Workflow and sound
from my mixing sessions, shaped into tools.
No plugin for the sake of a plugin. Each of these seven tools is one workflow or one idea turned into a plugin. My goal was to work faster, more personally and more freely, with fewer clicks and less loading time.
RJ-EQ
„An EQ, saturator and limiter in one."
The EQ is the tool you have open most while mixing. So it should do more than just turn frequencies up and down. In RJ-EQ every band is a small processor: you can switch on the dynamic section to treat problem frequencies dynamically, or use the saturation to make vocals fuller without EQing them. That's how you shape your signals without stacking three plugins in a row.
Features
Dynamic bands
Does a vocal only get harsh in the loud parts? A dynamic band ducks right then and leaves it alone the rest of the time.
Warmth where you need it
Add a little saturation to a single band, from soft tube to crisp bite. Presence in one frequency range, without touching the rest.
You hear what you see
The curve on screen is exactly what happens to your sound.
Track down the offender
Hold the right mouse button and sweep across the response to hear one frequency on its own. That's how you find annoying resonances and deal with them on purpose.
Bass centered, highs wide
Work the mid and the sides separately. Keep the bass solid in the middle and open the highs outward. Width without mud.
A limiter for every case
At the output sits a limiter to catch peaks in your signal. Beyond straight limiting, you can also clip the signal.
Technical details
- Up to 12 bands, types: Bell, Low Shelf, High Shelf, Low Cut, High Cut
- Freq 20 Hz – 20 kHz, Gain −18 … +18 dB, Q 0.4 – 6.0, cut slopes 12/24/36/48/72/96 dB/oct
- Per-band routing: Stereo, Left, Right, Mid, Side
- Per-band dynamics: Threshold −60 … 0 dB, Range −24 … +24 dB (expanding/compressing), Attack 0.05 – 250 ms, Release 5 – 2500 ms, Smooth 1 – 6
- Per-band saturation: 8 characters (Soft, Tube, Crisp, Round, Crunch, Air, Velvet, Punch), Drive 0 – 24 dB, Bias 0 – 100 %, Mix 0 – 100 %, De-Emphasis EQ+Grit or Grit only
- Output stage: Limiter, Soft Clip or Hard Clip, Ceiling −24 … 0 dB, Release 5 – 1000 ms, real-time GR read-out
- Global: In/Out Gain ±24 dB, phase invert, oversampling Off/2×/4×, analyzer, A/B compare, presets as .rjeq
- Formats: VST3, AU, AAX for macOS and Windows; 30-day fully functional trial
RJ-Spaces
„One reverb, 2 engines, 4 sounds."
I've always found reverb a bit of a complex thing. My goal with this plugin was to visualize what the parameters actually do, and at the same time offer deep options for shaping the sound.
Features
A reverb to look at
A breathing timeline shows you the tail. You see how the parameters change the reverb. Listening stays essential, you just get a bit more support along the way.
Four rooms, one knob
Room, Chamber, Hall and Plate live in one plugin. Switching is click-free, so you can audition mid-note until the right space sits.
Warmth in the tail
The saturation sits inside the reverb, not just at the input or output. So the tail grows a little warmer and fuller with every pass, without turning hard.
EQ before, inside or after the reverb
You can place the EQ bands before, inside or after the reverb, and hear how the reverb reacts as you do.
A reverb you can control directly
At the output sits a compressor/limiter with a sidechain input, for creative effects or dynamic control. Whatever your signal needs.
Draw swells and gates
Draw the shape of the reverb directly, for a slow swell, a tight gate or a reverse effect. From an ambient cloud to a snappy snare room.
Technical details
- DSP architecture: FDN voicings (Chamber, Hall, Plate) plus an algorithmic Room, click-free crossfade on voicing changes
- Decay display: sqrt time axis 0–16 s, level axis 0 to −60 dB, three RT60 curves (low/mid/high) with a decay-spread wedge and early-reflection stems
- Core parameters: Pre-Delay 0–200 ms, RT60 0.1–30 s, concentric DECAY knob with ER Decay 0–100 %, Mix 0–100 %, In/Out ±24 dB
- In-loop SAT: placement Pre/In/Post, Warm/Colour modes, 7 characters (Soft, Air, Crunch, Round, Tube, Triode, Iron), Drive 0–12 dB, Amount 0–100 %
- Decay EQ: 6 bands shaping frequency-dependent decay time (not an in-loop boost), Pre/Decay/Post routing, M/S per band, dynamic behavior
- SHAPE envelopes: Swell/Gate/Reverse, Build-Up 0.01–2 s, Density 0–100 %, Trigger −60…0 dB
- Output glue dynamics: Threshold, Ratio, Knee, Attack, Release, Budget, Makeup, Mix, SC-HPF, keyed Internal or via Sidechain
- Formats: VST3, AU and AAX for macOS and Windows, 30-day full trial, one purchase covers Mac and Windows
RJ-Dyn
„A compressor you can draw."
