Frieve EffeTune
Documentation

Equalizer Plugins

A collection of plugins that let you adjust different aspects of your music’s sound, from deep bass to crisp highs. These tools help you personalize your listening experience by enhancing or reducing specific sound elements.

Graph Controls

On the draggable point graphs in 5Band PEQ, 15Band PEQ, 5Band FIR PEQ, Group Delay PEQ, and Room EQ’s Additional EQ, drag a point normally to change both axes. Hold Shift while dragging to lock the movement: start mostly sideways to change only Frequency, or mostly vertically to change only Level (Delay in Group Delay PEQ). Release Shift to return to free movement. Place the pointer over a point and scroll up to increase Q or down to decrease it.

Mobile Band Selection

On mobile, 5Band PEQ, 5Band FIR PEQ, Group Delay PEQ, Room EQ’s Additional EQ, and Tonal Balance EQ’s Target Adjust show one band’s settings at a time. Tap a numbered band button to switch bands. All band settings are retained.

Plugin List

  • 15Band GEQ - Detailed sound adjustment with 15 precise controls
  • 15Band PEQ - Detailed 15-band tone shaping for music playback
  • 5Band Dynamic EQ - Dynamics-based equalizer that responds to your music
  • 5Band FIR PEQ - Five-band tone shaping with minimum- or linear-phase FIR filtering
  • 5Band PEQ - Flexible equalizer for shaping bass, mids, and treble
  • Band Pass Filter - Focus on specific frequencies
  • Comb Filter - Phasey, hollow, or metallic sound coloration
  • Earphone Cable Sim - Helps check how small normal earphone-cable response shifts usually are
  • Group Delay EQ - Adjusts the delay of each frequency band without changing the tone
  • Group Delay PEQ - Five-band parametric control of per-frequency delay without changing the tone
  • Hi Pass Filter - Remove unwanted low frequencies with precision
  • Lo Pass Filter - Remove unwanted high frequencies with precision
  • Loudness Equalizer - Frequency balance correction for low volume listening
  • Narrow Range - Focus on specific parts of the sound
  • Room EQ - FIR correction from saved room measurements
  • Tilt EQ - Simple EQ that tilts the sound spectrum
  • Tonal Balance EQ - Automatically corrects the long-term tonal balance toward a music-style target
  • Tone Control - Simple bass, mid, and treble adjustment

Spectrum Overlay

Press the spectrum icon on a compatible graph to cycle through After, Before + After, and Off. After shows only the processed spectrum as a blue line. Before + After fills the change from the unprocessed spectrum to the processed spectrum: warm color marks frequencies whose level is higher after processing, blue marks frequencies whose level is lower, and a gray line marks the After spectrum. The input and output spectra are aligned to the same point in playback, so the filled differences compare matching audio. Normal applies 1/12-octave smoothing; HQ provides finer analysis at low frequencies. Use the comparison to see how each adjustment changes bass, mids, and treble while listening. Read spectrum levels on the dBFS scale at the right of the graph. It is separate from the graph’s gain scale; 0 dBFS is the full-scale digital reference, and lower values are quieter. In Config, choose Normal or HQ for Overlay spectrum quality, and Instantaneous or Peak Hold for Overlay spectrum display. Peak Hold keeps recent peaks visible and lets them fall gradually. Only the processed spectrum is collected in After mode; collection and drawing stop in Off.

15Band GEQ

A detailed sound adjustment tool with 15 separate controls, each affecting a specific part of the sound spectrum. Perfect for fine-tuning your music exactly how you like it.

Listening Enhancement Guide

  • Bass Region (25Hz-160Hz):
    • Enhance the power of bass drums and deep bass
    • Adjust the fullness of bass instruments
    • Control room-shaking sub-bass
  • Lower Midrange (250Hz-630Hz):
    • Adjust the warmth of the music
    • Control the fullness of the overall sound
    • Reduce or enhance the “thickness” of the sound
  • Upper Midrange (1kHz-2.5kHz):
    • Make vocals more clear and present
    • Adjust the prominence of main instruments
    • Control the “forward” feeling of the sound
  • High Frequencies (4kHz-16kHz):
    • Enhance the crispness and detail
    • Control the “sparkle” and “air” in the music
    • Adjust the overall brightness

Parameters

  • Band Gains - Individual controls for each frequency range (-12dB to +12dB)
    • Deep Bass
      • 25Hz: Lowest bass feeling
      • 40Hz: Deep bass impact
      • 63Hz: Bass power
      • 100Hz: Bass fullness
      • 160Hz: Upper bass
    • Lower Sound
      • 250Hz: Sound warmth
      • 400Hz: Sound fullness
      • 630Hz: Sound body
    • Middle Sound
      • 1kHz: Main sound presence
      • 1.6kHz: Sound clarity
      • 2.5kHz: Sound detail
    • High Sound
      • 4kHz: Sound crispness
      • 6.3kHz: Sound brilliance
      • 10kHz: Sound air
      • 16kHz: Sound sparkle

Visual Display

  • Real-time graph showing your sound adjustments
  • Easy-to-use sliders with precise control
  • One-click reset to default settings
  • Double-click a slider to return that band to 0dB
  • Hover over the graph, or touch and drag on it, to read the values at that point.

15Band PEQ

A 15-band parametric equalizer for fine-tuning bass, vocals, presence, and treble while listening. Use it when you want more detailed control than a graphic EQ, from small tone changes to narrowing down a specific annoying frequency.

Sound Enhancement Guide

  • Vocal and Instrument Clarity:
    • Set one band to around 3.2kHz with moderate Q (1.0-2.0) for natural presence
    • Apply narrow Q (4.0-8.0) cuts only when a specific resonance is bothering you
    • Add gentle air with a 10kHz high shelf (+2 to +4dB)
  • Bass Quality Control:
    • Shape bass fullness with a 100Hz peaking filter
    • Use a narrow cut if one bass note or room boom stands out too much
    • Create smooth bass extension with a low shelf
  • Fine Listening Adjustments:
    • Use small, broad boosts or cuts for natural results
    • Use narrow settings for targeted problems rather than overall tone
    • Compare with bypass often so the music still sounds balanced

Parameters

  • Configurable Bands
    • 15 fully configurable frequency bands
    • Initial frequency settings:
      • 25Hz, 40Hz, 63Hz, 100Hz, 160Hz (Deep Bass)
      • 250Hz, 400Hz, 630Hz (Lower Sound)
      • 1kHz, 1.6kHz, 2.5kHz (Middle Sound)
      • 4kHz, 6.3kHz, 10kHz, 16kHz (High Sound)
  • Controls Per Band
    • Center Frequency: Adjustable from 20Hz to 20kHz
    • Gain Range: ±20dB for Peaking and Low/High Shelf filters
    • Q Factor: 0.1-10.0 for most filter types; Low/High Shelf is limited to 0.1-2.0
    • Higher Q affects a narrower range; lower Q sounds smoother and broader
    • For Low/High Pass, Band Pass, Notch, and AllPass, Frequency and Q shape the filter; Gain is not used
    • Multiple Filter Types:
      • Peaking: Symmetrical frequency adjustment
      • Low/High Pass: 12dB/octave slope
      • Low/High Shelf: Gentle spectral shaping
      • Band Pass: Focused frequency isolation
      • Notch: Precise frequency removal
      • AllPass: Phase-focused frequency alignment
  • Preset Management
    • Import: Load Equalizer APO-style TXT filter lines
    • Up to 15 ON PK/LS/LSC/HS/HSC filters are imported; Preamp lines and unsupported filter types are ignored
      • Example format: 
        Filter 1: ON PK Fc 50 Hz Gain -3.0 dB Q 2.00
Filter 2: ON HS Fc 12000 Hz Gain 4.0 dB Q 0.70
...

