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Jules Martins edited this page Aug 20, 2026 · 2 revisions

Comprehensive DSP Plugin Suites Catalog

Format: Jesusonic JSFX (64-bit Floating Point Precision)
Host: Cockos REAPER (Linux x86_64, aarch64)
Latency: Zero internal processing latency (sample-accurate)

ReaFull integrates over 50 studio-grade audio processing tools compiled in native JSFX. They provide zero external binary dependencies, sample-accurate parameter modulation, and low CPU consumption.

Table of Contents

  1. ReaFull Analog FX Suite
  2. ReaFull Digital FX Suite
  3. StripTease Modular Mixer Strip Suite
  4. Community FX Suites (Saike, Sonic Anomaly, Tilr, Classic DSP)
  5. Signal Calibration & Metering Tools

1. ReaFull Analog FX Suite

The ReaFull Analog FX Suite provides component-level analog modeling of classic British VCA consoles, American FET limiters, passive tube program equalizers, optical levelers, and vintage magnetic tape machines with custom high-contrast GUIs.

Effects/ReaFull Analog FX/
├── SolidBus            ← British 4K VCA Master Bus Compressor
├── Distres / DisTres-C ← Non-linear digitizer & knee compressor (Distressor emulation)
├── Pulse-EQ            ← Passive tube program equalizer (Pultec EQP-1A emulation)
├── FET-76              ← Ultra-fast Class-A FET peak limiter (1176 LN emulation)
├── Opto-2A / Opto-2A-AI← Electro-optical leveling amplifier (LA-2A emulation)
├── Vari-Mu             ← Vacuum tube variable-mu mixbus compressor (Fairchild 670 / Manley)
├── Retro-C             ← Vintage variable-gain tube leveler
├── VCA-160             ← Hard-knee VCA dynamic punch processor (dbx 160 emulation)
├── Fat-Tape            ← Analog magnetic tape machine (7.5, 15, 30 IPS & Head-Bump)
├── Tape-Dly            ← Tape echo unit with flutter, wow, and saturation
├── Tube-Pre            ← Triode/Pentode tube preamplifier drive stage
├── Mix-Chan            ← Analog console channel strip with harmonic drive & filters
├── Mix-Bus             ← Console mixbus summing with crosstalk & saturation
├── Sum-Desk / Sum-Mix  ← Multi-channel summing console matrix
├── Sum-Strip           ← Line amplifier summing strip
├── ST-Bass             ← Dedicated analog bass channel processor
├── ST-Guitar           ← Dedicated electric guitar analog processor
├── VoKoder             ← Analog spectral vocoder engine
└── VU Meter / VU Zeno  ← Ballistic needle VU meters (-18 dBFS / -14 dBFS calibration)

1.1 Detailed Processor Manual

SolidBus (British VCA Master Bus Compressor)

  • Architecture: Modeled after the iconic center section master bus compressor of classic 4000-series British mixing desks.
  • Circuit Behavior: Feed-forward VCA gain reduction with auto-release program dependency and smooth stereo link.
  • Controls:
    • Threshold (-20 dB to +20 dB): Sets the compression onset level.
    • Ratio (2:1, 4:1, 10:1): 2:1 for subtle mixbus glue; 4:1 for standard master compression; 10:1 for aggressive drum bus control.
    • Attack (0.1, 0.3, 1.0, 3.0, 10.0, 30.0 ms): 30ms lets initial drum transients pass through before clamping.
    • Release (0.1, 0.3, 0.6, 1.2 s, Auto): Auto applies a two-stage release curve (fast recovery on transients, slow recovery on sustained bass).
    • Sidechain HPF (Off, 30 Hz to 185 Hz): High-pass filter on the detection path to prevent deep bass/kick from over-triggering pumping.
    • Mix (0% to 100%): Integrated parallel compression blend.
  • Recommended Usage: Place on the master bus with 30ms attack, Auto release, 2:1 or 4:1 ratio, aiming for 2 to 3 dB of gain reduction on loudest peaks.

Distres / DisTres-C (Non-Linear Knee Compressor)

  • Architecture: Empirical Labs Distressor style digital controlled analog compressor.
  • Controls:
    • Ratio: 1:1 (warmth only), 2:1, 3:1, 4:1, 6:1, 10:1 (Opto curve), 20:1, Nuke (brickwall limiting with reverse release).
    • Distortion Modes:
      • Clean: Standard dynamic compression.
      • Dist 2: Introduces warm 2nd-order harmonic distortion (triode tube character).
      • Dist 3: Introduces 3rd-order harmonic distortion (tape compression edge and grit).
    • Detector Filters:
      • HPF: High-pass filter on detector.
      • Band-Emphasis: 6kHz boost in detector to tame harsh sibilance or cymbal bite.
    • Opto Mode: Activates a 10:1 optical response with a dual-decay release curve.
  • Recommended Usage: Snare drum punch (6:1, Dist 2), rock vocals (4:1, Dist 3, Band-Emphasis), parallel drum crushing (Nuke, fast attack/release).

