DreamLab Multiband splits your program into four bands with 24 dB/oct Linkwitz-Riley crossovers, compresses each independently, and recombines them with all-pass compensation so the sum is magnitude-flat. The interface sits directly on the FFT — drag thresholds as nodes, slide crossovers as handles, and watch gain-reduction domes bloom exactly where the compressor is working.
The main window is a live FFT analyzer with four coloured band regions laid over it. Thresholds are draggable circular nodes inside each band. Crossover points are draggable vertical handles. Gain-reduction domes bloom under each band so you can see exactly where the compressor is working — not just hear it. Clicking anywhere in a band's coloured region selects it, and the floating knob panel follows your focus.
Direct manipulation · no menu divingEnable A/B Peak Hold and the plugin captures the running maximum of the input signal and the output signal in parallel, rendering both as overlaid curves. The dry peak-hold draws in warm amber; the wet peak-hold sits underneath it in the accent colour; the space between is filled as a soft highlight — a real-time picture of exactly how much gain reduction you're applying at every frequency.
Hit play · Let it hold · Tune against a frozen targetThe spectrum is driven by the platform's VBlank signal — 60 Hz on standard displays, 120 Hz on ProMotion Macs — rather than a fixed-rate timer. Each frequency bin has its own attack/release smoother with ballistics recomputed every frame from actual delta-time, so motion is identical regardless of refresh rate. Quadratic Bézier segments between midpoints give the curve a silky polished look instead of the jagged polyline most analyzers show.
VBlank-synced · frame-rate-independent ballisticsThe floating band-controls panel minimises to a thin header tab with a single click, leaving the entire spectrum unobscured for visual analysis. Click the chevron again and the nine-knob layout returns — ideal when you want to A/B between tweaking and listening without the controls in the way.
Every band gets its own tanh soft-saturator with Drive and Sat Mix, fully anti-aliased under oversampling, plus a per-band parallel Mix that folds the uncompressed signal back in for New-York-style parallel compression on that band alone. The dry component is taken from the look-ahead-delayed path, so the blend stays phase-coherent at any setting.
Drive · Sat Mix · per-band parallelAn optional brick-wall limiter with 4× Lagrange-interpolated inter-sample peak detection catches the peaks sample-domain limiters miss — guaranteeing dBTP compliance for streaming. Pair it with M/S mode, look-ahead, and an external side-chain key, and the whole chain reports its latency to the host via PDC so the rest of your mix stays aligned.
True-peak · M/S · look-ahead · external keyEvery block is sample-accurate and phase-coherent with the others. The dry path in the wet/dry mix carries a matching delay line, so parallel compression stays comb-free regardless of look-ahead or oversampling latency — all reported to the host via PDC.
Each band crosses its neighbour at exactly −6 dB with a 24 dB/oct slope. Cascaded all-pass compensation on every output makes the four-band sum equal AP(f₁)·AP(f₂)·AP(f₃) — a pure all-pass network, dead flat in magnitude (dashed amber line). Crossover handles are draggable directly on the plugin's spectrum.
A quadratic soft-knee (Giannoulis & Reiss, AES 2012) eases the transition across the knee region — here a 12 dB knee around a −20 dB threshold. Gain reduction is computed in dB, then applied as linear gain after exponentiation.
A tanh soft-clipper with pre-gain (drive) and matching post-gain (1/drive), so raising drive adds harmonic content without inflating RMS. Sat Mix blends wet against dry for parallel saturation. A branch guard gives bit-identical pass-through at exactly 0 dB.
Cascaded Linkwitz-Riley 4th-order filters with carefully-placed all-pass compensation on each output. The four-band sum equals AP(f₁) · AP(f₂) · AP(f₃) — a pure all-pass network, flat in magnitude, suitable for mastering.
Soft-knee quadratic transition across the knee region, time-constant attack/release smoothers, and per-band RMS / peak detection. Gain reduction is computed in dB and applied as linear gain after exponentiation — stable across wildly different programme levels.