Visual Display

  • High-resolution frequency response visualization
  • Interactive control points with precise parameter display
  • Real-time curve updates as you adjust settings
  • Frequency and gain grid
  • Accurate numerical readouts for all parameters
  • Hover over the graph, or touch and drag on it, to read the values at that point.

5Band Dynamic EQ

A smart equalizer that automatically adjusts frequency bands based on the content of your music. It combines precise equalization with dynamic processing that responds to changes in your music in real-time, creating an enhanced listening experience without constant manual adjustments.

Listening Enhancement Guide

  • Tame Harsh Vocals:
    • Use peak filter at 3000Hz with higher ratio (4.0-10.0)
    • Set moderate threshold (-24dB) and fast attack (10ms)
    • Automatically reduces harshness only when vocals get too aggressive
  • Enhance Clarity and Brilliance:
    • Use Band 5 with Filter Type: Highshelf, Frequency: around 10000Hz, SC Freq: around 1200Hz, Ratio: 0.5, Attack: 1ms
    • Mids trigger high frequencies for natural-sounding clarity
    • Adds sparkle to music without permanent brightness
  • Control Excessive Bass:
    • Use lowshelf filter at 100Hz with moderate ratio (2.0-4.0)
    • Keep bass impact while preventing speaker distortion
    • Perfect for bass-heavy music on smaller speakers
  • Adaptive Sound Tailoring:
    • Lets music dynamics control the sound balance
    • Automatically adjusts to different songs and recordings
    • Maintains consistent sound quality across your playlist

Parameters

  • Five Band Controls - Each with independent settings
    • Band 1: 100Hz (Bass Region)
    • Band 2: 300Hz (Lower Midrange)
    • Band 3: 1000Hz (Midrange)
    • Band 4: 3000Hz (Upper Midrange)
    • Band 5: 10000Hz (High Frequencies)
  • Band Settings
    • Filter Type: Choose between Peak, Lowshelf, or Highshelf
    • Frequency: Fine-tune center/corner frequency (20Hz-20kHz)
    • Q: Control bandwidth/sharpness (0.1-10.0)
    • Max Gain: Set maximum gain adjustment (0-24dB)
    • Threshold: Set level when processing begins (-60dB to 0dB)
    • Ratio: Control processing intensity (0.1-100.0)
      • Below 1.0: Expander (enhances when signal exceeds threshold)
      • Above 1.0: Compressor (reduces when signal exceeds threshold)
    • Knee Width: Smooth transition around threshold (0-10dB)
    • Attack: How quickly processing begins (0.1-100ms)
    • Release: How quickly processing ends (1-1000ms)
    • Sidechain Frequency: Detection frequency (20Hz-20kHz)
    • Sidechain Q: Detection bandwidth (0.1-10.0)

Visual Display

  • Real-time frequency response graph
  • Dynamic response curve showing the current boosts and cuts
  • Interactive frequency and gain controls
  • Hover over the graph, or touch and drag on it, to read the values at that point.

5Band FIR PEQ

5Band FIR PEQ provides the familiar five-band layout of 5Band PEQ but builds the combined response as one FIR filter. Use it for precise playback correction, very narrow cuts, or steep shelf transitions when you want to avoid recursive-filter stability limits. Minimum Phase keeps processing delay low, while Linear Phase gives every frequency the same fixed delay. The plugin requires the WASM DSP engine; without it, the signal passes through unchanged.

Sound Enhancement Guide

  • Start with Minimum Phase, 32768 Taps, and 128 samples of Latency. Use broad Q values around 0.7 to 2 for ordinary bass, midrange, and treble shaping.
  • For a measured narrow peak, select Peaking, set the center frequency to the peak, and increase Q gradually. Values above 10 are intended for precise corrections; check the status because an extremely narrow response may need more Taps.
  • Use Low Shelf for bass balance and High Shelf for treble balance. Small changes of 1 to 3 dB are usually enough for everyday listening.
  • Use LowPass or HighPass to remove unwanted frequency extremes. Start with a 12 or 24 dB/oct Slope, and increase it only when you need a sharper cutoff.
  • Choose Linear Phase when constant phase delay across the spectrum is important and the added latency is acceptable. It can place energy before a transient, especially with sharp settings, so compare Minimum Phase for music with strong attacks.
  • FIR construction avoids feedback-pole instability, but a large boost or very high Q still produces a long, selective impulse response. Prefer cuts for isolated resonances and leave enough playback headroom.

Parameters

  • Phase
    • Minimum Phase - Builds a causal minimum-phase response and adds no FIR half-length delay. The selected convolution Latency still applies.
    • Linear Phase - Builds a symmetric linear-phase response and adds Taps / 2 samples of FIR delay in addition to the selected convolution Latency.
  • Taps - FIR length: 8192, 16384, 32768, 65536, or 131072. More taps improve the accuracy of low-frequency and very high-Q settings, but increase memory use, design time, and Linear Phase delay.
  • Latency - Convolution-engine head latency: 0, 128, 256, 512, or 1024 samples. Lower values reduce delay but require more processing.
  • Five Adjustable Bands - The default centers are 100 Hz, 316 Hz, 1 kHz, 3.16 kHz, and 10 kHz. Each band can be enabled independently.
  • Type - Peaking, LowPass, HighPass, Low Shelf, High Shelf, BandPass, or Notch. All enabled bands are combined before the FIR is designed.
  • Freq - Sets the band frequency from 20 Hz to 20 kHz.
  • Gain - Sets the boost or cut from -20 to +20 dB for Peaking, Low Shelf, and High Shelf. LowPass, HighPass, BandPass, and Notch do not use Gain.
  • Q - Sets the response width from 0.1 to 100. Higher values make a narrower change; lower values make a broader transition. The slider uses a logarithmic scale.
  • Slope - Sets the LowPass or HighPass cutoff rate from 0.1 to 384 dB/oct. The slider uses a logarithmic scale, and the control is available only for those two filter types.

Visual Display

  • The grey curve shows the combined target response requested by the current band settings.
  • The green curve shows the magnitude response realized by the designed FIR. A visible gap means the selected Taps cannot reproduce the target exactly.
  • Numbered markers correspond to the five bands. Drag horizontally to change frequency and vertically to change gain; disabled bands appear dimmed.
  • The status line reports whether the FIR is being designed, prepared, or used, and shows total processing latency in samples and milliseconds.
  • If the selected Taps cannot reproduce an extreme response accurately, the status recommends increasing Taps or reducing Q or Slope.
  • Hover over the graph, or touch and drag on it, to read the values at that point.

5Band PEQ

A flexible 5-band equalizer for shaping music playback. Use it when bass feels boomy, vocals sound harsh, or the highs need a little more sparkle without opening the more detailed 15-band version.

Sound Enhancement Guide

  • Vocal and Instrument Clarity:
    • Use the 3.16kHz band with moderate Q (1.0-2.0) for natural presence
    • Apply narrow Q (4.0-8.0) cuts only when a specific resonance is bothering you
    • Add gentle air with the 10kHz high shelf (+2 to +4dB)
  • Bass Quality Control:
    • Shape bass fullness with the 100Hz peaking filter
    • Use a narrow cut if one bass note or room boom stands out too much
    • Create smooth bass extension with low shelf
  • Everyday Sound Tuning:
    • Use broad, small adjustments for natural tone changes
    • Reduce harshness, boominess, or dullness by ear
    • Compare with bypass often so the music still sounds balanced

Parameters

  • Five Adjustable Bands
    • Band 1: 100Hz (Sub & Bass Control)
    • Band 2: 316Hz (Lower Midrange Definition)
    • Band 3: 1.0kHz (Midrange Presence)
    • Band 4: 3.2kHz (Upper Midrange Detail)
    • Band 5: 10kHz (High Frequency Extension)
  • Controls Per Band
    • Center Frequency: Adjustable from 20Hz to 20kHz
    • Gain Range: ±20dB for Peaking and Low/High Shelf filters
    • Q Factor: 0.1-10.0 for most filter types; Low/High Shelf is limited to 0.1-2.0
    • Higher Q affects a narrower range; lower Q sounds smoother and broader
    • For Low/High Pass, Band Pass, Notch, and AllPass, Frequency and Q shape the filter; Gain is not used
    • Multiple Filter Types:
      • Peaking: Symmetrical frequency adjustment
      • Low/High Pass: 12dB/octave slope
      • Low/High Shelf: Gentle spectral shaping
      • Band Pass: Focused frequency isolation
      • Notch: Precise frequency removal
      • AllPass: Phase-focused frequency alignment

Visual Display

  • High-resolution frequency response visualization
  • Interactive control points with precise parameter display
  • Real-time curve updates as you adjust settings
  • Frequency and gain grid
  • Accurate numerical readouts for all parameters
  • Hover over the graph, or touch and drag on it, to read the values at that point.

