Hear it, then build with it
Start your engines
69 effect engines in 11 categories: 25 free (all downloadable with no account) and 44 to own. Every one runs in JUCE through the sOURnd C ABI, and right here in your browser.
Featured engine
Aulana
Endless air, warm or open.
Lush, slowly moving hall. Separate low and high decay let the tail stay warm and dark or open and airy.
01
Distortion
Clippers, saturation, fuzz and drive.
- Engines
- 11
- Licences
- 3 free · 1 free · 7 paid
- Includes
- clipper, tape, saturation, bitcrush, fuzz, overdrive, amp, lo fi
Waves rise. The ceiling holds.Brimm
Clipper: shaves peaks at a ceiling you set, with a hard, soft or knee corner, oversampled for clean highs. Push the drive for loudness and bite, or keep it low to catch stray transients.
Heat that rounds every edge.Calora
Warm magnetic-style saturation: highs round off first, lows thicken, loud passages ease back gently.
Sharp ridges, smoothed by the wind.Soft clip
Level-compensated tanh saturation.
Everything solid, falling to bits.Grittance
Lo-fi crusher: lower the sample rate and bit depth, fold the wave, and loosen the clock with jitter.
Low, dark and heavy on the road.Asphalto
Lower-gain, darker bass fuzz: heavy body and a thick low-mid, with the top end grit mostly rolled away.
Warm glass that breathes as you play.Kilnglow
Valve-style asymmetric drive rich in even harmonics; the bias sags with playing level for a touch-sensitive bloom.
Every rig you ever loved, held in stone.Lithic
Plays amp and pedal captures and cabinet impulse responses you load: a neural capture, an IR, or both. Empty slots pass audio through clean.
It wakes when you turn it up.Monstrous Mandarin
Thick valve-amp drive that saturates early and sits heavy in the low mids, with a dark-to-cutting tone sweep and a speaker-and-mic voice you can pull back to feed your own cab.
Played a thousand times before you.Patinor
Lo-fi character: makes anything sound played back from a worn record or tape, with drifting pitch, flutter, crackle and dust pops, hiss, a narrow bandwidth, gentle age saturation and optional bit and sample-rate crush. The surface noise rides under the playing and fades out with it.
Heavier every notch you turn.Scary Satsuma
Tight, biting valve-amp drive that keeps getting heavier all the way up the gain, with a broad upper-mid push and a speaker-and-mic voice you can pull back to feed your own cab.
Thick, tangled, full of thorns.Thornet
Thick, saturated fuzz with an octave-up blend, a gate for tight stops and a scoop-to-bright tone stack.
02
Dynamics
Compressors, limiters, gates and transient shapers.
- Engines
- 6
- Licences
- 1 free · 1 free · 4 paid
- Includes
- compressor, transient, limiter, dynamic eq, gate
Fast. Punchy. Shut.Clampa
Punchy peak compressor: fast peak sensing with a firm knee, a punch control that lets transients through ahead of the gain reduction, and a parallel mix.
Shape the strike, shape the glow.Attaq
Transient shaper: boost or soften the attack of each hit and lift or tuck its sustain, independent of level, with a speed control for tight or loose envelopes and a clip-safe output.
Nothing gets over the wall.Ceilwall
Transparent lookahead brickwall limiter: the gain ramps down before each peak arrives so the output never passes the ceiling, then recovers with a smooth release.
Only the loudest flame bows.Hushel
Dynamic EQ band: a bell that cuts only while its own band is louder than the threshold. Set it high and narrow-ish for de-essing; the wide control moves the cut from the band to the whole signal.
Closed until it should open.Sluice
Gate and downward expander: opens above the threshold, closes below it minus the hysteresis after the hold time, and expands at the chosen ratio down to the range floor.
Thousands of parts, one motion.Unisill
Glue compressor: RMS sensing that blends feed-forward and feedback detection, a soft knee and a release that speeds up on transient material and relaxes on sustained material.
03
EQ
Parametric, graphic and character equalisers.
- Engines
- 5
- Licences
- 1 free · 4 paid
- Includes
- parametric, passive, linear phase, exciter, graphic
Every facet, cut exactly.Lancetine
Surgical parametric EQ: 24 dB/oct low and high cuts (off at their extremes), low and high shelves and three fully parametric bells.
Deep heat, fired low and tight.Fournel
Passive-style program EQ: boost and attenuate the lows at the same frequency for a deep, tight bottom with a dip above it, a broad-to-sharp high boost, a separate high attenuation shelf, and a gentle output stage that thickens as it is driven.
