Find your sound.

Gentle varispeed slowdown that relaxes pacing. Pitch falls along with tempo — this is a tape-style speed change, not pitch-preserving time-stretch.

Extreme half-speed drag for an immersive, dreamlike feel. Pitch drops with the tempo (varispeed), and the optional warmth shelf adds low body.

Deeper-than-slowed varispeed drag with a soft room reverb and a low-pass haze. Pitch falls with tempo — this is playback-rate resampling, not pitch-preserving stretch.

Modest varispeed lift that injects rhythmic energy. Pitch rises with tempo; the engine uses windowed-sinc resampling to keep the shift clean.

Fast varispeed tempo with elevated pitch and a vocal high-shelf lift. The pitch offset is applied as extra varispeed, so tempo rises with it.

Anti-nightcore: varispeed slowdown with a negative semitone offset for a deep baritone. The offset is extra varispeed, so it also lowers tempo.

360-degree cyclical stereo panning moving continuously around the listener with airy reverb space (stereo movement — not HRTF binaural rendering).

Headphones required to perceive the 360° rotational orbit.

Rhythmically modulates audio between left and right channels with a real StereoPanner LFO. Mono sources are widened to stereo first.

Best on stereo monitors or headphones.

Sets a static stereo pan position with a StereoPanner node. 50% is center; lower values move left, higher values move right.

Mid/side stereo widening that boosts the difference signal. Mono sources pass through unchanged, and a wider side signal loses some mono compatibility when summed.

Mono sources pass through unchanged; avoid extreme width if the mix will be summed to mono.

Rhythmic echoes bouncing alternately between left and right. Delay time is fixed at 320 ms; the feedback control sets how long the repeats sustain.

Best experienced with stereo speakers or headphones.

Psychoacoustic Haas effect (precedence delay) introduces a subtle 12–35 ms time offset between stereo channels to produce an expansive, immersive stereo field from narrow or centered audio.

Best experienced with headphones or balanced stereo monitors.

Modulated delay line with sinusoidal LFO creates lush, shimmering stereo dimension and subtle comb-filter movement.

Best experienced on stereo monitors or headphones.

Low-shelf lift at 95 Hz, +3.5 dB by default, for transparent bass enhancement.

Punchy +7.0 dB low-shelf at 85 Hz for club mixes and car audio.

Deep +10.5 dB low-shelf at 75 Hz. If peak protection is enabled, the limiter catches the resulting overs.

Monumental +15 dB low-shelf at 65 Hz. There is no saturation stage — peak protection is a sample-peak limiter, not distortion.

Custom multi-band parametric tone shaping: Low-Shelf (120 Hz), Peaking Mid (2.4 kHz), High-Shelf (9 kHz).

Silky high-shelf boost above 9 kHz to breathe life into dull recordings.

A centered dip around 350 Hz to clear boxy mud, plus a high shelf above 8 kHz for gloss. Static EQ only — nothing dynamic, no compression.

Short 0.65 s decay with heavily damped highs and a 120 Hz low cut for a tight, tiled room.

Intimate 1.1 s decay with a 100 Hz low cut — a dry studio room around the source.

Balanced acoustic chamber with a 2.0-second smooth decay tail.

Spacious 3.4-second hall acoustics with stereo-decorrelated reflections.

Echoing stone archways with 4.8-second natural reverberation.

Massive cavernous stone reflections. The vaulted decay control spans 5.7–6.5 seconds.

Transparent vocal chamber with a 35 ms pre-delay and damped high-frequency tail.

Classic EMT-style electromechanical metal plate reverberation: dense, bright early diffusion with a 220 Hz low-cut filter to keep vocal and snare transients pristine.

One tight ~115 ms repeat with light feedback — the classic rockabilly / vocal slap. No reverb tail, just a single bouncing ghost.

Ping-pong delay and a room reverb run together, so repeats melt straight into a diffuse tail. Tail time is the longer of the two.

Shifts the whole mix down by 432/440 (−31.77 cents), assuming the source is tuned to A=440. Implemented as varispeed, so tempo also drops by about 1.8%.

Transposes musical pitch up or down by discrete semitones. Uses playback-rate resampling, so tempo shifts in parallel with pitch.

