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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 (universal — native on Apple Silicon and Intel) · VST3 and AAX 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.

Tracking mode. For playing or singing through it live, choose Tracking Mode (Low Latency) from the preset menu: 6 samples of delay at 44.1 kHz instead of 61, with the same air curves.

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

Tracking mode. For playing or singing through it live, choose Tracking mode (low latency) from the preset menu: the transport's 6 ms delay drops to a single sample with WOBBLE at zero, and the wobble sounds the same.

Formats: AU, VST3 and AAX on Mac (universal — native on Apple Silicon and Intel) · VST3 and AAX 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 (universal — native on Apple Silicon and Intel) · VST3 and AAX 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 a tape deck, 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 a passive tape circuit 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 (universal — native on Apple Silicon and Intel) · VST3 and AAX 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 (universal — native on Apple Silicon and Intel) · VST3 and AAX 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 (universal — native on Apple Silicon and Intel) · VST3 and AAX 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 (universal — native on Apple Silicon and Intel) · VST3 and AAX on Windows.

A stereo algorithmic reverb built as a dedicated mainframe and operated like a rack unit: 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 (universal — native on Apple Silicon and Intel) · VST3 and AAX on Windows.

An electro-optical leveling amplifier with three switchable units on one chassis — SILVER (the modern voicing: cleanest, extended bandwidth, quickest recovery), GRAY (the reference voicing: program-dependent two-stage release, warm tube midrange) and OT-2 (the earliest voicing: slowest, most coloured, strongest second harmonic). Switching the unit swaps the whole faceplate as well as the voicing.

Driving it. Two knobs: push Peak Reduction until the meter swings a few dB, bring Gain up to match — or engage AUTO and the make-up rides the average reduction at matched loudness. COMP levels; LIMIT grabs peaks harder. MIX blends in parallel, LINK ties the stereo detector, AGE wears the photocell for slower grab and longer hang.

The sidechain. EXT switches to an external key, SC auditions exactly what the detector hears while held, the rumble filter keeps lows from pumping, and EMPHASIS tilts the detector brighter.

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

A passive program equalizer through a push-pull tube amplifier and an output transformer. Because the filter network is passive, boosting and attenuating the same low frequency at once doesn't cancel — you get a lift with a dip just above it, the classic program-EQ trick.

Low band: LOW FREQUENCY selects 20, 30, 60 or 100 cps for both the BOOST (shelf lift to +16 dB) and the ATTEN (shelf cut to −20 dB).

High band: HIGH FREQUENCY picks the resonant peak from 3 to 16 kc with BOOST to +20 dB, and BANDWIDTH runs the peak from SHARP to BROAD. ATTEN SEL sets a separate high shelf cut at 5, 10 or 20 kc.

IRON drives the push-pull tube stage harder with the level compensated, so you hear harmonics rather than volume; the flux meter shows the output transformer working. STEPLESS makes the frequency levers sweep continuously instead of clicking between fixed positions.

Also on the panel: STEREO / DUAL / M/S channel modes with COPY, Auto Gain for loudness-matched comparisons, MIX for parallel blending, VINTAGE (per-instance component tolerances) and NOISE, plus 1× to 8× oversampling.

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

A transient smack / girth box: a transient shaper and a parallel body compressor in one, time-aligned, with a true-peak ceiling at the end.

SMACK shapes the hit (up to +15 dB of attack, or down to −24 dB) and SUSTAIN what follows it (up to +18 dB of body, or down to −29 dB of ring). Detection is level-independent, so a ghost note gets the same shape as a rimshot, and hi-hat bleed well below the track’s own hits is left alone. GIRTH blends in a fast 6:1 compressor on the drum’s own fundamental; it tunes itself to each drum and times its release to the playing.

GUARD holds the output under −1 dBTP by riding the whole output down first, so the smack survives. OUTPUT (±12 dB) and MIX (a time-aligned parallel blend) finish the job.

