threshold.
Stereo Left and right are summed. This value is used for establishing internal side band gain. This value is the same for left
and right, so gain reduction detection will apply equally to both channels. This affects dynamics processing only, not
processing adjustments.
Duo Left and right are considered separately in calculating internal sidechain. Each side can have its own dynamic
ranges, so dynamic processing may behave differently for left and right. It does not alter the stereo signal itself. The
M/S L/R stereo signal is converted to M/S so that the middle part of the signal can be dynamically processed differently
than the side part of the signal.
Regardless of a module’s Stereo Mode, its output is always stereo. If needed, it will be converted to M/S at the input of the next
module in the chain.
Section on/off
Many individual sections can be bypassed. Click on the section name to turn it on or off. Turning off a section will reduce CPU load.
Range: Not Illuminated=bypassed; Illuminated=not bypassed

Most modules use one control for both left and right channels (when using the stereo component). To access channels
independently or to create offsets between the two, open the Expanded view window.

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 Pre Module
The Pre module uses harmonic distortion, HP/LP filters, and a low-frequency “thump” to add depth and warmth to a
recording.
Saturation section
Analogue devices typically produce odd and/or even harmonics. Adding some harmonic distortion to mix elements can keep a mix
element from sounding “too clean.” This sound is, in a way, reminiscent of analog circuits.

Saturation section on/off

Bypasses saturation processing
Range: off or on
Saturation level
Adjusts the amount of harmonic distortion added to the original signal.
Range: 0 to 100%
Saturation type
• Selects between Odd and Even harmonics. The impact of odd vs. even harmonics on a signal is very
content-dependent.
• In contrast to Even and Odd, Heavy is less about adding harmonics and is more of a traditional clipper. It has
a custom response to give you a different sound than most clippers, allowing you to shape the sound in ways a
simple clipper can’t.

Range: Radio switch selects between the three saturation types

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 HP/LP filters
Filter on/off
Individual on/off switches for HP and LP filters.
Range: on or off
Filter frequency
Sets HP/LP frequency
Range:
HP: 20 Hz to 20 kHz
LP: 20 Hz to 20 kHz
Filer slope select
Select between 6 dB, 12dB, or 18 dB per octave.
Separate L/R select controls in Stereo component.

Thump section
Thump on/off; Thump gain
Thump introduces a wide boost that feels more like resonance than EQ. This adds warmth and color.
Range: off or on
Boost: +2 dB or +4 dB

The Pre module Collapsed and Expanded views are identical in functions and controls.

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 DS2 Module

The DS2 module works much like a de-esser: when sound at a specified frequency surpasses a threshold, gain is
reduced by a defined amount. DS2 differs from a de-esser in that any frequency can serve as the side band that
triggers the compressor. It can, of course, be used as a standard de-esser. There are two identical DS2 sections, so
that low-frequency and high-frequency sounds can be addressed simultaneously.

Filter type select

Selects shape of filter for sidechain detection.
Range: low shelf, bell, narrow cut, high shelf
Frequency
Sets the roll-off start point for a high-pass filter or the center frequency for the band-pass filter.
Range: 20 Hz to 20 kHz
Threshold
Sets the processor’s engagement level.
The processor’s threshold uses adaptive sensing to provide more natural results.
Range: -48 dB to 0 dB
Sidechain listen
Click to audition the sidechain filter.
Range: off or on
Hold Ctrl while moving the Frequency control vertically to audition the side band and sweep through
frequencies. This helps locate accurate frequency settings.

DS2 module output level adjust

Range -12 dB to +12 dB
Gain reduction meter
Indicates gain reduction imposed by the compressor.
Range: -12 dB to -3 dB (four steps)
Sidechain control access
Click on the SC button to access the DS2 Expanded view for sidechain control.
DS2 Expanded View

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 The DS2 Expanded view consists of four identical sections (two sections in the mono component) that are used to
control frequency and threshold independently for the left and right or mid and side channels in both DS2 sections,
and to set the filter types used for sidechain detection.

The External Sidechain button at the top of the window enables and
disables external sidechain for the entire DS2 module. All sections share
the same sidechain.

Independent DS2 module engage/bypass switches.