Pulse-EQ (Passive Tube Program Equalizer)

  • Architecture: Dual-inductor passive filter network with tube makeup gain modeled after the Pultec EQP-1A.
  • Controls:
    • Low Frequency Select: 20, 30, 60, 100 Hz.
    • Low Boost & Low Attenuate: Independent control over low-frequency boost and cut curves.
    • High Frequency Select: 3, 4, 5, 8, 10, 12, 16 kHz.
    • High Boost & Bandwidth: Boost amount with variable Q (Sharp to Broad).
    • High Attenuate: 5, 10, 20 kHz shelf attenuation.
  • The Iconic Pultec Trick: Set low frequency to 60 Hz (or 30 Hz). Simultaneously turn Low Boost to 5 and Low Atten to 4. Because the boost and cut curves have slightly different center frequencies and slopes, this produces a fat, solid low-end shelf with an adjacent low-mid notch around 250-400Hz, removing muddiness while boosting sub-weight.

FET-76 (Class-A FET Peak Limiter)

  • Architecture: Discrete Class-A field effect transistor gain control circuit with ultra-fast attack times modeled after the 1176 LN (Rev D/E).
  • Controls:
    • Input: Drives the signal into the fixed threshold; controls both drive and compression depth.
    • Output: Makeup output gain.
    • Attack (1 to 7): 20 microseconds (position 7) to 800 microseconds (position 1). Note: 1176 knobs are counter-intuitive — fully clockwise (7) is fastest.
    • Release (1 to 7): 50 ms (position 7) to 1100 ms (position 1).
    • Ratio: 4:1, 8:1, 12:1, 20:1, and All-Buttons-In (British Mode).
    • All-Buttons Mode: Alters the bias voltage of the FET transistor, creating a non-linear release curve, dramatic harmonic distortion, and explosive room ambiance.
  • Recommended Usage: Lead vocals (4:1 or 8:1, Attack 3, Release 7), DI Bass guitar leveling (4:1, Attack 2, Release 7), Room mics (All-Buttons, fast release).

Opto-2A & Opto-2A-AI (Electro-Optical Leveling Amplifier)

  • Architecture: T4 optical attenuator cell emulation with luminescent panel and photoresistors modeled after the LA-2A.
  • Controls:
    • Gain: Clean tube output amplifier gain.
    • Peak Reduction: Adjusts the voltage sent to the electroluminescent cell, controlling compression depth.
    • Compress / Limit Switch: Alters the ratio curve from gentle ~3:1 compression to ~10:1 limiting.
  • Dynamic Physics: Program-dependent release: initial 50% recovery occurs in approximately 60 milliseconds, while the remaining tail decays smoothly over 1 to 5 seconds depending on prior input energy.
  • Recommended Usage: Smooth acoustic vocals, acoustic guitar, clean bass guitar, strings, and brass.

Vari-Mu (Vacuum Tube Variable-Mu Mixbus Compressor)

  • Architecture: Variable-mu triode tube gain reduction where input level dynamically alters the tube's grid bias, smoothly changing the amplification factor.
  • Controls: Input Threshold, Recovery Time (6 calibrated presets), Sidechain HPF, Dual-Mono / Stereo Link mode.
  • Sound Character: Ultra-creamy, harmonic "glue" that blends complex orchestrations and dense mixbuses without squashing transients.

Fat-Tape (Analog Magnetic Tape Machine)

  • Controls:
    • Tape Speed: 7.5 IPS (warm, rolled-off highs, heavy bass bump), 15 IPS (standard punchy rock/pop sound with solid low-end), 30 IPS (ultra-clean, extended high frequencies).
    • Drive / Input: Saturates the simulated magnetic tape oxide particles.
    • Head Bump: Low-frequency resonance created by the physical geometry of the tape playback head.
    • Bias: Adjusts high-frequency bias signal (Under-bias gives grit; Over-bias warms up highs).
    • Wow & Flutter: Subtle mechanical tape speed variations for vintage realism.
  • Recommended Usage: Mixbus finishing (15 IPS, subtle drive), Drum group cohesion, harsh digital synth smoothing.

Tape-Dly (Vintage Tape Delay)

  • Analog delay line with tape saturation feedback, tape flutter modulation, and high/low pass tone controls.
  • Synchronized beat divisions (1/4, 1/8d, 1/8t, 1/16) or free millisecond mode.

Tube-Pre (Triode / Pentode Tube Preamplifier)

  • Two-stage tube saturation engine with independent Triode (warm even-order harmonics) and Pentode (punchy aggressive odd-order harmonics) drive stages.

