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Turn any voice into a ghost: a backwards swell of its own reverb rises into every phrase before it is heard, the voice thins to a whisper, drifts down and wavers, then trails into a long hall. Four spirits, a LIVE mode for singing through it, every preset level-matched.
Talk, rap or narrate in your own videos without sounding like yourself. Hooded Anonymous Voice moves your pitch and your voice's size in opposite directions, so it comes out as a different voice with every word clear, and none of your real voice is blended back in.
A tube optical leveler: two knobs that hold a vocal, a bass or a mix at one even, musical level.
Boomy kicks, 808s that ring into the next hit, rumble and a woolly low mid: Bottom Line tightens the low end in one insert. Shorter ring between the hits, less mud, lows locked to the centre, at zero latency and at the same loudness.
One quick, tape-coloured repeat right behind the voice, the sound of 1950s records and of rock, soul and country vocals ever since. The voice stays dry and in front, the slap snaps to your tempo, and it adds no latency.
Put it on your lead vocal, send it the music, and every line sits the same distance in front of the track: quiet words come up, loud belts come down, measured the way a loudness meter hears them. No compression sound, zero latency by default, and every move ready to print as automation.
Sing, hum, whistle or play one note at a time and get the MIDI: live into your synth while you perform, and as a clip you drag onto a MIDI track, every note where you really started it and laid out on your bars. Your audio passes through untouched, with no latency.
Put it on your mic in OBS or your streaming app and talk: the fan and the room drop away between sentences, a quiet mic comes up to a steady streaming level, harsh esses soften and a shout never clips. Four knobs, three mic setups, zero latency.
Turn one vocal take into a thick, wide double in one insert: two detuned doubles with zero latency, a sixties tape double, a four-voice stack or a slapback. The lows stay in the centre, so it holds up in mono. No second take, no copying and nudging tracks.
The reverse reverb effect in one insert: every note and every word is breathed in by its own reversed reverb, the swell stopping exactly on it. No reversing, bouncing or dragging; SWELL in note values or milliseconds, SPACE, TONE, and your DAW lines it all up.
Turn any vocal into a demon in one insert: drop it below human range, give it a bigger throat, add a rumble an octave under, a growl that wobbles and talks in time with your song, and a dark cavern. No chain to build.
Make the slowed + reverb version of any song inside your DAW: Moonlight really plays it slower and lower, like a record played slow, then puts it in a long, dreamy hall. No online converter, no bouncing back and forth.
Round the peaks off your master and bring the whole song up, about 3 dB louder at the default with no pumping. Set the shape from hard to round, choose clean, warm or gritty, and press MATCH to hear it at the same loudness.
Add the weight and the crack your drums never had: a tuned sub under the kicks, a crisp burst of noise on the snares and sharper fronts, at the same loudness. Best on full kits and loops, with one switch for a kick or a snare track alone.
Make any kick hit harder without layering samples: a tuned sub thump under every hit that follows how hard it lands, a harder front, a beater click that cuts through and harmonics for small speakers, all at the same loudness. Four kick recipes, at zero latency.
Make your bass mono below the frequency you choose and keep everything above it wide, or wider. The low end stops drifting between the speakers and plays solid on club systems, vinyl, phones and one-speaker boxes, as loud as it was in stereo. Hear and see every change, at zero latency.
Distort your drums on purpose and keep what matters: snares that crack and spit, kicks with a fuzzy edge, the kick's sub kept clean and every hit kept sharp, at the same loudness. Four distortion characters made for drums, at zero latency.
Wrap a voice, a guitar or a pad in a warm, softly swirling tail that blooms between the phrases and steps back while you sing. The whole lush recipe behind one LUSH knob: pre-delay, a chorus into the reverb, a moving tail, warm damping, width and ducking, at zero latency.
Every vocal EQ guide gives the same five steps: low cut, take out the mud, lift the presence, add air, tame the esses. Enunciator does all five in four knobs, and the cuts react to the voice, acting only on the boomy word, the harsh note or the sharp ess.
Clear, distinct repeats with a touch of early digital grit: the rack-delay sound behind a thousand guitar leads. Set the time and the number of echoes, lock them to your song, gallop with a second tap, or freeze them with HOLD. Zero latency, level-matched presets.