Pure colour, nothing bent.Glazen
Linear-phase parametric EQ: 24 dB/oct low and high cuts, low and high shelves and three bells with no phase shift between frequencies, so boosts and cuts keep transients and parallel paths aligned. Adds a fixed latency the host compensates.
New light on the surface.Glintfoil
Harmonic exciter: adds new overtones above a chosen frequency rather than boosting what is there. Harmonics sets the drive, colour leans the new overtones odd (bright, edgy) or even (sweet, open), and amount blends them in.
Thirty-one bands, all in bloom.Gridelle
Thirty-one-band third-octave graphic EQ, 20 Hz to 20 kHz, +-12 dB per band, constant-Q, for room and system voicing and precise tonal balance.
04
Filter
Multimode, formant and stepped filters.
- Engines
- 7
- Licences
- 1 free · 2 free · 4 paid
- Includes
- multimode, comb, dj filter, formant, auto filter, low pass, wah
One sweep through every shape.Veer
Resonant multimode filter that morphs continuously from low-pass through band-pass and high-pass to notch, with input drive and an envelope that sweeps the cutoff with the playing.
Any sound, made to ring.Kammerl
Tuned comb filter: rings any sound at a note or frequency, from a subtle metallic sheen to a singing, pitched resonance. Flip the polarity for a hollow tone an octave down; damping softens the ring.
One turn, the whole horizon.Pivotta
One-knob performance filter: turn left and a low-pass sweeps down from the top to the deep bass, turn right and a high-pass sweeps up to thin the sound out; the centre is a clean bypass. Resonance adds a peak at the cutoff; Steep switches 12 to 24 dB/oct.
A voice in any sound.Glottan
A vowel filter: three resonant peaks shaped like a voice, slid between two vowels by hand, by an LFO or by how hard the input plays, for talking, wah and growl tones.
Always moving, always hunting.Prowl
Auto filter: a resonant low-pass, band-pass, high-pass or notch swept by an LFO (free or locked to the song, including sample-and-hold steps) and by how hard you play, with drive in front, grit after and a stereo offset.
Climb into warm resonance.Rung
Warm resonant low-pass: four cascaded poles in a feedback loop with soft saturation, a slope control from 6 to 24 dB/oct and bass compensation for the level lost to resonance.
Heel to toe, a singing peak.Treadle
Pedal wah: one vocal, resonant peak rocked from heel to toe by the position control (map it to an expression pedal), or pushed by your playing for auto-wah. Hard notes squash the peak into a throaty honk.
05
Modulation
Chorus, phaser, flanger, tremolo and friends.
- Engines
- 9
- Licences
- 1 free · 2 free · 6 paid
- Includes
- ensemble, phaser, tremolo, ring mod, harmonic tremolo, rotary, flanger, uni phase
Three voices, gently apart.Chorvane
Lush three-voice ensemble chorus with stereo spread and a soft top end.
Eight stages of spin.Eddyturn
Eight-stage phaser with staggered notches, feedback for vocal sweeps and a stereo offset that turns it into a slow spin.
Throb, pulse, sway.Tremola
Tremolo that morphs from a smooth throb to a choppy pulse; widen the stereo phase for auto-pan.
Every note turned to metal.Bellrung
Ring modulator: replaces each note with metallic sum and difference tones, from bell-like shimmer to harsh clangour, with an optional wobble on the carrier.
Warm, then bright, then warm.Ebb
Harmonic tremolo: lows and highs pulse in opposite phase, so the tone rocks between warm and bright with a subtle phasey sway instead of a plain volume throb.
Spin up. Spin down. Real weight.Gyrecast
Rotating speaker: a spinning treble horn and bass drum, slow or fast, that speed up and slow down with real weight, heard by two microphones for a wide swirling stereo image.
A jet sweep across the sky.Jetwake
Jet-sweep flanger with positive or negative feedback and a near through-zero mode that sweeps the echo across the dry signal.
Light that throbs and pulls.Photocel
Lopsided, throbbing four-stage phase shifter swept by a lamp and light cell: chorus mode for liquid, pulsing notches, vibrato mode for a seasick pitch wobble.
Rising forever, never resetting.Stairwhorl
Endless sweep: phaser or flanger notches that keep rising, or keep falling, forever without ever resetting.
06
Delay
Clean, tape, bucket brigade, granular and ping-pong echoes.
