Resonance manual.

What Resonance does

Resonance continuously measures your audio against a robust spectral floor. Frequencies that protrude as persistent peaks — a ringing snare, a boxy vocal, a fizzy amp — are reduced, in as much as they stick out and only while they do. Instead of static filter cuts, the reduction follows the material frame by frame.

The suppression engine is a short-time Fourier transform with 75% overlap. Seven nodes on the graph mark where the plugin focuses its detection: five free nodes you position yourself, and two fixed protection nodes at each edge.

Quick start

• Insert Resonance on a track or bus and enable it — it's blue when processing.
• Set DEPTH to taste; the sweet spot is usually 3–7 dB.
• Move the node handles on the graph so they sit exactly on the resonant frequencies of the problem.
• Drag a handle down to allow more reduction there (MAX CUT).
• Adjust ATTACK and RELEASE, then A/B against your start with the header's A/B snapshots.

The analyzer graph

The graph is a live reduction meter: the teal trace dips wherever the engine is cutting, anchored on the 0 dB line. The frequency axis is logarithmic from 20 Hz to 20 kHz; the dB axis spans −20 to +20 dB.

• Node handles — the filled circles along the curve. A solid handle is enabled, a hollow one is off. A halo marks the selected node, which opens its band panel below the graph.
• Hover anywhere — a pill on the top edge shows the exact frequency under the cursor.
• Click empty space to deselect. Disabled nodes still show a thin line at their position.

Global controls

The sidebar holds the main sound-shaping controls. DEPTH is the overall ceiling for how much reduction the engine can apply (0–24 dB). SENSITIVITY (0–10) sets how far above the floor a peak must be before it gets treated — lower means more aggressive; the FIXED / ADAPTIVE pill on its dial switches between a fixed sensitivity mapping and an adaptive threshold.

• MIX — dry/wet blend of the process (0–100%).
• ATTACK — how fast reduction kicks in (0.1–100 ms).
• RELEASE — how fast reduction returns (5–1000 ms).
• SHARPNESS — how wide the reduction spreads to neighbouring bins. 10 is one-bin surgical; 0 is wide and musical.
• PERCEPTUAL — reduces only what you can actually hear by weighting quieter, less audible frequencies less (0 = off).
• TRANSIENTS — protects transient material: attacks pass untouched and the engine re-engages after (0 = off).
• TONALITY — distinguishes steady resonances from noise/texture using the temporal crest of each bin, so texture is left alone (0 = off).
• STEREO LINK — how strongly both channels are measured together toward the louder one (0–100%).

Nodes & band controls

Select a node to open its panel in the footer strip. Each free node carries its own controls:

• SOLO (headphones) — hear only what the plugin is removing around this band, band-passed at its frequency and Q. One band at a time; it's a monitoring mode, not part of presets.
• TYPE — the shape of the zone: Low Shelf, Bell, Band Shelf, High Shelf, Band Reject or Tilt.
• FREQ — the zone's centre frequency (20 Hz – 20 kHz).
• MAX CUT — the per-node ceiling for reduction (0–18 dB). The readout shows a negative value, like "−6.0 dB".
• Q — the width of the zone's detection (0.3–24).
• BAL — Mid/Side: 0 is mid only, 100 is side only; the readout shows M, M/S or S. Any off-centre value switches the engine to mid/side processing.
• THRS — a zone-local threshold offset (−40 to +40 dB). Negative is more sensitive, positive less.

The two protection nodes at the edges (Low Cut and High Cut) don't suppress — they mark the margin the engine is allowed to work within. Their frequency, displayed under a PROTECT label, sets the low/high protection bound, and their SLOPE pill (6/12/24/48 dB/oct) shapes the margin falloff. Moving them redefines the protected region.

Working with the graph handles

• Click a handle to select it (opens its band panel); click empty space to deselect.
• Drag horizontally — move the node's frequency (or, for the edge nodes, the protection margin — dragging auto-enables them).
• Drag vertically — set MAX CUT: pull down for more reduction.
• Scroll / two-finger scroll over a handle — adjust Q.
• Double-click a handle — toggle the band on/off.
• Right-click a handle — menu with Enable/Disable band, Reset to defaults and Delete band.

Header controls & monitoring

• Power — real bypass with a 10 ms crossfade, blue when processing, grey when off. Never part of presets.
• Presets — browse with the ‹ › arrows or the dropdown; save and recall your own.
• A / B — two snapshots of the whole plugin state; clicking one copies the current state into it.
• Copy — copies the current state to the clipboard, ready to paste elsewhere.
• DELTA — monitor-only: you hear only what the plugin is removing (the gated residual). Not stored in presets.
• AUTO GAIN — compensates the reduction so perceived loudness stays constant (safety-capped at +18 dB). Off by default.
• INTENSE — orange preview mode that multiplies the effective depth by three (capped at 24 dB) to hear the worst case. Monitor-only.
• Theme — switch between dark and light.

Presets

Resonance ships with a large factory library organised by source — vocals, guitar, bass, drums/percussion, keys/strings/FX and mix bus/mastering — plus a neutral Init. Presets set the engine controls deterministically; they never include power, Auto Gain, Delta or Intense.

Specifications

• Formats — VST3, AU and AAX.
• Channels — stereo in/out.
• Latency — one FFT block: 1024 / 2048 / 4096 samples (Low / Medium / High quality), reported to the host and compensated on the dry path.
• Operating modes — stereo or mid/side; detection can be stereo-linked.