VOCALITH: Vocal Suite

Reduces noise and room sound between phrases.

Use it when headphone bleed, room noise or computer noise sits between words.

THRESH

Sets the level where the gate starts closing.Raise it to remove more room noise. Lower it if word endings or breaths get cut off.

RANGE

Sets how much the gate turns down quiet parts.Use moderate range for natural cleanup. High range gives stronger silence between phrases.

ATTACK

Sets how quickly the gate opens when the vocal starts.Fast attack keeps consonants sharp. Slower attack can soften abrupt entries.

HOLD

Keeps the gate open briefly after the vocal drops.Increase it if the gate chatters between syllables.

RELEASE

Sets how smoothly the gate closes.Longer release sounds smoother. Shorter release cleans gaps more aggressively.

HYST

Adds stability so the gate does not rapidly open and close around the threshold.Increase it when the gate feels nervous or flickers on sustained words.

LOOKAHEAD

Lets the gate react slightly before the vocal transient arrives.Keep it on for clean vocal starts. Turn it off only when you need the lowest possible delay.

SC HPF

Reduces low-frequency rumble in the gate detector.Keep it on when plosives, stand bumps or room rumble trigger the gate incorrectly.

Adds articulation, attack and forward movement.

Use it when the vocal feels too soft or gets lost in the beat.

ATTACK

Controls the front edge of words and consonants.Raise it when the vocal needs more snap. Lower it if consonants feel too sharp.

SUSTAIN

Shapes the body after the initial attack.Raise it for thicker phrases. Lower it to keep the vocal tighter and less smeared.

SENS

Sets how easily Punch reacts to the performance.Raise it for softer vocals. Lower it if Punch reacts too much to every syllable.

EDGE

Adds extra bite and definition.Use it for rap, rock and dense mixes. Back it off for soft ballads.

MIX

Blends the Punch effect with the original vocal.Use lower mix for subtle shape and higher mix for obvious transient impact.

SOFT / HARD

Changes the character of the transient shaping.SOFT is smoother. HARD is more forward and aggressive.

Controls harsh resonances and uncomfortable frequencies.

Use it when certain words or notes jump out too sharply.

FREQ

Chooses the harshness area Tame focuses on.Sweep until the harsh word, nasal ring or painful tone becomes controlled.

THRESH

Sets how loud the harsh area must get before Tame reacts.Lower it for more frequent control. Raise it if the vocal becomes dull.

AMOUNT

Sets how strongly Tame reduces harshness.Increase for sharp microphones or aggressive vocals. Use less for natural performances.

FOCUS

Controls how narrow or wide the harshness control is.Higher focus targets a tighter ring. Lower focus smooths a broader area.

SPEED

Sets how quickly Tame follows harsh peaks.Faster catches sudden spikes. Slower sounds more relaxed and natural.

SOFT / TIGHT

Changes the style of resonance control.SOFT is gentle. TIGHT is more precise and assertive.

Softens sharp S, SH, CH and similar sounds.

Use it when the vocal starts to hiss after adding brightness.

FREQ

Chooses the sibilance area to control.Move it until S, SH or CH sounds trigger the most natural reduction.

THRESH

Sets how loud sibilance must be before reduction starts.Lower it for more de-essing. Raise it if the vocal loses brightness.

RANGE

Sets the maximum amount of sibilance reduction.Increase for very sharp vocals. Keep it moderate for transparent results.

WIDTH

Sets how broad the sibilance band is.Wider catches more harsh top end. Narrower focuses on the exact sibilant tone.

SPEED

Controls how quickly De-Ess reacts and releases.Faster is cleaner for sharp esses. Slower can sound smoother on sung vocals.

WIDE / SPLIT

Changes how the de-essing is applied.WIDE is broad and smooth. SPLIT is more focused on the sibilant band.

AUTO THRESH

Lets VOCALITH adjust the de-ess threshold to the vocal.Keep it on for changing performances. Turn it off for fixed manual control.

LISTEN

Auditions the area De-Ess is detecting.Use it briefly to find the right FREQ and WIDTH, then turn it off.

Shapes the tone: less mud, more body, more clarity or more air.

Use it when the vocal needs to be cleaner, fuller, brighter or more present.

HPF

Removes low rumble below the useful vocal range.Raise it to clean mud and plosives. Lower it if the vocal loses body.

LOW

Adds or reduces low vocal weight.Raise for warmth and chest. Lower for boomy or muddy recordings.