Every note you play held up at full level for as long as you let it ring, following your bends and vibrato, with a feedback tone blooming in under it, as in front of a loud amp. Mute the strings and it stops at once. Zero latency, level-matched, made for DI guitar.
Line up a kick's two mics, a snare top and bottom, close mics and overheads or a bass DI and its amp, so they add up instead of cancelling: full, solid lows that hold up in mono. Polarity, delay to a fraction of a sample and phase rotation, with a correlation meter and a picture of both mics' hits.
Two echoes at once, one on each side at its own rhythm, each repeating only on its own side. A mono vocal, guitar or synth opens out across the whole stereo field while the dry stays centred and in front, with a one-click mono check and zero latency.
A stereo chorus and a tempo-synced echo in one: your part turns wide and silky and its echoes carry the same swirl. Put the chorus before the echo, as a pedalboard does, or inside it, so each repeat wobbles a little more. Zero latency, every preset level-matched.
Transformer iron saturates the low end first: bass and kick gain weight, harmonics and a rounded punch while the mids and highs stay clean. Push it with IRON, aim it with WEIGHT, pick a big clean transformer or a small cheap one, and four characters. Every setting level-matched.
A treble booster pushing a built-in amp at the edge of breakup over into a bright, throaty, singing lead: the classic boost-into-a-cranked-amp chain in one plugin. Treble, upper-mid, mid or full-range boost, the amp's own gain, the guitar-volume clean-up trick, and the booster alone for your own amp sim. Every setting level-matched.
The loud, dense, bright sound a song has on a hot FM station, in one insert: an AGC that evens out the quiet and loud parts, three bands that pack the mix together, the bass and the top lifted, and a limiter and clipper that hold every peak under -1 dBFS. Every song comes out at the station's own loudness, at zero latency.
The classic passive tube EQ moves on three knobs: the low-end trick on LOW, a broad, silky lift of the air on TOP, and tube warmth and glue on TUBE. Pick the SOURCE, a kick, a bass, a vocal or a whole mix, and every knob is level-matched, so you hear the tone, not just louder.
Take the low thump out of every P and B after the fact, on singing, rap, podcasts and voice-overs. It cuts only while a pop is happening, so the consonant stays crisp and the voice keeps its body, with zero latency in LIVE for recording.
Recorded in a bedroom, a bathroom or a booth that rings? Dryer turns the room down where you hear it most: the tails after every word, note or hit and the gaps between them. One knob, zero latency, and DELTA to hear exactly what it takes away.
Big, generous echoes pulled out of the way under every phrase, blooming back in the gaps, in time with your song. Key the duck from your own track or from any other, a kick or a lead, through the sidechain input. Zero latency, and your dry vocal is never touched.
Insert it on a vocal, chords or a loop and the sound crumbles into a wide, moving cloud of its own grains. Two big knobs set how long each grain is and how many play at once, the cloud stays at your track's loudness, and one key holds it in the air.
Insert it on a guitar, keys, bass, synth or vocal and it quacks: on every note you play, rocked on the song's beat, or parked and swept under your hand. It sweeps the same on a quiet take or a loud one, the level stays even with the dry track, and it adds no latency.
Insert it on a drum mic, a guitar or a vocal and the hiss, hum and bleed between the notes go, while every hit and note comes through whole. It opens once and closes once on a fading note, FOCUS keys it on the drum you want, and three types close it hard, gently or by tone.
See the note of any sound to a tenth of a cent, on a needle or a strobe. HOLD keeps the note a kick, a sub or a sample settles on, and KEY shows exactly how far to shift it to your song's key. Zer0 only listens: your sound passes through bit for bit, with zero latency.
Most of our paid plugins have a free demo: the whole plugin, with no time limit, that goes silent for a moment every few seconds. Look for the free demo on the plugin's page.
Our plugins run on Windows and macOS, in DAWs that load VST3 or AU plug-ins, and many also come as AAX for Pro Tools. Each plugin's page lists its exact formats and system requirements.
Up to five of your own computers for each copy of a plugin you buy.
Your plugins' download links arrive by email within about five minutes, and they are always in your account under Downloads.
Yes: every plugin comes with a 90-day money-back guarantee. Within 90 days of buying, email contact@lenuque.com for a full refund.
Yes. Every update of a plugin you own is free: download the newest version from your account under Downloads.