Mix-Chan, Mix-Bus & Sum-Desk (Console Summing Suite)

  • Models the non-linear transfer curve, harmonic crosstalk, and micro-phase differences between mixing desk channels.
  • Mix-Chan: Insert on individual tracks for cumulative console coloration.
  • Mix-Bus: Insert on sub-groups and master bus to tie channels together.
  • Sum-Desk / Sum-Strip: Multi-bus analog summing matrix.

ST-Bass & ST-Guitar (Dedicated Instrument Channel Strips)

  • ST-Bass: Sub-octave generator, optical compression, 3-band bass EQ with selectable mid scoop (400Hz / 800Hz), and speaker cabinet simulation.
  • ST-Guitar: Clean/Crunch/Lead preamp gain, mid-boost presence switch, noise gate, and analog 4x12 cab filter.

VU Meter & VU Zeno

  • Analog ballistic needle meters with standardized ANSI C16.5-1954 dynamics (300ms rise time).
  • Selectable calibration: -18 dBFS = 0 VU (Standard EBU digital recording) and -14 dBFS = 0 VU (High-energy modern mixing).

2. ReaFull Digital FX Suite

The ReaFull Digital FX Suite provides surgical, transparent, and high-precision tools for mixing, mastering, corrective filtering, and loudness metering.

Effects/ReaFull Digital FX/
├── D-DynEQ           ← Dynamic multi-band parametric equalizer
├── D-EQ / D-ReEQ     ← FFT-assisted parametric equalizers with surgical filters
├── D-Comp            ← Feed-forward transparent digital compressor
├── D-MSComp          ← Mid/Side dual-stage matrix compressor
├── D-Limit           ← Mastering True-Peak brickwall limiter with lookahead
├── D-Multi           ← 4-band linear-phase dynamic processor
├── D-Esser           ← Precision vocal de-esser with frequency monitor
├── D-Gate            ← Precision noise gate with sidechain filter
├── D-Noise           ← Spectral noise filter
├── D-Delay           ← Stereo digital delay with crossfeed & modulation
├── D-Shaper          ← Transient designer & envelope shaper
├── Reflex 1, 2, 3    ← Algorithmic reverb suite (Plate, Room, Hall)
├── T-Meter / D-Meter ← EBU R128 / ITU-R BS.1770-4 LUFS analyzer & True Peak
├── T-FFT             ← High-resolution real-time FFT spectrum visualizer
├── T-Peak / T-Phase  ← Stereo correlation meter and Lissajous vector scope
└── T-Tone/Pink/White ← Precision audio calibration signal generators

2.1 Key Digital Processors

D-DynEQ (Dynamic Parametric Equalizer)

  • Combines multi-band parametric equalization with threshold-based dynamic compression/expansion per band.
  • Modes: Below-Threshold Compression, Above-Threshold Compression, Upward Expansion, Downward Expansion.
  • Use Cases: Taming harsh 3-4kHz vocal resonance only during loud phrases; controlling dynamic bass bloom without thinning the sound.

D-ReEQ & D-EQ (High-Precision Parametric Equalizers)

  • Real-time FFT spectrum overlay with infinite zoom and curve drag.
  • Filter types: Bell, Low-Shelf, High-Shelf, High-Pass (up to 96 dB/oct), Low-Pass, Notch, Band-Pass, Tilt.
  • Phase Modes: Minimum Phase (zero latency, lowest CPU) and Linear Phase (zero phase smearing, ideal for mastering and multi-mic phase alignment).

D-Limit (Mastering True-Peak Brickwall Limiter)

  • Oversampled True-Peak Detection: 4x/8x inter-sample peak detection to guarantee zero digital clipping on streaming DACs (Spotify, Apple Music, YouTube).
  • Adaptive Lookahead: 1ms to 5ms lookahead buffer for clean, artifact-free transient control.
  • Release Character: Continuous adjustment from transparent transient retention to dense RMS loudness.

D-MSComp (Mid/Side Matrix Compressor)

  • Encodes stereo input into Mid (mono sum / center content: kick, snare, lead vocal, bass) and Side (stereo difference / width content: reverbs, stereo guitars, synth pads).
  • Allows independent threshold, ratio, attack, and release on Mid vs Side.
  • Mastering Trick: Compress Mid channel to tighten punch while leaving Side channel uncompressed (or expanded) for wide stereo staging.

Reflex 1, 2, 3 (Algorithmic Reverb Suite)

  • Reflex 1 (Vocal Plate): Fast diffusion, bright damping, high-density plate simulation for lead vocals and percussion.
  • Reflex 2 (Acoustic Room & Chamber): Natural early reflections and smooth decay tailored for drums, horns, and acoustic guitars.
  • Reflex 3 (Hall & Cathedral): Wide spatial modulation, long lush decay tails for orchestral strings, synth pads, and ambient soundscapes.

