The plugins

The foundation, not the headline.

You don't need another EQ or compressor, and we're not here to sell you one. Our 31 plugins exist so that work moves between people without breaking: a chain built from them plays exactly the same for your client, your collaborator and the mastering engineer, whatever they own. That's also why every one of them is free.

Why they exist

Shared sessions, client approvals and archived chains only work if every unit in a chain can play on the other person's computer. Hardware captures do that for outboard; our plugins do it for everything else a mix needs.

Why they're free

Because they're part of the platform, not a product. Register, sign the plugin in, and all 31 are yours on every plan. Signing in lets us license them to your computer and keep shared work secure.

Why they're good

Plenty of new plugins are quick to make and quick to forget. Ours have to pass their measurements on every build before they ship, and we compare them with the free plugins engineers trust most.

How we test them

Measured, not described.

We don't ask you to judge our plugins from a demo on unknown speakers. We measure them, publish what we measure, and test them in your studio, on your mix. These are the checks every build has to pass.

Frequency response against the analogue ideal

Most digital EQs squeeze their curves as they approach the top of the range. Lathe runs at 96 kHz inside and stays within 0.13 dB of the ideal analogue curve for a bell at 16 kHz, closer than the free EQ we benchmark it against.

True peak, between the samples

A limiter's ceiling only matters if it holds after conversion. Lintel looks ahead 1.5 ms and measures at 4x with a 64-tap interpolator, and holds a −1 dB ceiling on program material pushed 18 dB into it, measured with an independent meter stricter than the broadcast standard.

Distortion where there shouldn't be any

Fast compressor settings normally rough up bass notes. Clasp holds its detector through each cycle of a low note: 0.00% distortion on an 80 Hz tone at 1 ms attack and 30 ms release.

Aliasing

Saturation and clipping create harmonics that fold back as harsh, unmusical tones. Brazier and Kerb run 4x oversampled, putting that fold-back 67 to 127 dB below the note.

Reverb behaviour

A reverb's Decay should mean what it says, and its tail should be smooth, not grainy. Nave's measured decay stays within 7% of the knob from 2 to 8 seconds, and its tail is fully dense within 40 ms.

Stability and repeatability

Every control at its extremes, every block size, mono and stereo hosts, 44.1 to 96 kHz: no runaway, no noise, no difference in sound. That's what lets our servers render your client's mix exactly as your DAW plays it.