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A lo-fi, tape-style echo. Warm, gritty repeats that sit behind a vocal rather than on top of it.

Main controls. Time (30–620 ms — past roughly 250 ms is the Red Zone marked on the knob), F-Back (a single slap through to runaway self-oscillation), and Mix (0 is fully dry, 100 is an even 50/50 blend so vocals stay intelligible).

Character. Clean, Tape or Broken — three states of repair for the echo path.

Also on the panel. Sync to host tempo from 1/32 to 1/2 including triplets and dotted values; Ping-Pong (0 is dual mono, 100 alternates repeats left and right); Input (−12 to +24 dB, drives the preamp stage into saturation); Output (−24 to +12 dB).

Right-click Time, F-Back or Mix to type an exact value. Double-click any knob to return it to its default. The footer shows the delay time actually in use.

Formats: AU, VST3 and AAX on Mac (native Apple Silicon) · VST3 on Windows.

A single-purpose air-band equaliser: a very wide, very gentle high shelf built to add shimmer and open the top end without turning harsh.

Controls. AIR BAND selects the corner — OFF, 2.5, 5, 10, 20 or 40 kHz — and crossfades over 20 ms so you can sweep it while audio plays. AIR GAIN runs 0–10, up to +15 dB at the shelf plateau, with a deliberately slow taper at the bottom so 0–3 lives in the fraction-of-a-dB range you want on a mix bus. MODE places the air in MID, ST or SIDE. LEVEL TRIM is cut-only, −24 to 0 dB. IN/OUT ramps the curve flat rather than switching the signal path, so bypass is click-free.

The SIGNAL lamp comes up around −54 dB and is full by −12 dB. PEAK fires just under clipping and holds for about a second.

Formats: AU, VST3 and AAX on Mac (native Apple Silicon) · VST3 on Windows.

A four-module multi-effector. Four effect modules you can reorder freely, five algorithms in each, two knobs per module with a hidden secondary layer underneath, and a global drift generator running across the whole chain.

Because the modules rearrange, the same four effects give very different results depending on order — drive into delay is a different instrument from delay into drive.

Formats: AU, VST3 and AAX on Mac (native Apple Silicon) · VST3 on Windows.

A dispersive plate reverb with seven plate models.

A real plate is a sheet of steel under tension, and bending waves in steel travel faster at high frequencies than low — so the highs arrive before the lows. That upward chirp is what makes a plate sound like a plate, and it is the thing most digital plates leave out. Plate Daddy reproduces it directly, and the DISPERSION control scales it: at zero the unit collapses into an ordinary reverb, which is worth hearing once.

Front panel. Decay, Pre-Delay, Modulation, Drive, Low Cut, High Cut, Mix and Output, plus the plate selector, Freeze, and the preset bar.

Tweak page. Size, Dispersion, Diffusion, Low Decay, High Damp, Mod Rate, Bass, Treble, Width and Duck.

Formats: AU, VST3 and AAX on Mac (native Apple Silicon) · VST3 on Windows.

A cassette four-track condensed into a single-channel insert — narrow tracks, a low-mid head bump, treble that gives out around 13 kHz, an unsteady capstan, and a noise floor that breathes with the music.

INPUT. TRIM drives the preamp as a color control, with the gain taken back out afterwards. MIC/LINE — Mic puts far more gain in front of the stage and finds the rails sooner.

Behind the DOOR. A service panel with head bump, azimuth, crosstalk, dropouts, pitch and the wow/flutter balance — plus a hidden tape echo with send, time, repeats, tone and return.

EQ. Center-detented TREBLE and BASS faders, shelving at 10 kHz and 100 Hz, ±10 dB.

TAPE. DRIVE sets how hard the signal hits the oxide. BIAS trades treble against grit in both directions. TAPE TYPE I is ferric (runs out of headroom sooner, keeps more energy in the mids), II is chrome (holds more treble, takes more level) — the cassette in the window changes with it. NOISE injects hiss where the expander can breathe on it. WOBBLE is master depth over wow and flutter. dbx switches Type-II companding; off means far more hiss and no breathing. TAPE SPEED runs 3-3/4 or 1-7/8 ips, and half speed halves the treble and raises the hiss. 2ND GEN bounces through the tape a second time.

OUTPUT. MIX is a time-aligned dry/tape blend; OUTPUT is a center-detented ±18 dB trim.

Formats: AU, VST3 and AAX on Mac (native Apple Silicon) · VST3 on Windows.

A standards-correct VU movement with a calibrated 0 VU reference, a display delay for lining meters up across busses, and a clip lamp.

It is metering only — audio comes out bit for bit as it went in, and the plugin reports no latency, so you can leave it anywhere in a chain without consequence.

