How each Inotrak plugin works - what every control does, the moves it was built for, and the quick start to get sound fast. A lot of this suite is unusual, so each manual explains the why, not just the what.
An FFT mix analyser that doesn’t just show you problems — it fixes them. It sits first in every track’s chain, gain-stages the raw signal, and builds one live p…
A clean, modern VCA compressor with real character stages — not an emulation of one classic box. Transparent when you want it; but the pre-drive saturates into …
Nothing here is modelled on a specific box - you design the behaviour yourself, and you are not held to what hardware could actually do. Underneath that it is s…
A reverb built on a custom 8-line feedback delay network (Plate / Room / Hall), feeding Denzel’s dynamic-EQ + multiband-distortion engine applied to the wet sig…
A clean digital multi-tap delay — up to eight taps reading one shared circular buffer, with global feedback, tempo sync and stereo width — feeding Denzel’s dyna…
A modern gate / expander / ducker — one engine, Gate or Ducker mode, with an internal or external sidechain detector (own HP/LP + Listen), Peak/RMS/Auto detecti…
A dual-band de-esser / ess-restorer built on a subtractive split-band engine — at rest y = x exactly, so there’s no phase smear on non-sibilant material. Each b…
The bus-plugin coordinator for a stack of Tyson de-essers. Put it on the vocal aux, give it and every stacked Tyson the same GROUP name, and it budgets de-essin…
A true-peak brickwall limiter for the master or bus. One shared oversampled path carries a pre-limit distortion stage into a lookahead true-peak limiter, then a…
A mono acoustic-DI channel strip: it turns a thin, quacky acoustic DI (piezo / magnetic / SBT) into a mic’d acoustic through a PA in a room. A full series chain…
A distortion whose single drive knob walks through five different characters as it climbs - clean, odd harmonics, even, both, then a digital one at the top - cr…
A bus limiter with one crush knob that drives harder into a fixed ceiling while shortening the release, taking you from gentle peak control to full density. The…
A compressor whose squeeze knob moves threshold, ratio, attack, release and makeup together the way an engineer would with one hand free - gentle bus behaviour …
A single-band dynamic EQ reduced to where and how much. The intensity knob moves threshold, range and bandwidth together, so pushing it means more action in eve…
A de-esser with a relative detector - it compares the sibilance band against the broadband level, so it fires on an "sss" rather than on a loud vowel, which is …
A gate whose depth knob walks from genuinely inert to a hard gate, moving threshold and range together. The detector adapts on its own - weighting peak detectio…
Twelve pedals on a board you can split. Four parallel lanes of eight fixed spots, plus a post chain after the mix — and a lane can be fed either from the input …
A four-band stereo widener that also carries a full chain — saturation, compression and tape wobble — on the Mid and Side independently. Width, spread and cross…
Bowed sustain for guitar. Each note fades in with no pick attack, then holds instead of dying away. Hold it longer and it breaks into feedback: up an octave, a …
A guitar amp built as an ORDERED RACK: the eight amp stages (Gain, Drive, Bass, Mid, Treble, Presence, Power, Cab) sit on one signal chain, and you DRAG PEDALS …
The G-Root ordered-rack amp, bass-voiced, with a SPLIT front end: an LR24 crossover divides the input into a SUB band and a HIGH band. The sub is heavily compre…
On the panel: a high pass and a swept low pass, four swept EQ bands with a Q knob on both mids and saturation on every band, a diode compressor with FAST ATK, a…
Laid out the way the signal flows: input, dynamics, EQ, output. A compressor with FAST and PEAK, a full expander/gate with hold and release, four swept EQ bands…
On the panel: a swept high pass, four EQ bands whose Q follows the gain and saturation on every band, a VCA compressor with an attack knob, THRUST and HARD, and…
On the panel: swept high and low pass, four swept EQ bands at +/-18 dB with a Q knob on both mids and saturation on every band, a compressor with its own attack…