LO-MID

Shapes the lower midrange where boxiness and thickness live.Lower to remove boxiness. Raise carefully if the vocal feels too thin.

HI-MID

Controls presence and intelligibility.Raise to bring words forward. Lower if the vocal is nasal or pokey.

AIR

Adds or reduces top-end openness.Raise for sparkle. Lower if the microphone or singer sounds sharp.

TILT

Balances the overall tone darker or brighter.Use it as a broad tone control before fine-tuning the individual bands.

DYN RNG

Sets how much dynamic EQ movement is available.Increase when harshness or mud appears only on certain words.

DYNAMIC

Makes the EQ react to the vocal instead of staying completely static.Turn it on for uneven recordings. Leave it off for simple tone shaping.

LINEAR PHASE

Uses a cleaner phase style for EQ at the cost of extra delay.Use it for final mixing. Turn it off while tracking if latency matters.

Evens out loud and quiet parts.

Use it when some words disappear and others jump forward.

THRESH

Sets when compression starts.Lower it for more level control. Raise it for a more open, natural vocal.

RATIO

Sets how strongly loud parts are reduced.Higher ratios sound firmer and more controlled. Lower ratios sound more natural.

ATTACK

Controls how quickly compression catches loud starts.Fast attack smooths peaks. Slower attack keeps more punch and articulation.

RELEASE

Controls how quickly compression relaxes.Short release adds energy. Long release is smoother and less obvious.

KNEE

Softens how compression begins around the threshold.Higher knee is smoother. Lower knee is more direct and punchy.

MAKEUP

Adds level after compression.Use it to recover loudness after heavy compression, but watch the output meter.

MIX

Blends compressed sound with the original vocal.Lower mix keeps dynamics. Higher mix gives a more produced, even sound.

VCA / OPTO / FET

Changes the compressor feel.VCA is clean and controlled. OPTO is smooth. FET is fast and energetic.

AUTO GAIN

Automatically compensates level after compression.Use it for quick setup. Turn it off if you want exact manual gain staging.

Adds warmth, density and subtle analog-style color.

Use it when the voice sounds too sterile, thin or flat.

DRIVE

Sets how hard the vocal hits the saturation.Raise for more density and color. Lower for cleaner sound.

TONE

Shapes the brightness of the saturation.Raise for brighter harmonics. Lower for darker warmth.

BIAS

Changes the balance and asymmetry of the saturation.Move it for character. Keep it near center for the most neutral response.

MIX

Blends saturated sound with the original vocal.Use low mix for subtle analog feel and higher mix for obvious color.

TAPE / TUBE / FET

Chooses the saturation flavor.TAPE is rounded, TUBE is warm, FET is sharper and more forward.

HQ x4

Uses higher-quality saturation processing.Keep it on for mixing. Turn it off only when you need to save CPU.

Adds air, sparkle and presence.

Use it when the vocal needs to shine without simply turning up the treble.

FREQ

Chooses where the excitement begins.Raise it for airy top-end shine. Lower it for more presence and bite.

AMOUNT

Sets how much harmonic excitement is created.Increase until the vocal opens up, then back off if it becomes brittle.

COLOR

Changes the tone of the added harmonics.Use it to move from smooth air to more focused presence.

BLEND

Blends the excited signal with the original vocal.Keep it subtle for natural shine. Push it for pop or ad-lib effects.

AIR / PRESENCE / WARM

Chooses the exciter style.AIR opens the top, PRESENCE brings words forward, WARM adds softer harmonic lift.

Automatically rides vocal level over time.

Use it when the singer or speaker moves around the microphone or changes intensity.

TARGET

Sets the level Rider tries to keep the vocal around.Raise it for a more upfront vocal. Lower it if the vocal sits too far forward.

RANGE

Limits how far Rider can turn the vocal up or down.Increase for uneven performances. Lower for more natural movement.

SPEED

Sets how quickly Rider follows level changes.Faster catches quick words. Slower preserves the performance shape.

SENS

Sets how easily Rider detects vocal activity.Raise it for soft voices. Lower it if background noise triggers riding.

HOLD

Keeps Rider from dropping too quickly between syllables.Increase for smooth phrases. Lower for tighter speech and rap.

SMOOTH

Smooths the riding movement.Raise it for invisible leveling. Lower it for more immediate correction.

BREATH CTRL

Helps prevent breaths from being lifted too much.Keep it on for natural vocals. Turn it off only for special effects.