Independent Sidechain Filter select for the left and right channels of
both DS2 sections.

Filter type
Range: low shelf, notch, bell, high shelf

Independent Sidechain Listen buttons

Select sidechain listen for the left and right channels of both processors.
The section’s signal is band limited to enable you to focus on a specific
side band. Main outs are muted and only sidechain is heard.

Frequency sweep
To precisely locate a sidechain frequency, hold Ctrl and drag vertically on a frequency control. This activates sidechain listen and
lets you sweep across frequencies.

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 EQ Module
High section
Gain
Adjusts the gain of the high-shelf filter.
Range: -18 dB to +18 dB
Frequency
Sets the frequency of the shelf filter.
Range: 20 Hz to 20 kHz

High filter types:

Resonant shelf
This shelf adds a small emphasis just prior to the beginning and end of the shelf. Usually this results in a more aggressive
shelf.
Shelf
This standard shelf tends to be smoother, and lacks the “bump” of the resonant shelf. These two shelf types use a fixed Q
that’s part of the filter design. As a result, the Q control is not available. It’s very difficult to make generalizations about the
effect that a type of shelf will have on a sound. Experiment.
Parametric
This is a bell-shaped EQ, and unlike the shelf filters, the Q control is available.

Q (parametric mode only)

Range: 0.2 to 10

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 Bell-shaped EQs

There are two Bell EQ sections in the middle of module: Mid and Tone. Both have three shape options: Wide,
Narrow, and Parametric.
The Mid and Tone sections are identical in the Narrow and Parametric modes.
When the Wide bell shape is selected, the character of the two EQs diverges.
• Mid is a relatively wide, clean filter, best suited for enhancing the characteristic sound of the source.
• Tone is a bit narrower and can really help a source pop out of the track without too much EQ. Since it’s somewhat
smeary, it’s good for coloring and gluing a track together.

Mid and Tone Controls

Gain
Adjusts the gain of the bell.
Range: -18 dB to +18 dB
Frequency
Sets the center frequency of the bell filterl
Range: 20 Hz to 20 kHz
EQ filter type
Selects the shape of the bell filter.
Range: Wide, Narrow, Parametric (In the Parametric mode, the Q control is available for adjusting the width of
the bell.)

Q (parametric mode only)

Range: 0.2 to 10

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 Low section

Gain
Adjusts the gain of the low-shelf filter.
Range: -18 dB to +18 dB
Frequency
Sets the frequency of the shelf filter. Hold Ctrl and drag vertically over the Frequency control to easily isolate a desired frequency.
Range: 20 Hz to 20 kHz
Low filter types
Resonate Shelf (fixed Q), Shelf (fixed Q), Parametric (bell with adjustable Q)

Q (parametric mode only)

Range: 0.2 to 10

The EQ module Collapsed and Expanded views are identical in functions and controls.

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 Compressor Module
The Compressor module consists of three different compressor modes.
VCA is a modern-sounding compressor. It’s the most transparent of these three compressor types. Its
“feed-forward” processing can yield very fast attacks and there’s very little distortion. Because of this
design, there is no compression in the sidechain.
FET sounds slower than a VCA compressor due to its “feed backward” processing. It actually operates
more quickly than VCA, but it takes a bit longer to activate. There’s more distortion and color than in the
VCA compressor type, and it tends to be more “peaky.” There is compression in the sidechain.
The FET compressor can be used to create a deep, pumpy compression sound. Set Ratio between 20:1
and infinity:1. Start with a very slow attack and a fast release. Experiment with these time values, since
they can have an impressive effect on the sound.
OPT is based on photocell compressors. It’s the slowest and smoothest of these three compressors. It has
a long “memory” so it tends to be soft and quite rich. Because of its slower attack, transients are more
easily maintained. There is compression in the sidechain.
Range: three-positon radio switch
Threshold
Sets the compressor’s engagement level.
Range: -50 dB to 0 dB
Gain reduction meter
Shows the amount of gain reduction introduced by the compressor.
Range: -15 dB to -1 dB
Ratio
Determines how hard the signal is compressed.
Range: 1:1 to infinity:1
Attack
Determines how quickly the compressor reacts to a signal.
Range: 0.4 ms to 150 ms
Release
Determines how fast the compressor reduces processing after the signal falls
below the threshold.
Range: 50 ms to 5000 ms

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 Output mix ratio
Determines the wet/dry ratio of the compressor module output
Range: 0% to 100%
Compressor output level
Trims the output level of the compressor module
Range: -12 dB to +12 dB

Compressor sidechain adjust

Click on the SC button in the Collapsed view to open the Expanded view for sidechain adjustment.