Adjusts playback speed from 30% to 180%. Because this is playback-rate resampling, pitch shifts together with tempo (no independent time-stretch).

Inverts sample buffers back-to-front for surreal backwards swells and reverse transitions.

Two cascaded low-passes at 520 Hz (24 dB/oct) plus a 160 Hz low-shelf and reverb simulate hearing sound through water.

A 450 Hz high-pass plus a cascaded 3.2 kHz low-pass (24 dB/oct) approximates the telephone band. The slopes are not brickwall, so some energy leaks outside the band.

tanh saturation, a 6.5 kHz high-shelf cut, a 9.5 kHz low-pass, and slight varispeed motor drag. Pitch drops with the motor speed.

Gentle analog studio warmth: mild hyperbolic tangent saturation for second- and third-order harmonics, paired with a 100 Hz low-shelf warmth boost and gentle 14 kHz top-end smoothing.

Analog triode tube preamp simulation: non-linear harmonic drive adds musical even/odd harmonics paired with a 200 Hz low-shelf warmth body and smooth high-frequency roll-off.

Authentic medium-wave AM radio broadcast character: steep 550 Hz high-pass, 2.8 kHz low-pass, a resonant broadcast horn peak at 1.8 kHz, and gentle transistor saturation.

Muffled audio with diffused room reflections, replicating the sensation of music playing in an adjacent room or down the hall.

Sample-rate decimation and word-length quantization for authentic vintage sampler, arcade, and chiptune degradation.

Steep 24 dB/oct cascaded high-pass filter clearing sub-audible DC offset and infrasonic rumble below 30 Hz without diminishing musical bass.

High-passes low-frequency microphone thumps, footstep rumble, and HVAC vibration. (Frequency-selective rumble cutting — not broadband hiss/noise removal.)

Silky vocal polishing curve: broad articulation bell at 3.2 kHz to bring vocals forward, paired with an 11 kHz high-shelf for breath and sparkle.

Enhances presence in speech/vocal frequencies while clearing low-end mud buildup.

A gentle high-shelf cut above 7 kHz that reduces sibilance and cymbal bite together. It is a static shelf, not a dynamic de-esser.

Static EQ shaping for spoken word: a high-pass under ~95 Hz, presence lift at 3.2 kHz, and an optional high-shelf smoothing. Not a compressor, not noise reduction.

Subtle 2.5:1 dynamic control with a gentle knee that smooths out volume spikes transparently without pumping.

Fast-reacting vocal dynamics compressor paired with an 80 Hz rumble cut: tames plosives, catches peaks, and elevates quiet phrases.

Re-centers the audio waveform to true zero-crossing, removing asymmetric DC offset bias and infrasonic rumble to recover headroom.

Boosts or attenuates overall level from −18 dB to +12 dB. If peak protection is enabled in the export panel, the look-ahead limiter catches the resulting overs.

Crops and trims the audio start and end times to export only the selected segment.

Applies smooth, non-destructive linear amplitude fades to the start and finish of your audio to create clean song intros, transitions, and fadeouts without abrupt clicks.

Downmixes stereo multi-channel audio to a single coherent mono channel using 0.5 * (L+R).

Estimates tempo from transient-energy autocorrelation of the decoded PCM, then optionally shifts playback speed. (Statistical estimate — accuracy varies with sparse or syncopated material.)

Full-featured studio compressor: configurable threshold, ratio, attack, release, knee, makeup gain, and parallel wet/dry blending.

Mid/Side stereo processing isolates or removes centered audio (vocals and lead instruments) while preserving low-end kick and bass via a crossover filter.

Requires a stereo input with centered vocals and stereo instrumentation.

Transcodes audio between WAV (16/24/32-bit float), MP3 (128–320 kbps), and AIFF directly in-browser. MP3 encodes only at 32, 44.1, or 48 kHz; WAV/AIFF can render up to 96 kHz.

Gentle finishing curve: 80 Hz sub shelf, 1 kHz glue, 12 kHz air, plus the engine's 5 ms look-ahead limiter at −0.3 dBFS sample peak (not LUFS loudness normalization).

Classic VCA-style master bus glue compression (2:1 ratio, moderate attack, smooth release) that unites mixed elements into a cohesive master.