Every frame schedules on the compositor's vertical-blank signal, with ballistics recomputed from delta-time so motion is identical at 60 Hz and 120 Hz. Quadratic Béziers smooth the spectral curve; the GR domes use the same smoothing system.
2× and 4× modes for the cleanest possible detection on heavily-driven material. Off by default to preserve CPU; switch up when the input is hot and you want alias-free behaviour from the peak detector.
Every control is bound to an AudioProcessorValueTreeState. Automation works everywhere, undo/redo is deep, and sessions restore exactly how you left them.
Pre-gain drive into a tanh soft-clipper with matching 1/drive post-gain, so drive adds 3rd-harmonic content that grows quadratically — a natural linear-in-dB feel — without inflating loudness. A branch guard gives bit-identical pass-through at exactly 0 dB.
Internally oversampled 4× with Lagrange interpolation to estimate inter-sample peaks, then gain-reduced at base rate via ~3 ms look-ahead — the same topology as the mastering-grade maximizers. Aggressive enough to guarantee dBTP compliance, still musical under typical use. Adds ~3 ms latency, reported via PDC.
Universal binary (arm64 + x86_64), targeting macOS 10.13+. Built directly against Logic Pro's session model, with host-side bypass routing and click-free parameter changes.
Dual 6-stage optical phaser with two sweep generators. Deep series swirls or wide parallel stereo motion.
Three oscillators, eight voices, and a modulation matrix built for trouble.
Circuit-modelled three-stage overdrive with tube-style compression, tape saturation, BBD chorus, pitch-bending echo, spring tank and a zero-latency cabinet loader.
A granular atmosphere engine — Drone, Reverse, Shimmer and Gliss modes, pitch-tracked grains, and a Freeze that holds a cloud indefinitely.
Sixteen voices on a step sequencer that works the way the originals did — per-voice tune, decay and filter, accent per step, and producer-style swing.
Neural amp capture and playback. Load a model or capture your own rig. Free · public beta.
Seven lo-fi modules on one panel — saturation, wow and flutter, bit crush, band limiting, dropouts, ambience and a ducked noise bed, under one Amount macro.
Stereo analog echo and ducking delay — tape and lo-fi character, repeat filtering, ping-pong, and program-dependent ducking.
Phase-coherent 4-band mastering compressor with interactive spectrum and A/B peak-hold.
AI-assisted equalizer · 9 analog voicings per band · Gemma 4 local inference.
64-voice hybrid subtractive + 6-op FM polysynth with 8 algorithms.
Multi-engine reverb: a true-stereo convolver plus six algorithms, with shimmer, freeze, duck, and delay-into-reverb.
Physically-modeled tape saturation — harmonic warmth, transient punch, smooth top end, and wow/flutter motion from a single insert.
Six-voice virtual analogue polysynth — rock-stable oscillator, creamy four-pole filter, and a two-mode stereo chorus. Zero latency, one panel.
3D placement panner with crosstalk cancellation. Works on headphones and real stereo monitors.
Real-time spectral suppression + envelope gate. Dual-stage attenuation with live activity meters.
AES67 / ST 2110 audio-over-IP between DAWs. Sub-5 ms on gigabit. MIT-licensed, open source.
Morphing spectral filter · 5 anchor shapes · dual-LFO motion · studio shimmer.
Stereo BBD chorus and pitch shifter. Wide, warm, and wild. AU · VST3.
BS.1770-4 loudness metering, phase scope, and a true-peak brickwall limiter. AU · VST3 · Standalone.
Real-time pitch correction — natural intonation to hard-tune, with formant preservation. AU · VST3 · Standalone.
Audio transient to MIDI generator. Tighten drums without losing groove. AU · Standalone.
Build your own impulse responses — design a space or capture a real one, deconvolve, and load it straight into Verb.
A MIDI plug-in that writes full ambient, neo-soul and lo-fi songs across five parts. Free · public beta.
DreamLab Multiband is an original Dreamlab Digital Media product. It is not affiliated with, endorsed by, or derived from any hardware or software manufacturer. Full licence terms at dreamlabnet.com/daw2/eula.html.