Band Pass Filter

A precision band-pass filter that combines high-pass and low-pass filters to allow only frequencies in a specific range to pass through. Based on Linkwitz-Riley filter design for optimal phase response and transparent sound quality.

Listening Enhancement Guide

  • Focus on Vocal Range:
    • Set HPF between 100-300Hz and LPF between 4-8kHz to emphasize vocal clarity
    • Use moderate slopes (-24dB/oct) for natural sound
    • Helps vocals stand out in complex mixes
  • Create Special Effects:
    • Set narrow frequency ranges for telephone, radio, or megaphone effects
    • Use steeper slopes (-36dB/oct or higher) for more dramatic filtering
    • Experiment with different frequency ranges for creative sounds
  • Clean Up Specific Frequency Ranges:
    • Target problematic frequencies with precise control
    • Use different slopes for high-pass and low-pass sections as needed
    • Perfect for removing both rumble and high-frequency noise simultaneously

Parameters

  • HPF Frequency (Hz) - Controls where low frequencies are filtered out (10Hz to 40000Hz; the effective upper limit also depends on the audio sample rate)
    • Lower values: Only the very lowest frequencies are removed
    • Higher values: More low frequencies are removed
    • Adjust based on the specific low-frequency content you want to eliminate
  • HPF Slope - Controls how aggressively frequencies below the cutoff are reduced
    • Off: No filtering applied
    • -12dB/oct: Gentle filtering (LR2 - 2nd order Linkwitz-Riley)
    • -24dB/oct: Standard filtering (LR4 - 4th order Linkwitz-Riley)
    • -36dB/oct: Stronger filtering (LR6 - 6th order Linkwitz-Riley)
    • -48dB/oct: Very strong filtering (LR8 - 8th order Linkwitz-Riley)
  • LPF Frequency (Hz) - Controls where high frequencies are filtered out (10Hz to 40000Hz; the effective upper limit also depends on the audio sample rate)
    • Lower values: More high frequencies are removed
    • Higher values: Only the very highest frequencies are removed
    • Adjust based on the specific high-frequency content you want to eliminate
  • LPF Slope - Controls how aggressively frequencies above the cutoff are reduced
    • Off: No filtering applied
    • -12dB/oct: Gentle filtering (LR2 - 2nd order Linkwitz-Riley)
    • -24dB/oct: Standard filtering (LR4 - 4th order Linkwitz-Riley)
    • -36dB/oct: Stronger filtering (LR6 - 6th order Linkwitz-Riley)
    • -48dB/oct: Very strong filtering (LR8 - 8th order Linkwitz-Riley)

Visual Display

  • Real-time frequency response graph with logarithmic frequency scale
  • Clear visualization of both filter slopes and cutoff points
  • Interactive controls for precise adjustment
  • Frequency grid with markers at key reference points
  • Hover over the graph, or touch and drag on it, to read the values at that point.

Comb Filter

A comb filter that adds a phasey, hollow, metallic, or resonant character by mixing the sound with a very short delayed copy. Use it when you want a track to feel more colored, spacious, or experimental.

Listening Enhancement Guide

  • Add Subtle Coloration:
    • Start with Feedforward mode, Feedback Gain around 0.2-0.4, and Dry-Wet Mix around 20-40%
    • Adjust the Fundamental Frequency until the hollow or phasey tone fits the music
    • Keep feedback low for a gentler effect that blends with the original sound
  • Create Resonance and Echo Effects:
    • Use Feedback mode or higher Feedback Gain for stronger ringing or echo-like effects
    • Experiment with different fundamental frequencies for unique tonal character
    • Use lower Dry-Wet Mix values if the effect becomes too obvious
  • Bright Metallic Color:
    • Try higher Fundamental Frequency values for brighter, wider-spaced comb peaks and dips
    • Use positive or negative Feedback Gain to change the pattern of peaks and dips
    • Combine with other effects for more experimental listening effects

Parameters

  • Fundamental Frequency (Hz) - Controls the delay time and harmonic spacing (20Hz to 20000Hz)
    • Lower values: Longer delays, closer-spaced comb peaks and dips
    • Higher values: Shorter delays, wider-spaced comb peaks and dips
  • Feedback Gain - Controls the intensity of the comb filter effect (-1.0 to 1.0)
    • Negative values: Creates inverse harmonic patterns
    • Positive values: Creates reinforcing harmonic patterns
    • Zero: No effect (dry signal only)
    • Higher absolute values: More pronounced effect
  • Comb Type - Controls the filter structure
    • Feedforward: Creates harmonic enhancement without feedback
    • Feedback: Creates resonance and echo-like effects
  • Dry-Wet Mix - Controls the balance between processed and original signal (0% to 100%)
    • 0%: Original signal only
    • 50%: Equal mix of original and processed
    • 100%: Processed signal only

Technical Details

  • Delay Calculation: Delay time = 1 / Fundamental Frequency
  • Harmonic Response: Creates regularly spaced peaks and dips based on the fundamental frequency
  • Spatial Coloration: Can resemble short reflections, hollow coloration, or metallic resonance
  • Real-time Visualization: Shows frequency response with fundamental frequency marker

Visual Display

  • Real-time frequency response graph with logarithmic frequency scale
  • Clear visualization of comb filter peaks and dips
  • Fundamental frequency marker showing delay time
  • Interactive controls for precise adjustment
  • Delay distance calculation in millimeters
  • Hover over the graph, or touch and drag on it, to read the values at that point.

Earphone Cable Sim

Reproduces the small frequency-response shifts that appear when an earphone is driven by an amplifier through real cable resistance/inductance and non-zero output impedance. Because an earphone’s impedance varies with frequency (driver resonances plus voice-coil inductance), source and cable impedance create earphone-specific level changes. This is useful as a reality check: with cables of normal construction and quality, ordinary amplifier output impedance, and earphones that are not unusually low in impedance or otherwise abnormal, the audible change from ordinary earphone-cable differences is generally small enough to be negligible. The effect is strongest with low-impedance earphones that have large impedance peaks, and is usually subtle with modern low-output-impedance amplifiers.

Listening Enhancement Guide

  • Evaluate Source-Impedance Interaction:
    • Raise Output Z to emulate tube amps or high-impedance headphone outputs
    • Compare with bypass to hear how bass and impedance-peak regions change
  • Explore Multi-Driver Earphone Behavior:
    • Enable additional Resonances to model balanced-armature or hybrid earphones with multiple impedance peaks
    • Larger impedance peaks combined with higher source impedance create stronger coloration
  • Simulate Cable Resistance and Inductance:
    • Increase Cable R to emulate longer or thinner cables with higher DC resistance
    • Increase Cable L to emulate higher-inductance cables; its effect is mainly in the upper treble
    • Cable R adds to the total series resistance, so it can strengthen the interaction across the band
  • Check Normal Cable Audibility:
    • Use realistic Cable R and Cable L values, then compare with bypass to estimate how small ordinary cable differences are
    • If only extreme Output Z, Cable R, or very low Base Z settings make the change obvious, the same comparison suggests normal cables are unlikely to be audibly significant with that earphone and amplifier

System Presets

Click Effect Presets in the effect header to compare complete source-and-cable cases.

