High-pass and low-pass filters, a four-band EQ with a live analyser, tilt and harmonic resonance, and a compressor with Character, Crush and Delta listen.
Filters, EQ, colour and dynamics run in a fixed order, from input gain to Dry/Wet, with nothing hidden in menus.
Dedicated filters around the four bands, each with its own switch and a 12, 18, 24, 36 or 48 dB/oct Butterworth slope. When a filter is off, the signal passes untouched.
Bell, low and high shelf, or low and high pass on every band, from 20 Hz to 20 kHz. Drag the numbered nodes on the curve or work in the band rows.
The signal after the Input knob shows as a faint grey trace and the output as a cyan line, under a curve drawn from the same filter coefficients the audio path uses.
Threshold, ratio up to 20:1, attack, release, knee, makeup and a sidechain high-pass, with a gain-reduction meter and Delta to hear only what it removes.
Tilt the balance around 1 kHz, add harmonic resonance to your boosts, saturate with Character and blend in a crushed parallel copy.
2× oversampling for the EQ, filters and dynamics when you mix. It's off by default, so PrismX adds no latency while you track.
Ranges below are the controls' own. Figures marked as measured come from PrismX's DSP verification suite. The display on the right is an animated illustration; the crops are the real plug-in.
Every band can be a bell, a low or high shelf, or a low or high pass, anywhere from 20 Hz to 20 kHz. Drag a numbered node for frequency and gain, use the wheel for Q, Alt-click to switch a band off and right-click to change its type. The bright curve is drawn from the same filter coefficients the audio path uses.
The HPF row sits above the four bands and the LPF row below them, in signal order. Each filter has its own switch and a Butterworth slope of 12 to 48 dB/oct, and the frequency you set is the −3 dB point at every slope. Underneath, the analyser shows the signal after the Input knob as a faint grey trace and the output as a cyan line.
The sidechain high-pass stops the low end from driving the gain. Release lengthens automatically on sustained compression, a meter shows the gain reduction, and Delta plays only what the compressor takes away.
Tilt moves the whole balance darker or brighter around 1 kHz. Resonance echoes each EQ boost at two and three times its frequency. Character is saturation that grows as the compressor works, and Crush blends in a heavily squashed parallel copy.
HQ runs the EQ, filters and dynamics at twice the sample rate, so Character and Crush alias less and high bells keep their shape close to Nyquist. It adds a fixed latency that PrismX reports to your DAW for compensation, and keeps Dry/Wet and bypass phase-aligned. HQ is off by default, so PrismX is safe to use while tracking.
49 samples is about 1 ms at 48 kHz. Aliasing test: 5 kHz sine at 44.1 kHz, Character 100 %; −30.2 dB with HQ off.
Presets such as Vocal Polish and Parallel Smash. Star your favourites, search by name and step through the list from the header. The factory set is level-matched to within ±3.5 dB, so switching presets isn't a loudness contest.
PrismX shares its header, preset browser and controls with AuroraX, so both plug-ins work the same way.
Categories, search and favourites. Favourites are kept for your user account, across sessions and DAWs. Up and Down move, Enter loads.
Two complete settings to compare, with a copy button that sends the active slot to the other one.
Every knob drag is one step. Cmd-Z and Shift-Cmd-Z work too (Ctrl-Z and Shift-Ctrl-Z on Windows).
Choose 75 to 200 % from the menu, or drag the window corner anywhere from 60 to 200 %.
Double-click a value and type 2.5k, -6, 40% or 250 ms.
Tab between controls, with a cyan focus ring. Arrows nudge 1 % (Shift 0.1 %), Page keys 10 %, Home and End jump to the ends.
Every sound control is a host-automatable parameter with a clear name and unit. Map hardware with your DAW's own controller learn.
Knobs, switches and menus have tooltips. The help bar at the bottom explains the control under the mouse, with the mouse shortcuts for knobs and the EQ display.
Version 1.1, in testing. Specs can change before launch.
| Formats | VST3 and Audio Unit (AU)Windows: VST3 |
|---|---|
| Platform | macOS and WindowsUniversal binary on macOS, native on Apple Silicon and Intel. 64-bit on Windows |
| macOS | 11 or later on Apple Silicon10.13 or later on Intel |
| Windows | Windows 10 or 11, 64-bit |
| Host | Any host that loads AU or VST3 plug-insWindows: any host that loads VST3. Passes auval (AU) and pluginval (VST3) validation |
| Installer | .pkg on macOS, Setup.exe on WindowsOne plug-in or the bundle with both. macOS: AU, VST3 or both, for all users or just you |
| Account and network | NoneNo sign-in, no analytics, no network connections |
| Sample rates | 44.1–192 kHzTested range |
|---|---|
| Channels | Mono and stereoStereo-linked compression |
| Latency | 0 samples49 samples with HQ on, reported to your DAW for compensation |
| Tail | Reported to the hostThe EQ's ring-down, at most about 3 s, for a strongly boosted, very narrow bell at 20 Hz |
| Audio thread | No memory allocationChecked by the test suite across every factory preset |
| Presets | 36 factory, in 9 categoriesPlus your own, with favourites and search |
| Interface | Resizable, 75–200 %60–200 % by dragging the corner |
PrismX is in testing and isn't on sale yet.
It isn't on sale yet: PrismX is in testing. Leave your email on the notify form and we'll tell you when it launches.
$59
One-time purchase · VST3, AU, AAX
Yes. PrismX runs on 64-bit Windows 10 and 11 as a VST3, and on macOS as VST3 and AU.
On macOS, any host that loads AU or VST3 plug-ins, such as Logic Pro, Ableton Live, Reaper, Cubase, Bitwig or Studio One. On Windows, any host that loads VST3 plug-ins, such as Ableton Live, Reaper, Cubase, FL Studio, Bitwig or Studio One.
Not by default. HQ adds a fixed 49 samples (about 1 ms at 48 kHz), which PrismX reports to your DAW for compensation. Switch HQ on for mixing and bouncing, and leave it off while you track.
Yes, through your DAW's own controller mapping, such as Logic's Learn Assignment or Live's MIDI Map Mode. Every sound control is an automatable parameter. There's no built-in MIDI learn, because an effect that takes MIDI has to register as a different kind of plug-in in Logic, which would break existing sessions.
No. PrismX makes no network connections, has no account and collects nothing. Presets and favourites stay on your computer. See the privacy policy.
Yes. PrismX is a universal binary. It needs macOS 11 or later on Apple Silicon, or macOS 10.13 or later on an Intel Mac.
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