- Engines
- 7
- Licences
- 1 free · 1 free · 5 paid
- Includes
- digital, tape, reverse, analogue, granular, multi tap, ping pong
Every repeat, exactly.Lucento
Clean digital echo: every repeat an exact copy, trimmed by low and high cut in the loop. Set the time in milliseconds or lock it to a note of the host tempo (the Tempo control stands in without one). Changing the time crossfades to the new echo instead of bending its pitch. Offset delays the right side for width. Sync: 0 = free, 1 = 1/32, 2 = 1/16T, 3 = 1/16, 4 = 1/16D, 5 = 1/8T, 6 = 1/8, 7 = 1/8D, 8 = 1/4T, 9 = 1/4, 10 = 1/4D, 11 = 1/2, 12 = 1/2D, 13 = 1 bar.
Echoes that wander as they fade.Driftel
Warm, wandering echo. Repeats bend in pitch, soften and saturate as they fade.
Every echo, played backwards.Backwash
Backwards echo: every chunk of time is played back reversed during the next one, so notes swell in from nothing and cut off. Feedback flips the repeats back and forth. Fade sets how soft each chunk's edges are. Sync: 0 = free, 1..13 = 1/32 to 1 bar (chunks longer than 2 s are held at 2 s).
Murky, warm and far away.Bucketta
Dark, gritty analogue-style echo. Short times stay bright, long times get murky because the virtual clock slows down; a compander makes hiss and grit swell and fade with the playing; turning the time bends the repeats in pitch, and the glide sets how fast. Sync as the other echoes: 0 = free, 1..13 = 1/32 to 1 bar.
Echoes cut into grains and scattered.Graniel
Granular echo: the delayed sound is cut into short grains, scattered in time by Spray, pitched and panned, and layered at the chosen density, from a shimmering cloud to a stuttering glitch. Feedback feeds the cloud back into itself; Freeze (on above half) stops recording so the grains keep playing the held sound. Sync: 0 = free, 1..13 = 1/32 to 1 bar.
Taps that fan across the field.Tapsody
Rhythmic multi-tap echoes that fan out across the stereo field, even, speeding up or slowing down.
Left, right, and into a wash.Volleto
Stereo ping-pong. Repeats bounce left and right, thinning and blurring into a wash as they go.
07
Reverb
Rooms, halls, plates and spaces that do not exist.
- Engines
- 6
- Licences
- 1 free · 1 free · 4 paid
- Includes
- room, spring, hall, ambient, shimmer, plate
A real room, right there.Roomette
A real-sounding room: distinct early reflections that place a sound at a distance, with a short soft tail.
Boing, splash, chirp.Coilette
Spring reverb: a boingy, splashy tank whose echoes chirp downward as the lows lag behind the highs. Tension tightens the springs (shorter, brighter, less chirp); Drip is how hard transients shake the tank; Springs sets how many are in it.
Endless air, warm or open.Aulana
Lush, slowly moving hall. Separate low and high decay let the tail stay warm and dark or open and airy.
Blooms behind every note.Blossa
Reverb that blooms: it swells in behind notes, steps aside while you play, and can be gated shut for a hard stop.
Held notes rise into light.Shimmerhall
Shimmer reverb: a long, gently moving space whose tail is pitch-shifted and fed back into itself, so held notes bloom into a bright halo an octave or a fifth above. Shimmer sets how much climbs. Interval: 0 = octave up, 1 = fifth up, 2 = octave and fifth, 3 = octave and octave-plus-fifth, 4 = octave down and up.
Dense, bright and instant.Tesselle
Bright, dense sheet of reverb that builds almost instantly. Smooth on drums and vocals.
08
Pitch
Octaves, shifters and harmonisers.
- Engines
- 5
- Licences
- 1 free · 1 free · 3 paid
- Includes
- octaver, pitch correction, shifter
One and two octaves down.Octunder
Analogue-style sub octaves: square-wave subs one and two octaves down that answer instantly and follow your dynamics, rounded by a tone control. Single notes only, like the circuits it is modelled on in spirit.
An octave of glass above.Swoopline
Octave up straight from the waveform: glassy and clean on one side, ringing and fuzzy on the other, with drive, a gate that trims the tails and a tone control. No latency.
Every note finds its star.Northnote
Pitch correction for voices and single-note lines: pulls every note to the nearest note of your key and scale (chromatic, major, minor, pentatonics or your own 12-note set) at a speed from natural to a hard snap at 0 ms, with humanise to leave held notes and vibrato alone.