Keys and meter. BYPASS (host-linked), MATCH (a level-matched bypass), DELTA (hear only what Trans-Box adds), an edgewise meter reading output peak and SMACK gain, and GUARD and SQUEEZE lamps — hover over SQUEEZE to see the note GIRTH has tuned itself to. 13 factory presets and the preset bar with A/B and undo.

Latency: about 2.8 ms, reported to the host.

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

A stereo dimension chorus: two bucket-brigade delay lines swept in opposite directions, a compander around each, and an output matrix that puts the effect between the speakers. It makes a sound wider without making it wobble, and folds away cleanly in mono.

Front unit. Four DIMENSION MODE buttons — 1 sweeps 8–12 ms on a 4 s LFO, 2 sweeps 5–10 ms, 3 sweeps 6–9 ms at 2 s, and 4 is mode 3 with the wet 10 dB louder. Each button latches on its own and they combine, fifteen ways in all; OFF releases them. DOUBLE adds a second unit in series, POWER is the host bypass, and a ten-LED meter shows the output level.

Lower panel. RATE, DEPTH, SHAPE and TIME trims, four LFO waves, SYNC from 4 bars to 1/8, LEVEL, MIX, WET ONLY, DIMENSION, WIDTH, INPUT, OUTPUT, AUTO GAIN, a STEREO / MONO input, AGE, COMPANDER, NOISE and 1×, 2× or 4× oversampling. The PANEL button folds it away. 18 factory presets and the preset bar with A/B and undo.

Latency: zero.

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

An analog drum machine and the first instrument in the line: sixteen rhythms on push-keys, any two of which play at once, on eleven drum voices built as circuits rather than samples.

Where to load it: on an instrument (software-instrument or MIDI) track, not as an effect. Press play in your DAW with HOST SYNC on and it follows the song, or press START to run its own clock at the TEMPO dial (40–240 BPM).

Front panel. VOLUME, BALANCE (drums against percussion), SWING, ACCENT, WEAR, TEMPO with a beat lamp, HOST SYNC, START, FILL and POWER, and the sixteen rhythm keys: press one to play it, a second to add it, a lit one to release it.

Effects panel. TUNE and DECAY for every voice, then FUZZ, CRUSH, TONE, REVERSE, a synced DELAY with TIME and FEEDBACK, and a spring reverb, with MIX and an ON key. Arrange page. AUTO FILL every 2, 4, 8 or 16 bars, four fill styles, what two rhythms do together, and four CANCEL VOICE keys.

MIDI: notes play the voices on the General MIDI drum map (36 kick, 38 snare, 42 hat and so on); MIDI Start and Stop drive the clock. When the trial ends the unit goes silent until a license is entered.

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

A DI acoustic guitar enhancer: a pickup signal goes in, and the guitar as a pair of studio microphones would hear it comes out. The front panel is the sound; the knobs only move away from it.

Where to load it: as an insert on the track carrying the guitar's pickup or DI, ideally a mono track in a mono-in, stereo-out slot. A stereo input is summed to mono; on a mono-only track the output folds back to mono.

Set INPUT first. Play the loudest part and turn INPUT until the IN meter peaks in the amber (−12 to −3 dBFS). INPUT and POWER are never stored in presets.

Controls. BODY (sixteen voicings: Studio 1–4, Dreadnought 1–8, Jumbo 1–4), WOOD (tight to deep), SPACE (the air around the instrument), MIX (the pickup blended back in), LIFE, AIR, GLUE, INPUT, OUTPUT and POWER. Double-click any control to return it to rest.

Latency: four samples, reported to the host. When the trial ends, audio passes through dry until a license is entered.

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

A 3D auto-panner: a mono or stereo signal goes in and comes out moving through the space in front of you, or around your head, with the cues a real moving source gives. It is meant to live on a send, and works as an insert with MIX.

Where to load it: on a stereo send return (MIX all the way up) or as a stereo insert. A mono track feeds it one source; a stereo track is treated as one image whose two channels keep their spacing.