3. StripTease Modular Mixer Strip Suite

The StripTease suite turns REAPER's Mixer Control Panel (MCP) into a modular analog hardware console:

+------------------------------------+
|  [VU GR METER] -12 -8 -4 -2 0 dB   |
|  ( ) THRESH    ( ) RATIO   ( ) GAIN|
|  [ HPF 80Hz ]  [ ALL BUTTONS IN ]  |
+------------------------------------+
  ^ Embedded modular strip in REAPER MCP

3.1 Modular Panel Heights

  • Standard modular heights available in Effects/StripTease/:
    • StripTease Panel 050 px (Compact VU & Trim)
    • StripTease Panel 100 px (Simple Compressor / Gate)
    • StripTease Panel 150 px (Channel EQ / Dynamics)
    • StripTease Panel 200 px (Full Channel Strip)
    • StripTease Panel 300 px (Console Module)
    • StripTease Panel 400 px (Extended Channel)
    • StripTease Panel 600 px (Master Bus Console)

3.2 Factory Curated StripTease Chains (FXChains/StripTease/)

  • StripTease AO The Bus.RfxChain (Master bus console strip)
  • StripTease BX Glue.RfxChain (Mixbus VCA glue strip)
  • StripTease Bx Opto.RfxChain (Smooth opto vocal leveler)
  • StripTease Pro-C3.RfxChain (Precision digital dynamic channel)
  • StripTease SSL 4000.RfxChain (British console strip)
  • StripTease 1176 LN.RfxChain (FET punch channel)

4. Integrated Community FX Suites

ReaFull bundles curated and optimized community suites in Effects/:

4.1 Saike Tools (by Joep Vanlier)

  • Squashman: Multi-band distortion and saturation unit with customizable crossover points and dynamic waveshaping.
  • Filther: Formant and vowel filtering matrix with LFO modulation.
  • DuskVerb & SatanVerb: Dark algorithmic diffusion reverbs.
  • Reflectosaurus: Multi-tap delay and spatial resonator.
  • Nuker: Extreme dynamics destroyer for parallel drum squash.
  • ReaBee & Yutani: Physical modeling synthesis and sound generation.

4.2 Sonic Anomaly Suite

  • SLAX-C: Optical program compressor with smooth electro-optical curve and tube output stage.
  • QuadraCom: 4-band multiband compressor designed for broadcast leveling and master bus balance.
  • Hybrid-C: Fast-reacting hybrid compressor combining RMS detection with peak limiters.
  • SEGX2-G: Smooth expander and noise gate for cleaning drum bleed and vocal background noise.
  • TriLeveler2: Broadcast speech leveler with target LUFS normalization.

4.3 Tilr Tools (by Tiago LR)

  • Delay: Analog delay, ping-pong delay, dub delay.
  • Distortion: Wavefolders, saturation clippers, bitcrushers.
  • Filter: State-variable ladder filters, comb filters.
  • MIDI: Step sequencers, chord triggers, MIDI arpeggiators.
  • Synth: JSAdditiv (Additive harmonic synthesizer) and Rippler (Physical mallet/percussion modeler).

4.4 Classic DSP Foundations (Liteon, LOSER, Stillwell, Schwa)

  • Stillwell: 1973 EQ (Neve style EQ), Major Tom (VCA compressor), Bad Bus Mojo (harmonic saturation), Event Horizon (master limiter).
  • LOSER: Satser, 3-Band EQ, DVC Compressor, PingPong Delay.
  • Liteon: High-order Butterworth filters, pseudo-stereo widening, non-linear saturators.

5. Signal Calibration & Metering Tools

Located in Effects/ReaFull Digital FX/:

Tool Function Technical Description
T-Meter / D-Meter Loudness Radar EBU R128 / ITU-R BS.1770-4 compliance. Displays Integrated LUFS, Short-Term (3s), Momentary (400ms), True Peak Max (dBTP), Loudness Range (LRA), and RMS.
T-FFT Spectral Visualizer High-resolution real-time FFT analyzer with adjustable window size (512 to 16384 points), smoothing, and peak hold.
T-Phase & T-Peak Phase & Vector Scope Real-time stereo correlation (-1.0 to +1.0) and Lissajous orbital vector display to detect phase cancellation.
T-Tone Calibration Generator Pure 1 kHz sine wave generator calibrated to -18 dBFS or -14 dBFS for studio hardware line alignment.
T-Pink Pink Noise Generator 1/f equal energy per octave noise for speaker room acoustic tuning and reference mixing.
T-White White Noise Generator Equal energy per Hertz test signal for FFT impulse response measurements.
T-Quiet Reference Silence Bit-perfect digital zero generator for noise floor verification.

ReaFull v2026.3.0 · Maintained by Jules Martins · GitHub Repository

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