SUB — The Generator

The heart of the plugin: a three-band subharmonic generator with three generation philosophies, selectable per instance.

• · DIVIDE — The classic dbx approach. The source band is squared and fed to a flip-flop that toggles on every rising zero crossing.
• · SYNTH — Waveform modeling. BARYON estimates the dominant pitch of each band from its zero-crossing period and runs a clean, continuous-phase sine.
• · HYBRID — The grit of the divider blended with the body of the sine.
• · Chassis Architecture — Each band gets its own color-coded cell: a hero LEVEL knob, ON and SOLO pills, LOW/HIGH crossover controls, and a per-band RATIO selector.

LFO — Motion for the Low End

A dedicated modulator that breathes life into the generated sub — tremolo applied to the sub only, never your dry signal.

• · Waveform Array — Five waveforms: SINE, TRI, SAW, SQUARE, and S&H. Rate runs free or SYNC to host tempo.
• · Position RETRIG — In sync mode the LFO's phase is derived from the host's song position every block, staying beat-locked through loops and relocates.
• · PHASE Orbit (0–180°) — Offsets the right channel's LFO for widening motion no static tool can produce.
• · Display Mapping — Shows the selected shape over a full-scale ghost, with a gold cursor riding the curve at the engine's published phase.

CHARACTER — Punch, Edge, and Colour

Two stages of harmonic identity, laid out on shared columns so the eye never hunts.

• · PUNCH / EDGE Engine — Shapes the generated sub itself: PUNCH carves a tight, kick-friendly knee; TONE rolls the top; DRIVE feeds a six-mode EDGE saturator.
• · Global Color Stage — A hero DRIVE pushes the compressor's colour stage, with switchable oversampling (OFF / 2X / 4X) to keep aggressive settings alias-free.
• · Headroom Preservation — Dedicated DC blockers sit at the end of the nonlinear chain, draining offset in under a second while leaving 20 Hz programme within 0.095 dB.

DYNAMICS — THETA ANANKE COMPRESSION

ANANKE is the uncompromised compression engine extracted from the ROGERIAN Suite and configured as a focused, single-purpose processor.

• · TRANSFER Display — Draws the actual gain law on a 10 dB grid: threshold marker, the OverEasy soft-knee region, and the ∞:1 hard-limit curve.
• · GAIN REDUCTION History — Hangs from the ceiling: the shaded area is the gain removed, sampled from the audio thread every 2.5 ms.
• · Parameter Suite — THRESH, RATIO, KNEE, ATTACK, RELEASE, and RMS — the detector's averaging window from 1 to 50 ms.

EQ — The Editing Surface

Two independent processors — EQ IN (before the generator) and EQ OUT (after) — each with a 24 dB/oct high-pass and low-pass plus a dynamic bell with FREQ, GAIN, Q, THRESH, and DYN range.

• · Direct Manipulation Node Grammar — Drag a node for frequency and gain, Cmd-drag for Q, Opt-drag to set the dynamic range.
• · Dynamic Animation — The dynamic bells animate with the music: a faint REACH line marks full configured travel and a haloed LIVE line rides the current position.
• · Global Architecture — LINK mode runs one detection path on the mono sum so both channels' bells always move identically.

OUTPUT — Meter, Gate, Ceiling

The final say. A post-limiter L/R output meter spans the top — gold bars that turn amber past the limiter ceiling, and a peak readout in dB.

• · Gain Staging Zone — Handles compressor MAKEUP, PARALLEL, master DRY/WET, and OUT TRIM.
• · Limiter Rail — A stereo-linked, look-ahead brickwall — CEILING, LOOKAHEAD, RELEASE, and a CLIP mode.
• · Dual-Gate — A fast fixed 0.3 ms attack preserves transients; HOLD stops chatter on decaying hits; RANGE sets how far closed it goes.
• · Draggable Gate Display — The THRESH knob wears the incoming level as a live ring, and the gate view beside it scrolls three seconds of history.