Dragonbreath

The flagship that started the fire. Dragonbreath channels the spirit of legendary multi-effect rigs — the signal-chain philosophy of a fully loaded pedalboard running into a cranked Marshall JCM800. Saturation, modulation, delay, and reverb chain together in a single devastating signal path, with parallel routing that lets you blend clean and scorched signals the way studio engineers stack outboard gear. Preset morphing crossfades between entire rig configurations in real time, turning what would take minutes of cable-swapping into a single knob turn.

Low end you feel in your chest before you hear it in your monitors. Dual oscillators with independent waveshaping range from sub-harmonic analog rumble to the aggressive, overdriven bass that defined early dubstep. The saturation stage models tape-driven preamp distortion — the harmonic warmth that makes bass cut through a dense mix without simply getting louder.

Modeled after the asymmetric clipping characteristics of a pushed 12AX7 tube stage — the same circuit topology found in vintage Fender and Vox amplifiers. Analog Warmth OD recreates the way a tube amp responds to pick dynamics: clean at whisper volume, breaking into musical crunch as you dig in, and blooming into full saturation at the top of its range. The Warmth control dials in even-order harmonics that add the kind of thickness and presence that engineers have chased with expensive outboard gear for decades.

Two knobs. No apologies. Simple Fuzz models the silicon transistor fuzz circuits that tore through the 1960s. The Bias control takes you from gated, sputtering velcro fuzz to full, sustained walls of harmonic destruction. Flip into Octave-Up mode for the ring-modulated upper-octave shriek that made those early fuzz-and-octave rigs legendary. Brutal, beautiful, and unapologetically simple.

Built around the "stacking" philosophy session guitarists have relied on for decades — a clean boost into a cranked amp, or one overdrive feeding another. DualOD gives you two independent gain stages with separate EQ curves, in series or parallel. Stage one delivers a transparent, mid-focused push; stage two adds compressed, singing sustain. Stack them for crushing gain, or run them independently for precise tone sculpting.

Every professional pedalboard needs a buffer, and this one is modeled after the discrete Class-A buffer circuits found in high-end studio DI boxes like the Radial J48. Boost Buffer preserves your signal integrity across long plugin chains the same way a quality buffer prevents treble loss across 30 feet of guitar cable. The Presence control adds the subtle high-frequency lift of a transformer-coupled output stage. Essential for maintaining definition in complex mixes.

A faithful model of bucket-brigade delay — the analog chip circuits that gave vintage delay pedals their legendary warmth. Each repeat passes through the same signal degradation as the original hardware: high frequencies soften, low end thickens, and subtle modulation artifacts appear as the circuit approaches self-oscillation. The result is delay repeats that feel alive and organic, decaying like a memory fading rather than a digital copy growing quieter.

That lush, dimensional shimmer that turns a simple saw wave into a vast, living texture. Analog Chorus models a bucket-brigade delay line in full — including the subtle clock noise and phase-cancellation artifacts that give the circuit its character. Tri-chorus mode stacks three offset LFOs for wide, ensemble-style thickening.

Rooted in the bias-modulating tremolo circuits of 1960s Fender amplifiers — the Blackface and Brownface eras that gave tremolo its hypnotic, breathing quality. Unlike digital volume automation, bias tremolo creates amplitude variation by modulating the power tube operating point, producing a subtly asymmetric waveshape with harmonic overtones that make the effect feel alive.

The classic all-pass filter topology that defined the psychedelic swirl of 1970s funk, rock, and progressive music. Selectable 4, 8, and 12-stage modes let you dial in anything from subtle, vocal-like sweeps to deep, liquid jet-flanging. The envelope follower mode ties sweep speed to your playing dynamics.

The envelope filter is the heartbeat of funk bass — the wah-like sweep that Bootsy Collins, Larry Graham, and Flea made iconic. Modeled after the Mu-Tron III, the filter that Parliament-Funkadelic and Stevie Wonder ran everything through, Bass Envelope Filter tracks your playing dynamics to drive a resonant filter sweep tuned specifically for the low-frequency spectrum.

Inspired by the musical EQ curves of classic Neve 1073 and API 550 channel strips. Multi-Mode EQ combines the broad, musical strokes of proportional-Q analog EQ with the precision of modern digital parametric bands. Six bands with selectable filter types let you sculpt tone the way a mixing engineer reaches for outboard EQ: musically, by ear.

Two compression topologies in one plugin. VCA mode captures the fast, transparent response of the dbx 160 and SSL G-Bus compressor — the glue that holds mix buses together. Opto mode recreates the slow, program-dependent behavior of the Teletronix LA-2A, where an optical cell's natural lag creates compression that breathes with the music.

The virtual equivalent of a fully loaded pedalboard with unlimited routing possibilities. Chain any Dragonbreath effect in any order with drag-and-drop simplicity. Build the rig that would cost thousands in hardware and save the entire configuration as a recallable preset. A/B switching lets you compare complete signal chains instantly.

Analog-style octave generation that turns a single note into a full harmonic arrangement. Prism Octaver adds rich sub-octaves and crystalline upper harmonics to any signal, with polyphonic tracking that stays clean and glitch-free even through complex chords and fast passages.