  • High Impedance Source - A high-output-impedance source driving a low-impedance earphone.
  • Long Thin Cable - Increased cable resistance and inductance.
  • Vintage Portable Out - A higher-impedance portable output and 32 Ω earphone.

Parameters

  • Output Z (Ω) - Amplifier output impedance (0 to 20). Values below 1Ω are typical of modern amplifiers; higher values make impedance-related coloration stronger.
  • Cable R (Ω) - Cable DC resistance (0 to 2). Higher values represent longer or thinner cables and add to the total series resistance.
  • Cable L (µH) - Cable inductance (0 to 5). Mainly affects upper-treble response, especially with low-impedance earphones.
  • Voice Coil L (mH) - Earphone voice-coil inductance (0.01 to 2). Raises load impedance toward high frequencies and changes the high-frequency interaction.
  • Base Z (Ω) - Nominal earphone impedance at low frequencies (4 to 64). Lower values make source and cable impedance more influential.
  • Resonances (up to 5) - Each models one impedance peak of the driver. The first is enabled by default; the rest are pre-set to typical driver resonances and can be toggled on.
    • Enable - Turn each resonance on or off
    • Freq (Hz) - Resonance frequency (20 to 20000)
    • Q - Sharpness of the impedance peak (0.5 to 10)
    • Peak Z (Ω) - Impedance at the resonance peak (16 to 116)

Technical Details

  • Physical Model: Computes H(f) = Zload / (Zsource + Zload), where Zsource is the output impedance plus cable resistance/inductance and Zload is the earphone impedance (base impedance, voice-coil inductance, and resonance peaks).
  • Realization: The transfer function is factored and converted to a matched-Z cascade of biquad filters, giving zero latency and minimum-phase behavior comparable to the other EQ plugins.
  • Normalization: The response is normalized to a 0 dB power average (20Hz to 20kHz) so toggling the effect does not change overall loudness.

Visual Display

  • Real-time graph of the realized filter response on a logarithmic frequency scale
  • Grid labels cover 20Hz to 20kHz; the plotted curve extends across the full 10Hz to 40kHz graph range
  • Green response curve over a dark grid, with an auto-scaled dB axis around the normalized 0dB reference
  • Larger curve deviations indicate where the model changes playback level most
  • Hover over the graph, or touch and drag on it, to read the values at that point.

Group Delay EQ

Group Delay EQ is the counterpart of an ordinary equalizer: instead of changing how loud each band is, it changes when each band arrives. Fifteen sliders set the delay of each frequency range, and the plugin builds one FIR filter designed to realize those delays with a flat magnitude response. A flat response is the design target, not a guarantee: finite Taps approximate that ideal target, and large or rapidly changing delay settings can create measurable magnitude ripple. Use it to compensate the timing errors of a speaker or crossover, or to hear for yourself how much phase distortion your system and your ears actually reveal. The plugin requires the WASM DSP engine; without it, the signal passes through unchanged.

Only the differences between bands matter for the sound. A filter that delays every band equally is just a plain delay, so the plugin keeps a fixed internal delay and lets you push each band earlier or later around it. While all sliders are at 0 ms the plugin is completely transparent and adds no latency at all.

Sound Enhancement Guide

  • Speaker and subwoofer timing: If bass arrives late compared with the rest of the music, delay the bands above the crossover by the same amount until the graph shows a flat line there. Typical corrections are 2 to 10 ms and are easiest to judge on kick drums and bass guitar.
  • Ported speakers and room modes: A ported enclosure adds group delay around its tuning frequency. Lower the affected low band, or raise everything else, so the curve becomes flatter. Small residual differences below 50 Hz are normal.
  • Listening test for phase distortion: Set one band to +10 ms, compare with the effect off, and then lower the value until you can no longer hear a difference. Interpret this as a phase-only comparison only when Ripple in the status line is sufficiently small and the green Realized curve closely overlaps the grey Target curve. Otherwise, magnitude changes or an inaccurately realized delay can also affect what you hear.
  • Work band by band: Change one slider at a time and listen. Phase-only changes are subtle on most program material and show up mainly on transients such as drums, plucked strings, and piano attacks.
  • Watch the two curves: If the green curve no longer follows the grey one, the current Taps setting cannot realize that shape. Increase Taps, or reduce the difference between neighbouring bands.

Parameters

  • Taps - FIR length: 4096, 8192, 16384, or 32768. Low frequencies need a long filter: at 96 kHz, 16384 taps track even large delay differences down to about 60 Hz, while shorter settings lose accuracy in the bass first. Taps also decide how much delay the filter can hold, and therefore how far the sliders reach. More taps mean more latency and more processing.
  • Latency - Convolution-engine head latency: 0, 128, 256, 512, or 1024 samples. Lower values reduce delay but require more processing.
  • Band Sliders (25 Hz to 16 kHz) - Fifteen sliders set the group delay of each band. Positive values make that range arrive later, negative values earlier. The range covers the whole delay the filter can hold: at 96 kHz that is ±18.6 ms with 4096 taps and ±149.3 ms with 32768 taps. The highest band realizes those values in full, while lower bands need more taps to follow a large setting; the graph shows how far each one gets. The values are interpolated smoothly across frequency, so neighbouring bands always blend into each other.
  • Phase angle - Below each millisecond value the slider shows the same delay as a phase rotation at the band centre frequency. Past a full turn the reading is split into whole cycles and the remaining angle, so +2c180° means two complete cycles plus a half turn.
  • Reset - Double-click a slider to return that band to 0 ms. The Reset button on the graph clears every band at once.

Total latency is the Latency setting plus half the Taps count. It stays the same while you move the sliders, so only a change of Taps or Latency changes the delay of the whole chain.

Visual Display

  • The grey curve is the target: the delay you asked for, interpolated across a logarithmic frequency axis from 20 Hz to 20 kHz. The delay axis rescales itself to fit the current settings, starting at ±5 ms.
  • The green curve is what the designed filter really does. Where the two curves lie on top of each other the setting is fully realized; where they separate, the filter cannot follow the request with the current Taps.
  • The status line shows the total latency in samples and milliseconds, and the magnitude ripple of the filter. Ripple measures how far the realized magnitude response departs from the flat design target: smaller values are closer to the target, and 0.3 dB is the accuracy-warning threshold.
  • Hover over the graph, or touch and drag on it, to read the values at that point.

Group Delay PEQ

Group Delay PEQ is the parametric version of Group Delay EQ. Instead of fifteen fixed sliders it gives you five freely placed bands, each with its own shape, frequency, delay amount, and Q. The enabled bands are added together into one target delay curve, and the plugin builds a single FIR filter designed to realize that curve with a flat magnitude response. A flat response is the design target, not a guarantee: finite Taps approximate that ideal target, and large or very narrow delay shapes can create measurable magnitude ripple. Use it when the timing error you want to correct has a known shape - a crossover, a ported enclosure, a steep high-pass, or a resonance - because one or two bands can then reproduce that shape directly. The plugin requires the WASM DSP engine; without it, the signal passes through unchanged.

Only the differences between frequencies matter for the sound. A filter that delays everything equally is just a plain delay, so the plugin keeps a fixed internal delay and lets you push each region earlier or later around it. While every enabled band is at 0 ms the plugin is completely transparent and adds no latency at all. Because the magnitude response stays flat, the effect is subtle: it changes timing, not tone, and it is easiest to hear on transients such as drums, plucked strings, and piano attacks.

