A processor that applies the character and idiosyncrasies of various instrument amplifiers to the incoming signal.

The PRE-drive stage provides optional L(ow), M(id), and H(igh) EQ stages. In this model, the L(ow) and H(igh) bands offer high- and low-pass filters, respectively, each with variable frequency, resonance, and slope settings. The M(id) band is a bell filter with gain, frequency, and Q settings. Additionally, the far right of the device's interface has a nested device chain for adding additional processors to this PRE section.

Next comes the DRIVE stage, whose purpose is to overamplify the incoming signal. In addition to applying gain (via the eponymous Drive parameter) of up to 48 dB, a drop-down menu offers various clipping "models" to use, such as Class AB, Eulic, Fold B, etc. And to further massage the overdrive, there is a Bias setting for offsetting the signal and a Sag for bending it back down when it flies too high (as indicated by the horizontal LED).

After the drive section is a POST-drive stage, which is identical in structure to the PRE-drive stage detailed above, along with a corresponding POST nested device chain at the far right of the device.

As with any amplifier, the last stage is (a simulation of) the speaker CABINET. Parameters include physical parameters of the cabinet's width, height, and depth, as well as the amount of sound reflection around the cabinet (which adds an acoustic phasing). To further shape the tone of the cabinet are a Color knob and a set of buttons (labeled A thru H), which offer eight discrete "hue" variations. Finally, there is a polarity control (ø) for the phase of this section as well as a Mix control to make a blend of pre-cabinet sound (heard by itself at 0%) and cabinet processed sound (heard alone at 100%). As always, extreme settings are useful while programming but less fruitful when used in music.

The global section of the device includes a final Gain setting and a global Mix control.

An audio degrader with assorted parameters for CLOCK manipulation, amplitude GATE, SHAPE (with drive and various distortion options), and QUANTIZE modes with fine-tuning options. The device's final output offers a Mix knob for the dry/wet blend, a Wet FX chain for inserting devices or plug-ins to process only the wet signal, an Anti-alias option for using using alternate processing techniques, and a stereo Width control.

A distortion effect based on hard clipping, with a peak EQ before the clipping is applied, and high- and low-pass filters after.

A logarithmic shaping effect. The top-level panel controls for Drive, Normalize, low-pass filter (both cutoff and slope/model), and Makeup Gain options. The full curve editor panel offers quiet and loud settings for Threshold, Amount, and Knee controls, as well as bipolar Skew controls for all three on the loud side, for treating positive and negative excursions differently.