Chords that rise and sink together.Octrel
Clean polyphonic octaves: a sub, a second sub and an octave up that follow chords, with their own levels, a darkening filter for the subs and a squash that keeps the octave voices even.
Four voices, every range.Tessarine
The everything pitch engine: four voices from three octaves down to three up with fine tune, level, pan and delay each; chord-friendly or single-note mode, formants kept or moved, detune spread and a feedback path that climbs in cascades.
09
Performance
Tape stops, stutters, gates and live tricks.
- Engines
- 4
- Licences
- 1 free · 3 paid
- Includes
- tape stop, slicer, freeze, stutter
Grind to a halt, spin back.Torpora
Tape stop: the sound slows down and drops in pitch to a halt over the stop time, then spins back up over the start time (0 = cut straight back in). Curve bends the slowdown from a sudden drag (negative) to a long coast (positive). Trigger: 0 = the Stop control (on above half), 1 = the host transport stopping and starting, 2 = either.
Every bar, sliced and shuffled.Carvello
Beat slicer: each bar is cut into equal slices, and Shuffle is the chance that a slice is replaced by an earlier slice of the same bar (Reverse the chance it plays backwards), so loops are broken up and rebuilt on the fly. Hold keeps one pattern for every bar (above half) instead of a new one each bar. Slices: 0 = 4, 1 = 8, 2 = 16, 3 = 32 per bar. Seed picks the pattern.
Hold the moment forever.Glacine
Sustainer: turn Hold on and the current sound is captured and held indefinitely as a smooth, evolving texture, blended under or over the live signal. While held, the trigger decides when it crossfades to a fresh capture: 0 = manual (only when Hold is switched on), 1 = new note (a stable pitch change larger than Pitch change), 2 = transient, 3 = every N beats, 4 = every N bars (host grid, or the Tempo control without one). Switching Hold off lets the held sound die away over Release.
Roll the dice, stutter the slice.Rippet
Grid stutter: once per interval, at the offset, it rolls the dice and may grab a short slice and stutter it for the gate length, each repeat optionally dropping in pitch and level. Locks to the host grid; without one it runs on its own Tempo. Interval: 0 = 1 beat, 1 = 2 beats, 2 = 1 bar, 3 = 2 bars, 4 = 4 bars. Offset and Gate count sixteenth notes. Repeat: 0 = 1/32, 1 = 1/16, 2 = 1/8, 3 = 1/4, 4 = 1/2. The same seed and song position always make the same decision.
10
Utility
Width, routing, polarity and gain staging.
- Engines
- 5
- Licences
- 2 free · 1 free · 2 paid
- Includes
- gain, phase, width, mid side, binaural
Clean level, nothing else.Gain
Clean level control with a short de-zipper ramp.
Every channel, under your hand.Keelson
Channel utility: flip polarity per channel, swap channels, fold to mono (sum, left or right), balance or pan with a choice of pan law, delay each channel by samples plus milliseconds for time alignment, remove DC, and trim the level.
From mono to the horizon.Breadth
Stereo width from mono to double width, with a low end that folds to mono below a chosen frequency.
Centre and sides, set apart.Meridel
Mid/side mixer: set the centre and the sides separately, spread or narrow the image, and turn the whole image left or right without losing energy. Decode mode takes a mid/side recording in; encode mode sends mid/side out.
Anywhere around your head.Spherel
Binaural panner for headphones: places the input around the listener's head by azimuth, elevation and distance, with the time and level differences between the ears, the head's shadow, a pinna cue for height and softer highs from behind and far away.
11
Analysis
Meters, tuners and detectors. Audio passes untouched.
- Engines
- 4
- Licences
- 1 free · 1 free · 2 paid
- Includes
- level, tuner, loudness, spectrum
How deep, exactly.Plumb
Level meter: per-channel sample peak with a falling needle, RMS and a peak hold. Audio passes untouched.
In tune, the bubbles line up.Tunra
Chromatic tuner: the nearest note, how many cents sharp or flat, the frequency and how sure it is, against an adjustable A4. Audio passes untouched.
The true weight of loud.Heft
Loudness meter: momentary (400 ms), short-term (3 s) and gated integrated loudness in LUFS, loudness range and 4x-oversampled true peak, against a target. Audio passes untouched.
Every band, a tower of light.Huescope
Spectrum meter: 31 third-octave band levels from 20 Hz to 20 kHz with an optional display tilt, plus peak and RMS. Audio passes untouched.