Creates width and a double-tracked feel.

Use it for hooks, backing vocals, ad-libs and wider modern leads.

VOICES

Sets how many doubled voices are created.Use fewer voices for a tight double and more voices for a wider stack.

SPREAD

Sets stereo width.Raise for wide hooks and backing vocals. Lower for lead vocals that must stay centered.

DETUNE

Adds pitch variation between doubled voices.Raise for a richer chorus effect. Lower for a more realistic double.

TIGHT

Controls timing looseness.Lower values feel tighter. Higher values create a more separated double.

TONE

Shapes the brightness of the doubled signal.Darken doubles to keep them behind the lead, or brighten them for pop width.

SEND

Sets how much doubled signal is added.Use small amounts on lead vocals and more on doubles, stacks and ad-libs.

MONO SAFE

Keeps the doubled effect more compatible in mono.Keep it on if the track must translate well on phones and small speakers.

Adds rhythmic echoes.

Use it when you want space and movement without washing out the vocal.

TIME

Sets the echo timing.Use short times for slapback and longer note values for rhythmic repeats.

FEEDBK

Sets how many repeats continue after the first echo.Raise for longer trails. Lower for a single echo or cleaner mix.

HI-CUT

Darkens the delay repeats.Lower it to push echoes behind the lead vocal. Raise it for bright, obvious repeats.

WIDTH

Sets stereo width of the delay.Raise for wide modern throws. Lower for centered slapback or mono-friendly mixes.

DUCK

Turns delay down while the dry vocal is active.Raise it to keep words clear while still hearing delay in the gaps.

REL

Sets how quickly ducked delay returns after the vocal stops.Short release brings echoes back fast. Longer release feels smoother.

SEND

Sets how much delay is added.Use less for everyday depth and more for obvious throws or effects.

SYNC

Locks delay time to the project tempo.Keep it on for musical repeats. Turn it off only when you want free timing.

PING-PONG

Makes repeats bounce between left and right.Use it for wide pop, rap ad-libs and special delay movement.

Adds room, depth and atmosphere.

Use it when the vocal feels too dry or too close.

SIZE

Sets the perceived room or space size.Small sizes feel close. Large sizes feel cinematic and distant.

DECAY

Sets how long the reverb tail lasts.Short decay keeps vocals clear. Long decay creates atmosphere.

PREDLY

Delays the reverb start after the dry vocal.Increase it to keep the vocal upfront while still adding space.

TONE

Shapes the brightness of the reverb.Darker reverb sits behind the vocal. Brighter reverb feels more open.

DUCK

Turns reverb down while the vocal is active.Raise it for clean words and a spacious tail after phrases.

REL

Sets how quickly ducked reverb returns.Short release makes space bloom quickly. Longer release is smoother.

SEND

Sets how much reverb is added.Use small amounts for depth and larger amounts for ballads or effects.

PLATE / HALL / ROOM

Chooses the reverb character.PLATE is classic vocal sheen, HALL is wide and lush, ROOM is smaller and more natural.

Catches fast peaks before the limiter.

Use it when you want a louder, denser vocal that still feels controlled.

DRIVE

Pushes the vocal into the clipper.Raise for more density and loudness. Lower if the vocal becomes gritty.

CEILING

Sets the peak level the clipper works toward.Lower ceiling catches peaks earlier. Higher ceiling is more transparent.

SHAPE

Changes how soft or hard the clipping curve feels.Softer shape is smoother. Harder shape is louder and more obvious.

MIX

Blends clipped sound with the unclipped vocal.Use lower mix for subtle peak shaving and higher mix for louder modern vocals.

CLEAN / LOUD / EDGE

Chooses the clipping style.CLEAN is transparent, LOUD is denser, EDGE adds more bite.

Protects the final output level.

Use it at the end of the chain to keep peaks under control.

CEILING

Sets the final output peak target.Lower it for safer headroom. Raise it only if the downstream mix has room.

RELEASE

Sets how quickly limiting relaxes after peaks.Short release can sound louder. Longer release is smoother.

PUNCH

Preserves or emphasizes impact while limiting.Raise it if the limiter makes the vocal feel flat. Lower it for smoother control.

GAIN

Adds level before final limiting.Use it to make the vocal more forward, but watch the output meter.

TRUE PEAK

Uses extra peak safety for playback translation.Keep it on for final mixes, podcasts and broadcast-style delivery.