Controls. PATH (CLASSIC, CIRCLE, FIGURE 8, ORBIT, BOUNCE, RANDOM), SPEED with TEMPO SYNC and TAP TEMPO, START, REVERSE, DEPTH, IMAGE OFFSET, IMAGE FREEZE, MAN TRIG, MODE (AUTO, TRIGGER, ENVELOPE), COUNT TO MOVE, THRESHOLD, FEEL, DIMENSION, WIDTH, MIX and POWER. Double-click any control to return it to rest; right-click a knob to type a value.

Sync. With TEMPO SYNC on, the lap is read off the host's bar position, so it survives loops and transport jumps and two instances never drift. TAP TEMPO takes SYNC off and sets the lap to the tapped interval.

Latency: 4 ms, reported to the host; bypass is delayed by the same so switching it in or out moves nothing. When the trial ends, audio passes through dry until a license is entered.

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

A tube clipper: more level, weight and warmth from a mix, a bus or a track, with a ceiling nothing exceeds and no aliasing. It is meant to live last before the limiter on a mix bus, on a drum bus, on bass and synths, or in parallel on a vocal.

Where to load it: as an insert on a stereo or mono track or bus. Mono stays mono; in STEREO M/S mode the mid and side are clipped independently and the decoded output is held at the ceiling by the guard.

Controls. TUBE (CLEAN, TRIODE, PENTODE), GLOW, FAT, DRIVE, CEILING, MIX, OUTPUT, MATCH, DELTA, AUTO, POWER, and behind SETTINGS: KNEE, BIAS, SILK and SILK FREQ, FAT FREQ, IRON, TARGET, SIDE DRIVE, TOP, OVERSAMPLE, OFFLINE, STEREO, GUARD, ADAA, GLOW COMP. The CLIP meter reads dB over the ceiling and keeps the clip clock; click it to clear.

Listening aids. MATCH holds the output at the input's loudness so you compare tone, not level; DELTA plays only what the clipper removes. Neither is ever applied to a render.

Latency: 3.3 ms at the default 8x oversampling (0.7 ms at 1x), reported to the host; bypass is delayed by the same so switching it in or out moves nothing, and MIX is time-aligned. When the trial ends, audio passes through dry until a license is entered.

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

A purchase sends you two emails, and they're easy to mix up:

1. The order confirmation from Shopify — this holds your download links. The same links are in your account under Order history.
2. A separate email from info@desertmoonaudio.com — this holds your license key, one line beginning DMA1-. Keep it; it's your proof of license.

If either is missing, check spam, then search your inbox for "Desert Moon Audio". Still nothing? Contact us from the address you ordered with and we'll resend both.

Trying before buying? A 14-day free trial sends the download email only — a trial needs no key, because the plugin starts its own 14 days the first time it loads. 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 runs for 14 days from the first time you load the plugin. Anything you save while trialling — presets, sessions using the plugin — stays valid when you buy.

After 14 days the plugin passes audio through dry — nothing is silenced, and nothing in your session is damaged. 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

The Windows installer carries VST3 and AAX, so every major Windows DAW loads it, Pro Tools included. Audio Unit is a macOS-only format.

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

1. Open your DAW and load any DMA plugin.
2. Click the orange ENTER LICENSE KEY button on the band along the bottom of the panel. It is the same on every DMA plugin.
3. Paste the license key — one line beginning DMA1-. PASTE KEY takes it straight from your clipboard. The key arrives in its own email from info@desertmoonaudio.com, not the order confirmation that carries your downloads.
4. Click ACTIVATE. The band disappears and the plugin is yours.

The first activation on a machine takes one quick internet check; after that the plugin works offline, apart from a once-a-day check for a newer version. One key covers every format — AU, VST3 and AAX. Everything Bundle: you get one key, and pasting it into any one plugin unlocks all of them on that machine.

Each license can be active on up to 4 computers 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 the plugin on it, open the preset bar's menu and choose Deactivate This Machine…. That frees the activation immediately and returns that copy to trial mode.

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. Each plugin checks once a day and shows a small notice when a newer version is out — 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.