Spectral Mass Rebalance

STRUM LIFT · The tilt opens on every strum

One band across the whole spectrum from 50 Hz up, its low edge feathered over two octaves so the bottom enters the calculation gradually. The tilt leans toward the top and the envelope follower is at its maximum: it is the playing that tilts the band, not a fixed curve. Attack on a 32nd note, release on a 16th, both locked to the 144 BPM of the loop. Every strum opens the top, then lets it settle before the next one.

FOUR BANDS · Four bands, working together

The whole chain on a mix: low weight, a cleaned low-mid, a lifted presence band and a tamed top, each tilting around its own pivot. The borders at 300 Hz and 3.5 kHz are feathered so the bands melt into one another; the one at 1 kHz stays hard, on purpose. Hit BYPASS and the image greys out at the same instant the processing leaves the sound.

EDGE FEATHER · A band that stops without stopping

One band across 100–500 Hz, cleaning the low end and lifting what sits just above it. Both borders are feathered over half an octave, so the band melts into the untouched signal instead of cutting off. That is the part you can see: the curve leaning out past its own edges. The setting is deliberately gentle. You should not hear an EQ at work, only a low end that got out of the way.

LOW-END TRICK · The old trick, without the fixed frequency

Boost the lows and dip just above them: the move every engineer knows from a passive EQ. Here it is one band from 10 to 300 Hz, its upper edge feathered over a full octave, with the envelope follower at 55 %. The pivot rides the kit's own centre of mass, so the dip stays attached to the boost instead of landing on a frequency you guessed.

WARM TILT · The whole spectrum, leaning

A single band across everything, tilted toward the low end. No crossover, no chosen frequency: the entire spectrum rotates around its own centre of mass, and because the total energy of the band is conserved, the meters do not move. This is the simplest thing the plugin does, and the one that is hardest to do with an ordinary EQ.

DYNAMIC TILT · The same tilt, breathing

The band above, but with the envelope follower pushed to its clamp. The tilt now retracts on every hit instead of sitting still: attack set to a 32nd note, release to a 16th, both locked to the 135 BPM of the loop. The pivot tracks the peak of the spectrum rather than its mean, which is what a drum kit needs. Watch the curve move with the snare.

AIR LIFT · The same band, leaning the other way

WARM TILT turned over: one band across everything, tilted toward the top, with the envelope follower pushing in the same direction, so every note opens the tilt a little further instead of pulling it back. The keys get air and definition, and the low end is not thinned out by a shelf: the spectrum rotates around its own centre of mass, so what the top gains, the bottom gives up in proportion.