Sound Enhancement Guide

  • Copy a known filter with Filter GD: A second-order analog section has a group-delay hump whose shape is fixed by its cutoff frequency and Q. Enter those two values into Freq and Q, then set Delay to minus the height of the hump you measured, and the band cancels it. A closed-box subwoofer or an LR2 crossover sum needs one band, a fourth-order bass-reflex alignment or an LR4 sum is covered by one or two.
  • Align a whole region with the shelves: When one part of the spectrum arrives late as a group rather than around a single frequency, use Low Shelf or High Shelf with Q 2 to 4. That produces a step of roughly one octave in width, so everything on one side of the corner frequency is shifted by the same amount.
  • Touch up what is left with Peak: Peak is a smooth bell whose half-width follows Q exactly as in a parametric EQ. Use it for the residual bumps that no single filter shape explains.
  • Be realistic about high-frequency crossovers: An LR4 crossover at 3 kHz has a group-delay peak of only about 0.2 ms. Correcting it is below the threshold of audibility, so the benefit there is marginal; low-frequency timing errors are far more worthwhile.
  • Low frequencies and high Q need long filters: Correcting a low-frequency resonance with a high Q, around Q 8, requires 32768 taps at 96 kHz. Watch the two curves: if the green one cannot follow the grey one, increase Taps or lower Q.
  • Work band by band: Change one band at a time and listen. Phase-only changes are subtle on most program material, and comparing with the effect off tells you more than looking at the graph alone.

Parameters

  • Type - Selects the delay shape of the band. All four types are described by the same three values, Freq, Delay, and Q, and Delay is always the extreme value of that band’s own curve.
    • Peak - A bell centred on Freq whose half-width equals the bandwidth implied by Q. It never overshoots, so it is the natural choice for free-form corrections and for touching up residual deviations.
    • Low Shelf - A smooth step that holds Delay below Freq, passes half of Delay at Freq, and falls to zero above it. Q sets the steepness of the transition: Q 1 matches the group-delay transition of a first-order allpass, while Q 2 to 4 gives the practical, roughly one-octave step used for band-limited alignment.
    • High Shelf - The mirror image of Low Shelf, and its complement: the two shapes at the same Freq and Q add up to a constant Delay.
    • Filter GD - Adds or subtracts the group-delay shape of one analog filter stage (high-pass, crossover, or resonance) as it is. Enter the cutoff frequency and Q of the filter you are correcting into Freq and Q, and the height of the hump on the measured group-delay curve into Delay, using a negative value to cancel it.
  • Freq - Sets the band frequency from 20 Hz to 20 kHz. Near 18 to 20 kHz the target is tapered smoothly down to zero, so a band placed close to the top of the range has a reduced effect.
  • Delay - Sets the extreme value of that band’s own curve in milliseconds. Positive values make that region arrive later, negative values earlier. The range covers the whole delay the filter can hold: at 96 kHz that is ±18.6 ms with 4096 taps and ±149.3 ms with 32768 taps. Changing Taps or the sample rate clamps the stored values to the new limit.
  • Q - Sets the width or steepness of the shape from 0.1 to 100 on a logarithmic slider, and is used by every Type. The useful ranges differ: 0.25 to 16 for Low Shelf and High Shelf, and 0.1 to 10 for Filter GD. In practice, shelves are used at Q 2 to 4, and Filter GD at Q 0.5 to 8 - 0.5 corresponds to a first-order allpass or an LR2 sum, 0.7071 to a Butterworth alignment or an LR4 sum, and 8 to a sharp resonance. Settings outside those ranges are still accepted; the status line reports when the current Taps cannot realize them.
  • Enabled - Turns each of the five bands on or off. Disabled bands contribute nothing to the target curve and appear dimmed on the graph.
  • Taps - FIR length: 4096, 8192, 16384, or 32768. Low frequencies need a long filter, and so do high-Q shapes. Taps also decide how much delay the filter can hold, and therefore how far Delay reaches. More taps mean more latency and more processing.
  • Latency - Convolution-engine head latency: 0, 128, 256, 512, or 1024 samples. Lower values reduce delay but require more processing.

Total latency is the Latency setting plus half the Taps count. It stays the same while you move the bands, so only a change of Taps or Latency changes the delay of the whole chain.

Visual Display

  • The grey curve is the target: the sum of the enabled band shapes, drawn on a logarithmic frequency axis. The delay axis rescales itself to fit the current settings, starting at ±5 ms.
  • The green curve is what the designed filter really does. Where the two curves lie on top of each other the setting is fully realized; where they separate, the filter cannot follow the request with the current Taps.
  • Numbered markers correspond to the five bands. Drag horizontally to change Freq and vertically to change Delay. The marker sits on the curve only for Peak: a shelf passes half of Delay at Freq, and Filter GD reaches its extreme value below Freq - just below it at high Q, and progressively further below as Q falls, until at Q of about 0.577 or less the extreme value sits at the low-frequency end of the graph.
  • The status line shows the total latency in samples and milliseconds, and the magnitude ripple of the filter. Ripple measures how far the realized magnitude response departs from the flat design target: smaller values are closer to the target, and 0.3 dB is the accuracy-warning threshold.
  • Hover over the graph, or touch and drag on it, to read the values at that point.

Hi Pass Filter

A precision high-pass filter that removes unwanted low frequencies while preserving the clarity of higher frequencies. Based on Linkwitz-Riley filter design for optimal phase response and transparent sound quality.

Listening Enhancement Guide

  • Remove Unwanted Rumble:
    • Set frequency between 20-40Hz to eliminate subsonic noise
    • Use steeper slopes (-24dB/oct or higher) for cleaner bass
    • Ideal for vinyl recordings or live performances with stage vibrations
  • Clean Up Bass-Heavy Music:
    • Set frequency between 60-100Hz to tighten bass response
    • Use moderate slopes (-12dB/oct to -24dB/oct) for natural transition
    • Helps prevent speaker overload and improves clarity
  • Create Special Effects:
    • Set frequency between 200-500Hz for a thinner, low-cut voice effect
    • Use steep slopes (-48dB/oct or higher) for dramatic filtering
    • For a telephone-like voice effect, combine with Lo Pass Filter around 3-4kHz

Parameters

  • Frequency (Hz) - Controls where low frequencies are filtered out (10Hz to 40000Hz; the effective upper limit also depends on the audio sample rate)
    • Lower values: Only the very lowest frequencies are removed
    • Higher values: More low frequencies are removed
    • Adjust based on the specific low-frequency content you want to eliminate
  • Slope - Controls how aggressively frequencies below the cutoff are reduced
    • Off: No filtering applied
    • -12dB/oct: Gentle filtering (LR2 - 2nd order Linkwitz-Riley)
    • -24dB/oct: Standard filtering (LR4 - 4th order Linkwitz-Riley)
    • -36dB/oct: Stronger filtering (LR6 - 6th order Linkwitz-Riley)
    • -48dB/oct: Very strong filtering (LR8 - 8th order Linkwitz-Riley)
    • -60dB/oct to -96dB/oct: Extremely steep filtering for special applications

Visual Display

  • Real-time frequency response graph with logarithmic frequency scale
  • Clear visualization of the filter slope and cutoff point
  • Interactive controls for precise adjustment
  • Frequency grid with markers at key reference points
  • Hover over the graph, or touch and drag on it, to read the values at that point.

Lo Pass Filter

A precision low-pass filter that removes unwanted high frequencies while preserving the warmth and body of lower frequencies. Based on Linkwitz-Riley filter design for optimal phase response and transparent sound quality.

