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.

Born from the collision of Moog Taurus bass pedals and modern wavetable synthesis, the Dragonbreath Bass Synth generates low-end that you feel in your chest before you hear it in your monitors. Dual oscillators with independent waveshaping produce everything from the sub-harmonic rumble of a Minimoog Model D to the aggressive, overdriven bass patches that defined early dubstep. The built-in saturation stage is modeled after tape-driven preamp distortion — the kind of harmonic warmth that makes bass cut through a dense mix without simply being 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 is a meticulous recreation of the silicon transistor fuzz circuits that tore through the 1960s — think the Electro-Harmonix Big Muff Pi and the Shin-Ei Companion FY-2 that gave the Stooges their snarl. The Bias control takes you from gated, sputtering velcro fuzz to full, sustained walls of harmonic destruction. Flip into Octave-Up mode and you get the ring-modulated upper-octave shriek that Hendrix coaxed from his Octavia. Brutal, beautiful, and unapologetically simple.

Inspired by the "stacking" philosophy that session guitarists have relied on for decades — running a Klon Centaur into a Tube Screamer, or a clean boost into a cranked amp. DualOD gives you two independent gain stages with separate EQ curves that can be run in series or parallel. Stage one delivers the transparent, mid-focused push of a Klon-style circuit; stage two adds the compressed, singing sustain of a classic TS-808. Stack them for crushing gain or use 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 recreation of the bucket-brigade delay chips — the MN3005 and MN3205 — that gave the Boss DM-2 and EHX Memory Man their legendary warmth. Each repeat passes through the same analog 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.

The Roland Juno-106 chorus is one of the most coveted sounds in music production — that lush, dimensional shimmer that turned simple saw waves into vast, living textures. Analog Chorus meticulously recreates the BBD-based chorus circuit from the Juno series, including the subtle clock noise and phase cancellation artifacts that give it character. Tri-chorus mode stacks three offset LFOs for the ensemble-style thickening heard on classic Boss CE-1 units.

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.

Channeling the iconic all-pass filter topology of the MXR Phase 90 and the EHX Small Stone — the phasers 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.

Drawing from the analog pitch-tracking legacy of the Boss OC-2 and the EHX POG — pedals that transformed single notes into full harmonic arrangements — Prisma Octaver adds rich sub-octaves and crystalline upper harmonics to any signal. Polyphonic tracking ensures clean harmonics even with complex voicings.