Twelve plugins.

A compressor that saturates hard and distorts harder. The drive hits the detector, not just the tone - so it changes how it grabs, not only how it sounds.

Six bands of dynamic EQ, each with its own variable distortion. Drive a single band and duck it at the same time, or turn a band into an all-pass and fix phase without touching the level.

A reverb with a full dynamic EQ on the tail - six bands, each with its own distortion. Shape and dirty the wet only; the dry stays exactly where it was.

Eight taps, and a dynamic EQ with distortion on the repeats. Put the EQ after the delay for clean echoes, or inside the feedback loop and let every repeat fall apart a little more.

Gates set in seconds - it reads the track and places the thresholds for you. Then adds punch on the way out.

De-esses without the lisp, and runs backwards too - putting an ess back when a vocal has gone soft. Saturation from smooth to savage.

Stacked vocals de-essed as one. Twelve BVs stop compounding into a lisp, because the group sets the budget instead of every track guessing alone.

Get loud and add harmonic saturation at the same time. The distortion sits before the limiter in the same oversampled path, so it drives the limiter rather than fighting it.

Put your pedals anywhere in the chain, not just in front of the amp. Boost into the mids instead of the whole circuit, for sounds a normal amp sim can't get to.

Pedals anywhere in the chain, plus a crossover that keeps the sub clean and compressed while the top gets hammered. Low end that stays solid however hard you push.

At last, a cheap DI'd acoustic can sound like an expensive mic'd classic. Built for that one job - and its 4-band saturator shapes snares and kicks beautifully too.