Listening Enhancement Guide

  • Reduce Harshness and Sibilance:
    • Set frequency between 8-12kHz to tame harsh recordings
    • Use moderate slopes (-12dB/oct to -24dB/oct) for natural sound
    • Helps reduce listening fatigue with bright recordings
  • Warm Up Digital Recordings:
    • Set frequency between 12-16kHz to reduce digital “edge”
    • Use gentle slopes (-12dB/oct) for subtle warming effect
    • Creates a more analog-like sound character
  • Create Special Effects:
    • Set frequency between 1-3kHz with a steep slope for a muffled, narrow-band character
    • Use steep slopes (-48dB/oct or higher) for dramatic filtering
    • For a vintage radio effect, combine with Hi Pass Filter to remove low frequencies as well
  • Control Noise and Hiss:
    • Set frequency just above the musical content (typically 14-18kHz)
    • Use steeper slopes (-36dB/oct or higher) for effective noise control
    • Reduces tape hiss or background noise while preserving most musical content

Parameters

  • Frequency (Hz) - Controls where high frequencies are filtered out (10Hz to 40000Hz; the effective upper limit also depends on the audio sample rate)
    • Lower values: More high frequencies are removed
    • Higher values: Only the very highest frequencies are removed
    • Adjust based on the specific high-frequency content you want to eliminate
  • Slope - Controls how aggressively frequencies above the cutoff are reduced
    • Off: No filtering applied
    • -12dB/oct: Gentle filtering (LR2 - 2nd order Linkwitz-Riley)
    • -24dB/oct: Standard filtering (LR4 - 4th order Linkwitz-Riley)
    • -36dB/oct: Stronger filtering (LR6 - 6th order Linkwitz-Riley)
    • -48dB/oct: Very strong filtering (LR8 - 8th order Linkwitz-Riley)
    • -60dB/oct to -96dB/oct: Extremely steep filtering for special applications

Visual Display

  • Real-time frequency response graph with logarithmic frequency scale
  • Clear visualization of the filter slope and cutoff point
  • Interactive controls for precise adjustment
  • Frequency grid with markers at key reference points
  • Hover over the graph, or touch and drag on it, to read the values at that point.

Loudness Equalizer

A specialized equalizer that links volume adjustment with frequency balance correction. Set Average SPL to the estimated average listening level at 0dB Relative Volume, then use Relative Volume for everyday volume changes. The plugin automatically strengthens the correction as you turn the volume down and reduces it as you turn the volume up.

Listening Enhancement Guide

  • Low Volume Listening:
    • Enhances bass and treble frequencies
    • Maintains musical balance at quiet levels
    • Compensates for human hearing characteristics
  • Average SPL Setting:
    • Set it to the estimated average listening level at 0dB Relative Volume
    • This is a manual reference value; the plugin does not measure SPL
  • Relative Volume Adjustment:
    • Negative values lower the output level and increase the correction
    • Positive values raise the output level and reduce the correction
    • EQ correction is based on Average SPL + Relative Volume and is limited to the 60dB-to-85dB correction range
  • Frequency Balance:
    • Low shelf for bass enhancement (100-300Hz)
    • High shelf for treble enhancement (3-6kHz)
    • Smooth transition between frequency ranges

System Presets

Click Effect Presets in the effect header to start from a complete loudness-compensation curve.

  • Late Night Listening - Stronger compensation for a lower listening level.
  • Quiet Background - A moderate everyday compensation curve.
  • Near Reference Level - Minimal compensation around a higher reference level.

Parameters

  • Average SPL - Estimated average listening level at 0dB Relative Volume (60dB to 96dB)
    • Set this manually to match the average SPL at your listening position
    • Values above 85dB allow a higher reference level; EQ correction remains off until Average SPL + Relative Volume falls below 85dB
  • Relative Volume - Volume adjustment relative to Average SPL (-30dB to +12dB)
    • 0dB: Output level corresponding to Average SPL
    • Negative values: Lower volume with more loudness correction
    • Positive values: Higher volume with less loudness correction
    • Positive values can cause clipping when the input or EQ boost is already high
  • Low Frequency Controls
    • Frequency: Bass enhancement center (100Hz to 300Hz)
    • Gain: Maximum bass boost (0dB to 15dB)
    • Q: Shape of bass enhancement (0.5 to 1.0)
  • High Frequency Controls
    • Frequency: Treble enhancement center (3kHz to 6kHz)
    • Gain: Maximum treble boost (0dB to 15dB)
    • Q: Shape of treble enhancement (0.5 to 1.0)

Visual Display

  • Real-time EQ response graph
  • Interactive parameter controls
  • Volume-dependent correction curve; the uniform Relative Volume gain is not included in the graph
  • Precise numerical readouts
  • Hover over the graph, or touch and drag on it, to read the values at that point.

Narrow Range

A tool that lets you focus on specific parts of the music by filtering out unwanted frequencies. Useful for creating special sound effects or removing unwanted sounds.

Listening Enhancement Guide

  • Create unique sound effects:
    • “Telephone voice” effect
    • “Old radio” sound
    • “Underwater” effect
  • Focus on a frequency range:
    • Make bass-heavy parts easier to hear
    • Focus on vocal range
    • Narrow the sound to the range where vocals or instruments are most noticeable
  • Remove unwanted sounds:
    • Reduce low-frequency rumble
    • Cut excessive high-frequency hiss
    • Focus on the range you want to hear most clearly

Parameters

  • HPF Frequency - Controls where low sounds start being reduced (20Hz to 4000Hz)
    • Higher values: Removes more bass
    • Lower values: Keeps more bass
    • Start with low values and adjust to taste
  • HPF Slope - How quickly low sounds are reduced (0 to -48 dB/octave)
    • 0dB: No reduction (off)
    • -6dB to -48dB: Increasingly stronger reduction in 6dB steps
  • LPF Frequency - Controls where high sounds start being reduced (200Hz to 40000Hz)
    • Lower values: Removes more highs
    • Higher values: Keeps more highs
    • Start high and adjust down as needed
  • LPF Slope - How quickly high sounds are reduced (0 to -48 dB/octave)
    • 0dB: No reduction (off)
    • -6dB to -48dB: Increasingly stronger reduction in 6dB steps

Visual Display

  • Clear graph showing frequency response
  • Easy-to-adjust frequency controls
  • Simple slope drop-down menus
  • Hover over the graph, or touch and drag on it, to read the values at that point.

Room EQ

Room EQ builds FIR correction filters from frequency-response measurements saved by EffeTune. By default, it designs one shared filter and applies it to every channel routed through the plugin; you can also assign a separate saved measurement to individual channels while keeping the remaining correction settings shared across the instance. The filter averages all points in the selected measurement, smooths the curve, and reduces peaks and dips within the selected frequency range. Use it when loudspeaker and room interactions cause repeatable peaks or a broad tonal imbalance at your listening position. In addition to minimum-phase or linear-phase magnitude correction, Correction mode can correct measured excess phase in the direct sound (Phase Correction) and room reverberation (Reverb Correction). Room EQ requires the WASM DSP engine; without it, the signal passes through unchanged.

Sound Enhancement Guide

  • Multi-Point Measurement: Measure the loudspeaker or channel group from several nearby microphone positions around your listening seat, then select that saved measurement so the correction does not overfit a single microphone location.
  • Starting Settings: Begin with Phase: Minimum, Smoothing: 0.17 oct, Correction Low: 80 Hz, Correction High: 16000 Hz, Max Boost: 6 dB, and Level Correction: 100%. Toggle the effect on and off to verify that the tonal balance becomes more even without sounding thin or harsh.
  • Avoid Over-Boosting Dips: If the filter tries to fill narrow acoustic cancellations, increase Smoothing or lower Max Boost (0 dB disables automatic boosts while keeping peak cuts).
  • Scale Correction Strength: Lower Level Correction if 100% feels too strong (50% scales a +6 dB boost to +3 dB and a −8 dB cut to −4 dB).
  • Trusted Range Only: Keep Correction Low and Correction High within the range your loudspeaker and measurement microphone reproduce reliably; correcting outside it makes the result less accurate.
  • Target Shaping: Once room peaks are controlled, use Additional EQ (folded directly into the FIR filter) for gentle tonal preferences such as a broad +2 dB low shelf around 100 Hz.
  • Excess-Phase & Reverb Correction: Choose Phase: Minimum for lowest latency, or Phase: Correction to align excess phase as well. Start with Reference Point: Consensus (all points), the default Direct Window, and Phase Correction: 100%. Enable Low-frequency Phase Extension only if you want excess-phase correction below Phase Low, and turn it off if bass timing becomes less consistent between listening positions. Raise Reverb Correction gradually with Reverb Max Freq: 250 Hz to counteract low-frequency reverberation across the listening area; raising Reverb Max Freq makes the result an optimization for the measured position only.
  • Manual Delay: Room EQ does not calculate speaker-distance alignment. Delay applies to all channels in the instance; use separate Room EQ instances if different channel groups need different manual delays.