Controls. Headroom sets where 0 VU sits below digital full scale, 4–26 dB, default 18 — at 18, a −18 dBFS tone reads 0 VU. Delay holds the display back by 0–1000 ms so meters on busses of different latencies line up; it does not delay audio. The clip lamp lights at −0.009 dBFS and clears when clicked. Four finishes: black, cream, walnut and silver. Resize by dragging the bottom-right corner, 0.7× to 2.5×.

Formats: AU, VST3 and AAX on Mac (native Apple Silicon) · VST3 on Windows.

A passive tape simulator and buss processor, with all five hardware controls reproduced at their real switch positions.

Deck — LO, PRO, HI or Ø: cassette four-track, Japanese pro, Swiss pro, or tape bypass. Bias — eleven settings from (−) through 1–9 to (+), plus bypass. Enhance — 0–10 on the parallel enhancement circuit. Headroom — LO, PRO or HI global sensitivity. Calibration — TK, MX, EX or HX, the four harmonic circuits. On the hardware, calibration is a rear-panel switch and the front only carries a printed chart; a plugin has no rear panel, so the chart is the control — click a cell to select it.

Three additions the hardware doesn't have, kept clearly separate from the model — plus a VU meter with real ballistics and a latched CL lamp on the face: input trim, output trim, and dry/wet mix.

A preset bar runs across the top — step, pick, save, discard.

Formats: AU, VST3 and AAX on Mac (native Apple Silicon) · VST3 on Windows.

A dispersive spring reverb with seven tank models.

A spring reverb is a coil of wire with a transducer at each end, and below its transition frequency the waves in that coil are dispersive — the highs travel faster than the lows, so every echo arrives as a little downward chirp. That drip is the spring sound, and it is the thing most digital springs approximate instead of building. Coil builds it directly, and the DRIP control scales it: at zero the unit collapses into an ordinary reverb, which is worth hearing once.

Front panel. Decay, Drip, Tension, Boing, Low Cut, High Cut, Mix, Input and Output, plus the tank selector, Shake, Freeze, the power switch and the preset bar with A/B and undo.

Tweak page. Pre-Delay, High Damp, Low Decay, Wobble, Drive, Spread, Bass, Treble, Width and Duck.

Formats: AU, VST3 and AAX on Mac (native Apple Silicon) · VST3 on Windows. 14-day fully featured trial.

A limiter and harmonic detonator. LEVEL is a shunt-JFET feedback limiter whose detector listens to the output, so the ratio is effectively infinite and gain reduction and distortion are inseparable — 20 to 30 dB of reduction is normal operation, not abuse.

Modes. LEVEL limits; CRUNCH runs three discrete Class-A stages that clip asymmetrically; STACK runs the limiter into the stages.

Controls. VOICE picks MK1 (narrow and nasty) or MK2 (full-bandwidth); SPEED sets a program-dependent release at FAST, MED or SLOW; INPUT drives a threshold that never moves; TONE is a two-pole low-pass placed PRE or POST; SC FILTER high-passes the sidechain at 100 or 250 Hz; MIX is delay-aligned parallel blend; STOMP re-injects the transient energy the limiter shaves off, gated to attacks.

The second row. SAFE ceiling, stereo LINK, an external sidechain source, and M/S processing — run the circuit on just the middle of the mix, or just the sides.

Reading it. The ladder shows gain reduction in real decibels, and the mood lamp is green while limiting, red while distorting.

Formats: AU, VST3 and AAX on Mac (native Apple Silicon) · VST3 on Windows.

A sub weight / tube fattener — the last box on the bass chain. GUT adds up to +14 dB of tuned weight (35–80 Hz, 50 on the box) placed before a Class-A triode stage, so the frequencies you boost are the ones that drive the tube. The supply sags and blooms with a held note; output iron saturates in the bass and stays clean on top.

Controls. GUT (weight), FREQ (35–80 Hz), HEAT (tube drive, level-compensated), MEAT (parallel vari-mu compression of the tuned band), FLOOR (SUB 18 Hz / TIGHT 30 Hz), OUTPUT (unity at 7) and a delay-aligned MIX.

Reading it. The VU runs real 300 ms ballistics with 0 VU at −18 dBFS and a latched clip lamp; the tube jewel idles at an ember and breathes with the sag.

Formats: AU, VST3 and AAX on Mac (native Apple Silicon) · VST3 on Windows.

A stereo algorithmic reverb in the image of the great dedicated mainframe units, operated like the hardware: a dot-matrix display, an endless adjust wheel, cursor keys and six mode keys. 118 factory programs in six banks — Halls, Plates, Rooms, Chambers, Ambience and Spaces — plus a preset bar of starting points organised by source.

Driving it. Programs load with prog → enter (the asterisk marks a pending choice), edits happen in edit with the wheel, tap taps in pre-delay, and the power switch is a click-free bypass. Fifty user registers and four favorite keys are stored in the machine itself and shared across every instance and session, like outboard.

