Multi-resolution spectral resonance processor. Finds what's genuinely resonating and pulls it down in real time — never a static, over-EQ'd result.
Everything you need to get a great result today, no plugin manual required. The rest of this document is here if you want it — not because you need it.
DE-RES PRO finds what's sticking out — harsh, boxy, ringy — and quietly turns just that down, only while it's actually happening.
That's the whole interface. Down = quieter there. Up = louder there.
While the problem plays. Let go — it places the nodes for you.
So it knows the difference between a real note and a problem.
Everything else you'll see on screen, in plain terms:
No added delay. Turn this on while recording or performing live; leave it off otherwise for the better-sounding default.
How precisely it can tell frequencies apart. Higher is more precise but adds a touch of delay — fine to leave on Standard unless you're not tracking live.
How quickly it reacts. Fast catches short hits; Smooth ignores them and only responds to longer, sustained sounds.
Leave on Stereo. Mid-Side is for when you specifically want to treat the centre of your mix differently from the sides.
It still processes your original sound — this just lets it decide where to react by listening to a different source instead, e.g. keying off a clean reference take.
Turns the whole effect off for a moment, so you can A/B against the untouched sound.
That's it. Everything below is for when you want more control — not because you need it to sound right.
How every control works, what it's actually doing under the hood, and why it's built the way it is. A reference, not a tutorial — jump to what you need.
The graph is the plugin. Everything else is one hover away from it.
Hover any node to open its popover.
Every node, and the rack, has a headphone icon. All of them follow the exact same two rules, so once you've learned it once, you know it everywhere.
Dimmed doesn't mean disabled — every node keeps processing at its real setting underneath. The dimming is only telling you what the current ⌘-click audition is focused on.
Locked (either a node or the master), the headphone button switches to this solid, ringed look — white fill, black outline — the same "on" language used everywhere else in the plugin, so a glance at the button tells you it's engaged.
Automatic, and set per node. Route any source into the plugin's Sidechain input bus in your DAW; the instant real signal arrives, DE-RES PRO uses it to decide where to react for every node with its SC toggle on — no master switch to remember. If nothing's connected, or the source goes silent, sidechain-enabled nodes transparently fall back to the main input, so nothing breaks or goes quiet if you haven't set one up at all.
This is detection only, the same way a keyed compressor works — DE-RES PRO always reduces your actual signal, at whatever frequencies are genuinely resonating there. The sidechain only changes how it decides where those frequencies are: a node with SC on treats an overlapping resonance in the sidechain source as the cue to act on your signal, so if the same frequency is ringing in your reference take, that's what gets pulled down in what you're actually processing.
Use it to de-ess or de-harshen a vocal against a clean reference take, or tame a guitar bus by keying off the DI — the DI tells DE-RES PRO where to look, the amp signal is what actually gets treated.
Real instruments and voices resonate on the notes they're actually playing — that's not a flaw to remove, it's the music. Set a Key and Scale, and content landing on an in-key note is protected from being cut, scaled by Key Sensitivity, while genuinely inharmonic resonances nearby still get suppressed normally.
Push a node up inside a key, and the same awareness works in reverse: in-key boosts are favoured, leaning into what's musically relevant rather than treating a boost as blind to the key. This is what makes deliberately overdriving a chord's worth of in-key resonances sound like a tone, rather than noise.
Always on, the last thing that touches the signal — no bypass, no control surface. Pushing several nodes hard, for example boosting a stack of in-key resonances for a creative "tone" effect, can genuinely drive the output past 0 dBFS. The limiter exists so that's a loud effect, never a clipped one.
Active only while your pointer is over the graph — they won't collide with your DAW's own shortcuts or musical-typing keyboards.
| Key | Action |
|---|---|
| 1–9, 0 | Select node 1–10 |
| ← / → | Nudge selected node's frequency (hold Shift for fine) |
| ↑ / ↓ | Nudge selected node's amount (hold Shift for fine) |
| [ / ] | Narrow / widen selected node's Q |
| A | Cycle selected node's channel target (Both → A → B) |
| S | Toggle sidechain detection for the selected node |
| Delete / Backspace | Remove selected node (minimum 2 stay active) |
Works as an insert, early in the chain — ideally before compression, so it's reacting to the source's natural dynamics rather than an already-squashed signal. On a mix bus or master, it's equally at home late in the chain, tightening up problem frequencies that only became audible once everything was summed.