Sharing Measurements Across Devices: Presets and URLs store the measurement name and ID, not the acoustic data. To move a measurement to another device, export it from the Measurement tool with Include impulse responses in measurement JSON exports enabled (the default; it can make the file tens of megabytes larger), then import the JSON file on the target device. If the selected measurement is missing, Room EQ shows a warning and passes the signal without correction.

Parameters

  • Measurement - Selects the shared saved measurement (showing name, point count, and IR when impulse data is present). Click Refresh measurements after adding or editing measurements.
  • Measurement ChN - Optional per-channel measurement override for each routed bus channel. Leave at (Shared) to use the shared Measurement.
  • Delay (0 to 20 ms) - Manual delay applied to all routed channels; it is not included in the reported processing latency.
  • Phase - Selects FIR phase behavior:
    • Minimum: Minimum-phase magnitude correction with the lowest latency.
    • Linear: Linear-phase magnitude correction (adds Taps / 2 samples of delay).
    • Correction: Minimum-phase magnitude correction plus excess-phase correction for the direct sound (Phase Correction within Direct Window) and optional room decay (Reverb Correction within Reverb Window). Adds Taps / 2 samples of delay and requires impulse-response (IR) data. Phase Smoothing, Phase Low, Low-frequency Phase Extension, Phase Correction, the four Reverb settings, and Reference Point work only in this mode; in Minimum and Linear they are disabled and keep their values.
  • Taps (8192, 16384, 32768, 65536, or 131072) - FIR filter length. Higher values improve low-frequency resolution at the cost of memory, design time, and delay in Linear/Correction modes.
  • Latency (0, 128, 256, 512, or 1024 samples) - Convolution head latency. Lower values reduce delay but increase processing load.
  • Smoothing (0.02 to 1.00 oct) - Gaussian frequency smoothing for magnitude correction. Higher values give broader, more conservative correction; lower values follow finer response variations.
  • Phase Smoothing (0.02 to 1.00 oct, or Auto) - Gaussian smoothing for direct-sound excess-phase correction in Correction mode (follows Smoothing when Auto is checked).
  • Correction Low / Correction High - Lower and upper frequency boundaries for automatic correction.
  • Direct Window (1 to 50 ms) - Post-onset time window analyzed for direct-sound phase correction. A longer window lowers the automatic Phase Low but includes more room reflections.
  • Phase Low (20 to 20000 Hz, or Auto) - Lower frequency limit for fixed-window direct-sound phase correction (defaults to the higher of Correction Low and three cycles inside Direct Window, e.g. 500 Hz at 6 ms). With Low-frequency Phase Extension on, it instead marks where the fixed window gives way to longer low-frequency windows.
  • Low-frequency Phase Extension (default off) - Extends excess-phase correction below Phase Low down toward Correction Low using progressively longer frequency-dependent windows.
  • Max Boost (0 to 18 dB) - Caps automatic correction boosts before smoothing without limiting cuts or intentional boosts from Additional EQ.
  • Level Correction (0% to 100%) - Scales automatic magnitude correction linearly in dB. At 0%, only the automatic correction stops; Phase Correction, Additional EQ, Delay, and Gain stay active.
  • Phase Correction (0% to 100%) - Scales direct-sound excess-phase correction in Correction mode, independently of Reverb Correction.
  • Reverb Correction (0% to 100%; default 0%) - Scales excess-phase correction of later room reverberation analyzed within Reverb Window up to Reverb Max Freq. It does not change the magnitude correction.
  • Reverb Window (20 to 1000 ms) - Post-onset time window analyzed by Reverb Correction. If it is not longer than Direct Window (or the measurement is too short), reverb correction is skipped with a warning while the rest of the filter stays active.
  • Reverb Max Freq (20 to 20000 Hz; default 250 Hz) - Upper frequency limit for Reverb Correction, capped by Correction High (keeping it around 250 Hz focuses on low-frequency room decay that behaves consistently across nearby seats).
  • Reverb Smoothing (0.02 to 1.00 oct) - Gaussian smoothing applied to the reverb excess-phase delay.
  • Reference Point - Selects Consensus (all points) (reliability-weighted average across measurement points) or a single measurement point for excess-phase analysis. If the selected point is removed, it returns to Consensus.
  • Additional EQ (folded into FIR) - Five parametric target-shaping bands (Peak, Low shelf, High shelf; 20 Hz–20 kHz, ±20 dB, Q 0.1–10, up to 2 for shelves) built directly into the FIR filter. Their phase is zero in Linear mode and minimum-phase in Minimum and Correction modes.
  • Gain (-12 to +12 dB) - Output level trim.

Visual Display

  • Graph: Switch between Frequency (smoothed measurement in light gray, automatic correction in pale green, combined correction with Additional EQ in bright green, and estimated corrected response in white, which is a calculated preview rather than a new measurement), Phase (−180° to +180° before and after FIR), Min Group Delay, Excess Group Delay, and Impulse (normalized waveform before and after FIR, from 2 ms before the measured onset to the longest of 5 ms, Direct Window, and—when Reverb Correction is above 0%—Reverb Window up to 50 ms). In the Phase, group-delay, and Impulse views, the gray Before line is the response before correction and the green After line the calculated result after the FIR. Two white dotted vertical lines mark Correction Low and Correction High.
  • In the Frequency view, the gray and white curves are offset so that the full (100%) automatic correction’s target level sits at 0 dB; deviations left in the white curve come from limits such as Max Boost or a Level Correction below 100%, or from intentional Additional EQ shaping.
  • The Phase, group-delay, and Impulse views remove the measured onset, and the FIR’s fixed delay is removed from the corrected result. Group delay is not re-referenced at 1 kHz, so it is not necessarily 0 ms there. Min Group Delay scales its range automatically; Excess Group Delay stays at −100 to +100 ms, while the readout shows values beyond that range. Without impulse-response data, these views show an unavailable message.
  • Graph Preview Ch: Appears when filters are designed for more than one channel; selects which channel’s curves are displayed and does not affect the audio.
  • Interactive Controls: Drag numbered markers horizontally to change an Additional EQ band’s frequency and vertically to change its gain (disabled bands appear dimmed), and hover or drag across the graph to read values at any point.
  • The status line below the controls shows the total processing latency, the FIR resolution, and whether the filter is bypassed, staged, preparing, active, or in error.

Tilt EQ

Tilts the overall frequency balance around a pivot frequency with a matched pair of shelving filters: one side of the spectrum is raised and the other lowered. Use it for broad warmer or brighter adjustments with a single control, for example when a recording or a pair of headphones sounds consistently too bright or too dull.

Sound Enhancement Guide

  • Warmer: Use a small negative Slope (for example, -1 dB/oct) to lower the treble and raise the bass, such as for bright recordings or headphones.
  • Brighter: Use a small positive Slope (for example, +1 dB/oct) to raise the treble and lower the bass, such as for dull recordings or speakers.
  • Where the change starts: Lower Pivot Freq (Hz) to extend the treble-side change into the midrange; raise it to confine that change to the top octaves.

Parameters

  • Pivot Freq (Hz) (20 Hz to ~20 kHz; default about 1 kHz) - The frequency around which the balance tilts.
  • Slope (-12 to +12 dB/oct; default 0) - The amount and direction of the tilt. Positive values make the sound brighter, negative values warmer, and 0 leaves it unchanged.

Visual Display

  • The graph shows the resulting frequency response.
  • Reset returns both parameters to their defaults.
  • Hover over the graph, or touch and drag on it, to read the values at that point.