The engine. A 16-line modulated feedback delay network with a lossless Hadamard core — the decay you dial is the decay you get. Reverb Time 0.1–30 s with HF and LF multipliers, six early-reflection geometries, modulation capped under 2 cents, true stereo that folds to mono cleanly.

Formats: AU, VST3 and AAX on Mac (native Apple Silicon) · VST3 on Windows.

Your download links are in the order confirmation email sent at purchase, and in your account under Order history.

If you can't find the email, check spam, then search your inbox for "Desert Moon Audio". If it still isn't there, contact us with the email address you used and we'll resend it.

Trying before buying? A 14-day free trial download arrives the same way — see How do I start a free trial?

Open any plugin's page and click 14-Day Free Trial, just below Add to Cart. That takes you to a checkout for $0 — enter your email address and place the order. No payment details are required and no card is charged.

Your trial download arrives in the confirmation email, the same way a purchase does. You can trial as many of our plugins as you like — start one trial per plugin page.

The full plugin, with nothing held back — every control, every preset, no muted audio and no bursts of noise over your mix. It's the same build the paying customers run.

The trial lasts 14 days from the day you start it. Anything you save while trialling — presets, sessions using the plugin — stays valid when you buy.

After 14 days the plugin stops processing audio. Your sessions and presets aren't lost — install a purchased license and everything picks up where it left off, with no need to reinstall or rebuild a session.

To keep it, buy the plugin from its product page. If you'd like several, the Everything Bundle is 30% off the individual prices, and if you already own some plugins their value comes off the bundle automatically at checkout.

Check your spam folder first, then search your inbox for "Desert Moon Audio". Trial emails go out the moment the free order is placed, so it should arrive within a few minutes.

If it still isn't there, get in touch from the address you used and we'll resend it.

1. Download the Mac installer from the link in your order confirmation email.
2. Open the .pkg file and follow the prompts.
3. When asked which formats to install, leave all of them ticked unless you know you only need one.
4. Restart your DAW.

The installer places files in the standard macOS locations:

• AU: /Library/Audio/Plug-Ins/Components
• VST3: /Library/Audio/Plug-Ins/VST3
• AAX: /Library/Application Support/Avid/Audio/Plug-Ins

If macOS blocks the installer, right-click it and choose Open, then confirm. That happens on first run for installers downloaded outside the App Store.

1. Download the Windows installer from your order confirmation email.
2. Run the .exe and follow the prompts.
3. Accept the default install folder unless your DAW scans a custom one.
4. Restart your DAW.

Default locations:

• VST3: C:\Program Files\Common Files\VST3
• AAX: C:\Program Files\Common Files\Avid\Audio\Plug-Ins

If Windows SmartScreen warns you, click More info then Run anyway.

1. Open your DAW and load any DMA plugin.
2. Click the logo in the plugin's top-left corner.
3. Enter the license key from your order email.
4. Click Activate.

You'll need an internet connection for activation, but not to use the plugins afterwards.

Each license can be active on all machines you personally own at once — enough for a studio desktop, a laptop and a couple of spares. It covers machines you own, not a second person on a separate machine.

Running out of activations usually means an old machine still holds one. See Moving your license to a new computer.

If you still have the old machine: open any DMA plugin on it, click the logo, and choose Deactivate. That frees the activation immediately.

If you no longer have it — sold, wiped or dead — contact us with your order number and we'll release the activation manually.

Work through these in order:

1. Restart the DAW. Most scan for new plugins only at startup.
2. Check the format. Logic and GarageBand use AU only. Pro Tools uses AAX only. Ableton, Cubase, Studio One, Reaper and FL Studio use VST3.
3. Check the scan folder. In your DAW's plugin preferences, confirm it scans the folders listed in the installation articles.
4. Force a rescan. Most DAWs have a "rescan" or "reset database" button in plugin preferences.
5. Logic only: if a plugin fails validation, open the Audio Unit Manager and reset it.

1. Make sure you're on the current version — reinstall from your download link.
2. Try the same plugin in a different DAW. If it works there, the issue is that DAW's plugin database; force a rescan.
3. Try a new empty project. If it loads there, the original project may hold a corrupt plugin state.
4. On Mac, check that your DAW and the plugin format match your processor (Apple Silicon vs Intel/Rosetta).

If it still crashes, send us your OS version, DAW and version, and which plugin. That's usually enough to identify it without further back and forth.

Our goal is for every customer to be happy with their purchase. If a plugin isn't working for you, contact us with your order number and we'll sort it out.

Before requesting a refund for a technical problem, it's worth trying My DAW can't find the plugins and The plugin crashes or won't load — most issues are a plugin scan away from being fixed.

Yes. Updates to any plugin you own are free — download the current installer from your account and run it over the top.

Plugins are a one-off purchase and yours for life, with no subscription and nothing to renew. New plugins are released on their own and added to the Everything Bundle, whose price is adjusted to reflect what it contains.