Sidechain filters
There are identical sidechain filter sections for left and right channels (mid and side in the M/S stereo mode). Use the Link button to
decouple left and right channels. Hold Ctrl and drag vertically over the Frequency control to easily isolate a desired frequency.

Sidechain listen
Solos sidechain signal only. Click to lock. Hold Ctrl and drag to sweep across
side band frequencies.
Range: off or on
Low-shelf filter
Filter active: (off or on)
Gain (range -18 dB to +18 dB)
Frequency (range: 20 Hz to 20 kHz)
Bell filter
Filter active: (off or on)
Gain (range -18 dB to +18 dB)
Frequency (range: 20 Hz to 20 kHz)
High pass filter
Filter active (off or on)
Frequency (range: 20 Hz to 20 kHz)

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 Gate Module
GATE/EXP Select
Toggles between Gate and Expander modes.
Range: Gate or Expander
A gate, sometimes called a "noise gate,” is a downward expander with an extremely high ratio. When the
signal level reaches the threshold, the gate goes from "closed" (no signal passes through) to "open" (all of
the signal passes through). It's all or nothing, on or off.
An expander increases the dynamic range of the audio signal. Expanders are generally used to make
quiet sounds even quieter by reducing the level of an audio signal that falls below a set threshold level.
Threshold
Sets the Gate open and close level.
Range: -Infinity to 0 dB

Attenuation meter
Shows the gain reduction introduced by the gate.
Range: -60 dB to -6 dB
Floor
Sets maximum gain reduction. Floor limits the amount of gain reduction brought on by the gate. It can preserve
some “air” in the track.
Range: -60 dB to 0 dB
Close
This is a secondary close threshold. If Close is set to zero, the open and close threshold is unaffected. But if it is
set to any value other than zero, the Close value will determine the closing threshold. This value must be lower
than the Threshold for the Close function to take effect.
Attack
Determines how quickly the Gate opens.
Range: 0.1 ms to 10,000 ms
Release
Sets how fast the Gate closes (fades out) after the signal falls below Threshold.
Range: 0.1 ms to 10,000 ms

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 Sidechain filters
Click on the SC button to open the Expanded view for sidechain adjustment. Hold Ctrl and drag vertically over the Frequency
control to easily isolate a desired frequency.
External sidechain On/Off
Range: off or on
HP/LP sidechain filters
HP Range 20 Hz to 15,000 Hz
LP Range: 20 Hz to 15,000 Hz
Link HP and LP filters
Allows you to keep the bandwidth between the HP and LP filters, but use either knob to sweep the frequency spectrum. This
essentially turns the HP and LP filters into a band pass filter.

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 Master Module

The VU Meter section has three metering sources: plugin input, plugin output, and total gain
reduction. This selection affects VU meters only. It does not affect full-scale meters or audio
output.
Use the meter trim pot on the right to align the meters to a reference tone.
Range 4 dB to 26 dB.

Use the Monitor section (stereo component only) to select how audio is monitored. Options
are: stereo or mono, left or right, mid or side. This selection is reflected in the VU meters and
the Output full scale meters.

The Limiter is an adjustable brickwall limiter that is positioned just before the plugin’s output.
Lower the Limit setting significantly and you will likely hear distortion.
Limiter Range: -30 dB to 0 dB

Full-scale Input and Output Meters are at the bottom of the module. Link the left and right
input faders or output faders with the Link button at the bottom. When faders are unlinked, you
can establish an offset between left and right faders, and then relink them. The offset between
the two faders will be maintained as they move.

Clipping is indicated at the top of the meter and peak level hold is at the bottom. Click on the
meter to clear all indicators.

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