RJ-Dyn is my take on a dynamics tool. On top of the standard downward compression, there's also upward compression, so you can decide exactly how you want to shape the signal. There are six different compression types too, each with its own curve and tonal character. For the saturation I didn't just want to slap a standard saturator on the output. Instead I built the saturation into the compression itself and had it track dynamically. Whether the saturation changes with the amount of compression or not is up to you.
Features
Compression you can see
You see your input and output signal as an overlay, so on top of just listening you also get visual feedback on how your compression setting changes the audio.
Draw your own curve
You can turn the knobs the normal way, or go hands-on and draw your preferred compression curve right in the graph with the handles.
Six characters
VCA, FET, Opto and three more models really do sound different, because the timing changes per model too.
Grit from the compression
The saturation is tied to the gain reduction: the harder it squeezes, the more character. You decide how it behaves, more static and constant or fully dependent on the gain reduction. Your call.
Mid and sides apart
Two independent engines for mid and side.
Reacts to what you want
Choose what the compressor listens to, from peak to perceptually weighted. Through the sidechain with its own filter.
Technical details
- Six engine models: VCA, FET, Opto, Vari-Mu, Diode, Digital, with attack and release times remapped per mode
- Visible, editable transfer curve with AUTO (computed from the knobs) and DRAWN mode (seven Y-only, monotonically clamped knots)
- Detector modes: Auto, Peak, RMS, True Peak and K-Weight (perceptually weighted)
- Full sidechain: external key input, filter (Off/HPF/BPF/Shelf) with Freq and Q, Link % and Max/Avg summing
- GR-coupled saturation with eight characters (Soft, Round, Crunch, Velvet, Tube, Triode, Iron, Bloom), Amount and Dynamics
- Mid/Side processing with two independent engines; Ratio 1:1 to ∞, Range 0–60 dB, Mix 0–100 % parallel compression
- Lookahead 0–10 ms, Budget cascade 1–6 for program-dependent behavior without attack drift, optional 2×/4× oversampling
- VST3, AU and AAX for macOS and Windows, full 30-day trial, all formats in one purchase
RJ-Saturation
„Saturation you hear, see and above all shape yourself."
It's impossible to imagine modern music production without saturation. All the other plugins mentioned so far carry a certain amount of saturation you can use flexibly. Still, it was important to me to build my own saturator, one that shines above all on buses and the mix bus and gives you plenty of freedom. RJ-Saturation shows you exactly what it adds, right on the spectrum. The original stays untouched, only the saturation goes on top. And if you like, you draw the harmonics by hand, decide with the EQ where the saturation should sit and where it shouldn't, and how strongly each harmonic comes through.
Features
See what it adds
A blue curve shows you on the spectrum exactly what the saturation adds.
The original stays intact
The dry sound is never touched, the saturation goes cleanly on top. At Drive zero it's true bypass, whatever else is set.
Harmonics by hand
Drag a line for the overall character and fine-tune single harmonics with small pins. That's how you build the tone, from soft tube to real bite.
Color where you want
An EQ decides where the saturation lands and how strongly you perceive it.
Clean width
The width comes from the saturation itself, not from a chorus. The centre stays put while the harmonics open up left and right.
Punch stays punch
A transient function keeps the attacks clean so drums keep their transients. Character in the sustain, without smearing the hit.
Technical details
- OneGrit architecture: bit-exact dry path, the entire nonlinearity added back as one single linear-free residual. At Drive 0 it is an exact bypass, whatever else is set.
- ADAA saturation, low-alias even without oversampling. Default is 0 reported latency and no comb against the dry signal.
- HARMONICS: drawable Slope (−30 … −9.5 dB/order) plus 7 leak-free Chebyshev trims H2–H8 (±12 dB) over a live DELTA spectrum from 20 Hz to 20 kHz.
- Controls: Drive 0–24 dB, Character (SOFT odd-Lorentz … FIRM Giannoulis cubic), Even 0–100 %, Tracking, Keep, Width and Mix.
- FOCUS: 6-band grit-EQ (4 tone bands plus Low/High Cut, 12–48 dB/oct), acting in the wet branch only, latency 0.
- COLOR: drawable law of level versus saturation depth with 7 nodes, a stereo-linked slow-AGC detector (2 s release).
- CURVE (expert): shaped transfer curve as a degree-5 least-squares deviation over the morph base; separate C1 softclip with Ceiling and Amount in the footer.