Tonal Balance EQ

Measures the long-term tonal balance of whatever is playing and gently steers it toward the typical spectral balance of released music in a chosen style. Use it when tracks across a playlist, album, or stream sound consistently too dark, too bright, too boomy, or too thin, and you want them evened out automatically without adjusting an EQ by hand for every track. (It corrects the recording’s balance rather than your speakers or room; use Room EQ for acoustic correction.)

The plugin compares the measured spectrum with the target after aligning overall loudness, attenuates overly strong regions, and applies a single make-up gain so weaker regions come forward without changing perceived loudness. It excludes silence and pauses from the measurement and withholds lift on hiss and on steady, noise-like bands (including a sustained synth pad), so empty frequency extremes are not artificially boosted. All channels receive the same zero-latency correction, preserving the stereo image.

Sound Enhancement Guide

  • Mixed playlists and streaming: Start with the defaults (Target: All, Amount: 100%, Averaging Time: 30 s). The correction builds up over tens of seconds as the measurement becomes reliable, so let the music play for about 30 seconds before comparing with bypass.
  • One steady correction for an album: Click Reset at the start of the album and set Averaging Time to ∞ so the correction averages the entire playback session and settles into a fixed curve.
  • Genre-specific targets: Choose Classical, Electronic, Pop, or Rock to match a specific style, or All for mixed listening.
  • Gentler shaping: Lower Amount (e.g., 50%), reduce Range (e.g., 3 dB), or raise Smoothing (e.g., 1 oct) for broad, subtle tilts.
  • Custom house curve: Use the five Target Adjust bands below the graph to tilt or shape the target to your taste (for example, +1.5 dB High shelf at 8 kHz). Each recording is then corrected toward your custom target only as much as needed.
  • Fixed slope reference: Select Target: Tilt for a flat response below Corner followed by a constant roll-off Slope (−5 dB/oct approximates typical commercial masters; −3 dB/oct matches pink noise).

The make-up gain keeps loudness, not peak level, so peaks can rise; if a later stage clips, lower the level after this plugin or add a limiter.

Parameters

  • Target - Goal tonal balance: All (default equal mix of the four styles), Classical, Electronic, Pop, Rock, or Tilt (fixed slope reference).
  • Slope (-18 to 0 dB/oct; default -6 dB/oct; Tilt mode only) - Roll-off rate above Corner (-3 dB/oct = pink noise, ~-5 dB/oct = typical commercial releases). Shallower values ask for more treble; the default asks for a slightly darker balance than typical music.
  • Corner (20 to 1000 Hz; default 250 Hz; Tilt mode only) - Frequency below which the Tilt target remains flat. Lower values ask for more deep bass; higher values ask for less bass.
  • Amount (0% to 100%; default 100%) - Overall correction strength. At 0% the sound is unchanged, but the measurement and graph keep running, and Range, Smoothing, Low, and High are disabled.
  • Range (0 to 12 dB; default 6 dB) - Maximum gain adjustment allowed in any band, up or down. Lower values keep changes subtle (0 dB turns the correction off); higher values let recordings far from the target move closer to it.
  • Smoothing (0.1667 to 2 oct; default 0.5 oct) - Width of the correction curve features (higher values produce broader tilts).
  • Averaging Time (0.1 s to ∞; default 30 s) - Measurement integration window. Short values (e.g., 0.5 to 1 s) follow changes within a song, such as a dark verse and a bright chorus; long values give a steady correction (∞ averages continuously since the last Reset).
  • Low (20 to 200 Hz; default 20 Hz) / High (2000 to 20000 Hz; default 16000 Hz) - Lower and upper frequency bounds of active reshaping (outside these bounds, correction holds constant). Raise Low to leave the deep bass alone, or lower High to leave the top octave alone.
  • Average SPL (60 to 96 dB; default 83 dB) - Estimated listening level used to determine which quiet frequency bands are audible enough to be lifted; it does not change the output level. Lower values treat more faint bands as inaudible, so they are not lifted; higher values count more of them as audible.
  • Target Adjust - Five parametric bands (Peak, Low shelf, High shelf; 20 Hz–20 kHz, ±20 dB, Q 0.1–10, up to 2 for shelves; default Q 0.7) that reshape the target curve. Positive gain asks for more of that region, negative gain for less.

Target Adjust changes only the target; each recording is still corrected toward it within Amount and Range, so a larger adjustment may need a larger Range. Raising the whole target by the same amount changes nothing, because overall levels are aligned before comparison. Narrow peaks and dips are smoothed out; use 5Band PEQ for narrow fixes.

Visual Display

  • The horizontal axis is frequency from about 26 Hz to 18.6 kHz, and the vertical axis is level in dB, shown per hertz, so pink noise appears as a line falling at -3 dB/oct. The vertical range grows to fit the curves and returns to ±12 dB on Reset or a Target change. The regions below Low and above High are dimmed.
  • Target is the target balance including Target Adjust. For a style, the shaded band shows the typical spread between tracks, learned from the long-term spectra of a music collection; Tilt has none.
  • Measured is the line with dots: the measured long-term spectrum aligned to the target. Where it lies below the target band, the recording is weaker than typical there; above it, stronger. Measurement pauses while you preview a frequency.
  • EQ response is the bold line: the applied gain including the make-up gain (0 dB = unchanged).
  • Withheld lift is the shaded area showing roughly how much more lift a band would get if it were not held back as noise-like or non-musical content.
  • Target adjust is the thin curve around 0 dB with numbered handles showing the bands as you set them; the handles do not sit on the Target line. Drag a handle to change frequency and gain, turn the mouse wheel over it to change Q, and right-click it to turn the band on or off. While audio plays, the Target line follows the handles within a moment; while stopped, it keeps its last shape.
  • Hover or drag across the graph to inspect band values, Presence (% of time recognized as musical content), Make-up gain, and integrated Loudness (LKFS). Before any audio is measured, the graph shows “Play audio to start measuring”.
  • Reset clears the accumulated measurement; Target Adjust is not changed. The measurement also starts over when processing resumes after a power-saving pause.
  • Copy as PEQ copies the EQ response as 5Band PEQ settings. Press Ctrl+V in the Effect Pipeline to insert it before the selected effect (or at the end), then turn Tonal Balance EQ off to keep the correction fixed. The copy follows the curve’s shape between Low and High but not its overall level, so loudness can differ slightly. It is available once the graph shows an EQ response and Amount is above 0%.

Tone Control

A simple three-band sound adjuster for quick and easy sound personalization. Perfect for basic sound shaping without getting too technical.

Music Enhancement Guide

  • Classical Music:
    • Light treble boost for more detail in strings
    • Gentle bass boost for fuller orchestra sound
    • Neutral mids for natural sound
  • Rock/Pop Music:
    • Moderate bass boost for more impact
    • Slight mid reduction for clearer sound
    • Treble boost for crisp cymbals and details
  • Jazz Music:
    • Warm bass for fuller sound
    • Clear mids for instrument detail
    • Gentle treble for cymbal sparkle
  • Electronic Music:
    • Strong bass for deep impact
    • Reduced mids for cleaner sound
    • Enhanced treble for crisp details

Parameters

  • Bass - Controls the low sounds (-24dB to +24dB)
    • Increase for more powerful bass
    • Decrease for lighter, cleaner sound
    • Affects the “weight” of the music
  • Mid - Controls the main body of sound (-24dB to +24dB)
    • Increase for more prominent vocals/instruments
    • Decrease for more spacious sound
    • Affects the “fullness” of the music
  • Treble - Controls the high sounds (-24dB to +24dB)
    • Increase for more sparkle and detail
    • Decrease for smoother, softer sound
    • Affects the “brightness” of the music

Visual Display

  • Easy-to-read graph showing your adjustments
  • Simple sliders for each control
  • Hover over the graph, or touch and drag on it, to read the values at that point.