- Oversampling 2× optional (opens Slope to −9.5, around 14 dB fewer alias spurs). Formats: VST3, AU and AAX on macOS and Windows.
RJ-Delay
„Draw your echoes."
I found a lot of delays sounded good but were visually a bit awkward. So I built RJ-Delay: you draw the echoes as points on a canvas, where they sit in time and how loud they are. Every point has its own feedback, so one becomes a slapback and several become a whole rhythm. EQ and saturation run inside the loop, or before or after it, whichever you want.
Features
Echoes as points
Double-click adds a tap, drag moves it in time and level. Up to 16 of them, and the pattern itself is the interface. No time knob to hunt for.
Feedback per point
Every tap sends off its own echo train. One point plus feedback is a slapback, a few more become a rhythmic wash.
It colors in the loop
Six EQ bands and a saturator sit inside the feedback, before it or after it. That's how you decide how your delay should sound.
Five analog characters
From Clean through Tape and BBD to Oil Can. A single knob sets how much age the repeats pick up.
Movement in the tail
Diffusion smears the tail without shifting the echoes in time. Add a little drift so nothing sounds sample-locked, it just lives.
Blooms in the gaps
Ducking pulls the echoes back while the dry signal plays and lets them bloom in the pauses. Room for the vocal, space in between.
Technical details
- Multitap delay with up to 16 taps on an X/Y canvas (X = time, Y = level −40…0 dB), per tap: pan, spread (−25…+25 ms), feedback (0–110 %), swing and nudge (−25…+25 ms)
- Free mode canvas range 10–4000 ms (250 ms to 4 s), sync mode with pattern lengths 1/16 to 2/1 and snap grid 1/4 to 1/32, BPM read from the host playhead (fallback 120)
- Coloring, saturation and diffusion sit on the write path, so the k-th repeat is colored k times; five analog characters (Clean, Tape, BBD, Vintage Digital with 12-bit quantization, Oil Can)
- Valhalla-style diffusion (four Schroeder allpasses per channel), time-compensated DIFF SIZE ~4–45 ms, plus drift ±1 ms and delay modulation up to ±3 ms (0.05–8 Hz LFO in quadrature)
- 6-band EQ (RJ-Spaces engine): Bell/Shelf/Cut, 20 Hz–20 kHz, ±24 dB, Q 0.1–10, slope 12–48 dB/oct, channels Stereo/L/R/Mid/Side, Pre/In/Post routing, plus per-band dynamic EQ with Self or Sidechain source
- Saturation with seven characters (Soft, Air, Crunch, Round, Tube, Triode, Iron), Drive 0–12 dB, Pre/In/Post placement; continuous ping-pong, detune ±50 ct, width 0–200 % M/S
- Ducking from an input or sidechain trigger; every optional stage is bit-identical when switched off
- Formats VST3, AU and AAX for macOS and Windows, 30-day fully functional trial, one purchase for Mac and Windows
RJ-Resonance
„Smooth out harshness, no latency."
Sometimes a recording isn't quite there, or a sound is a little edgy. RJ-Resonance is my answer to that. It finds those resonances on its own and dips them exactly when they show up, and only as much as needed. Like with all the plugins, you decide when and how deep it steps in. With the draw function you can set which range Resonance should pay special attention to, or which range it should ignore completely.
Features
Finds the harshness itself
Up to 48 filters listen along and only dip the spots that stick out of the sound. You don't have to hunt for the annoying frequency.
Only as much as needed
The cut only acts when and where a resonance shows up, and leaves the neighbours alone. The character of the sound stays intact.
No delay, ever
Zero samples of latency at every sample rate. You can run it while recording without the monitoring lagging behind.
Draw where Resonance works
Draw by hand which range Resonance should be more sensitive in and how fast it reacts. Strict up top, patient down low, all in one instance.
Punch stays in
On a transient each band only opens as far as its cut is shallow. Attacks come through clean while deep resonances stay tamed.
Honest monitoring
Delta plays you exactly what's being removed, and Loudness Comp gives some of the energy back. That keeps the A/B fair.
Technical details
- Time-domain engine with up to 48 symmetric, minimum-phase Gaussian cuts, no FFT and no pre-ring
- Detection against its own moving spectral envelope, so it's level-invariant; parallel SVF analysis, serial minimum-phase dB cuts
- Exactly 0 samples of latency at every sample rate; optional lookahead Off / 2.5 ms / 5 ms with a stable reported host latency
- Band count 12 / 24 / 36 / 48 on a fixed grid; Sensitivity, Focus, Depth (0–18 dB) and Smooth (1–6) shape character and amount
- Attack 0.3–9 ms and Release 12–120 ms, scaled per frequency, plus three freehand curves (Target, Attack, Release, 48 points each)
- External sidechain unmasking (SC), hard mode with an absolute threshold (THR −60–0 dBFS), loudness comp and a delta monitor
- Range window Lo (20–500 Hz) and Hi (2–20 kHz) as draggable handles; Stereo Link 0–100 %; output trim ±12 dB
- VST3, AU and AAX for macOS and Windows; 30-day fully functional trial, one purchase for both platforms
RJ-Limiter
„A limiter for every purpose."
A limiter at the end of the chain has one job: to give your song its final loudness without losing punch. RJ-Limiter does exactly that and guarantees the true peak holds. RJ-Limiter isn't just a limiter, it also has a clipper stage. You decide whether and how much clipper to use, and how each stage deals with the transients of the song.
Features
The ceiling holds
A true-peak stage closes the chain so the delivered level really stays under your ceiling.
The clipper is right there
One knob sets how much punch the clipper takes from the peaks, while the limiter catches the rest softly.
Loud without mush
A musical stage shapes the signal first, before the fast part catches the peaks. So it gets loud without the mix collapsing or pumping.
Bass that stays put
Low frequencies stay firmly linked while the top end loosens up a little. That brings loudness without the bass wandering or distorting.
Compare honestly
With level-matched A/B you hear the real tonal difference instead of just the jump in volume. Delta plays you what the limiter takes away.
Ready to ship
True-peak metering with the targets for Spotify and Apple, plus 16 or 24-bit dither.
Technical details
- Dual-stage engine: musical, crest-adaptive release stage, then an oversampled pre-clipper, a fast brickwall and a final baseband true-peak clamp for the dBTP guarantee
- Knobs: INPUT −24…+24 dB, CEILING −24…0 dB, ATTACK 0…2000 ms, RELEASE 5…3000 ms, LOOK 0.1…5 ms, BASS 0…100 %, CLIP 0…4 dB, LINK 0…100 %
- Oversampling Off / 2× / 4× / 8× (default 4×); full dBTP guarantee from 2× up, 8× forces the linear-phase engine
- Quality modes: Low-Latency (minimum-phase IIR) or High-Quality (linear-phase FIR, flat phase)
- Fixed PDC latency: only the OS switches are structural, every sound knob stays click-free and automatable
- Guarantee keeps the true peak about 0.005 dB under the ceiling even at +24 dB drive; uniform 0.05 dB reserve across all OS modes
- Mastering tools: DELTA, gain-matched A/B MATCH, DC high-pass around 5 Hz, dither Off / 16-bit / 24-bit with noise shaping
- VST3, AU and AAX for macOS and Windows; v1 is broadband, M/S and multiband arrive in v2
Plugin FAQ
Which formats do the plugins run in?
Which formats do the plugins run in?
As VST3, AU and AAX on macOS and Windows. So in practically every common DAW.
Is there a trial version?
Is there a trial version?
Yes, a fair one. Each plugin runs as the full version for 30 days, no restrictions. After that only the interface locks, the audio keeps processing. So projects where you already use the plugin keep working normally after the trial ends, you just can't change settings anymore. No license key, no activation.
Why are there no audio demos?
Why are there no audio demos?
An audio demo depends entirely on the source material and the full processing chain in the mix. Shown in isolation it would distort the impression rather than honestly show what a plugin can do. So I deliberately skip it. Instead there is a fair 30-day full version, no restrictions: try every plugin in your real mixes before you decide.
Is there any copy protection?
Is there any copy protection?
No. No iLok, no activation limits, no online requirement. After buying, you download the full version, install it once, done. It simply replaces the demo, your projects keep working seamlessly. What you buy runs forever, on all your machines, offline.
Do I need a permanent internet connection?
Do I need a permanent internet connection?
No, not at all. There's no activation and no online requirement, neither at install nor later. The plugins run fully offline.
Do I get updates?
Do I get updates?
Yes, updates within the version are included. You just download the new file and keep mixing.
What if I don't like it?
What if I don't like it?
That's exactly what the 30-day trial is for. Try everything in your real mixes, at your own pace, before you decide.
Why your own plugins?
Why your own plugins?
I always wanted my own plugins. Not because there aren't great plugins out there, but because I didn't want plugin makers deciding for me how I can work, what's possible and what isn't. So that's exactly what I did. I programmed my own plugins, with all the options I'd been missing. I'm not presenting them as the solution to every problem, or because I think they do everything better than what's already out there. They're an alternative to the familiar. Some concepts you'll know, others you won't, and some are just done with more flexibility. Have fun trying them out and mixing!
Your workflow.
Your plugin.
Want your own plugins that map exactly to your workflow and your sound? Then let's talk. Together we'll design a tool that fits you. From the first idea to the finished product.
“Every good tool starts with a concrete problem. Tell me yours.”
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