Liminal - Dynamic Threshold Processor

LIMINAL

• Intelligent Transient Detection: Three detection modes (Percussive, Sustained, Adaptive) with frequency-selective filtering
• Three-Lane Routing: Route signal with transients at different amplitudes to separate effect chains
• Nine Built-In Effects: Bitcrush, Delay, Flanger, Granular Delay, Overdrive, Pitch Shifter, Reverb, Beat Repeater, and Waveshaper (+dedicated input and output EQ per band)
• Flexible FX Routing: Serial and parallel effect chains with three slots per lane
• Real-Time Visualizer: Scrolling waveform display with interactive threshold adjustment
• Performance Mode: Momentary effect triggering for live performance
• Sidechain Compression: Duck other lanes when transients hit for punchy, controlled dynamics
• Preset System: Save, load, and organize your sounds with full undo/redo support

How It Works

Liminal analyzes incoming audio and detects transients based on two adjustable thresholds:

• Threshold 1 captures high-intensity transients (hard hits, snare cracks, kick attacks)
• Threshold 2 captures medium-intensity transients (ghost notes, lighter hits)
• Audio that doesn't trigger either threshold is classified as 'noise floor' (this can also be thought of as a your quietest lane for additional processing depending on your workflow)

Each category is routed to a dedicated lane, and each lane can send audio to three effect slots (A, B, C) in any combination. This allows you to, for example, add pitch shifting only to hard snare hits while reverberating the sustain and leaving ghost notes dry.

System Requirements

| Platform | Minimum | Recommended |
|----------|---------|-------------|
| macOS | 10.13+ (Intel or Apple Silicon) | 11.0+ |
| Windows | Windows 10 x64 | Windows 10/11 x64 |
| RAM | 256 MB available | 512 MB+ available |
| CPU | Any modern multi-core processor | - |

Supported Plugin Formats:
- VST3 (macOS & Windows)
- Audio Units (macOS only)

Host Compatibility: Any DAW supporting VST3 or AU formats, including:
- Ableton Live 10+
- Logic Pro X / Logic Pro
- FL Studio 20+
- Cubase/Nuendo 10+
- Studio One 5+
- Reaper 6+
- Bitwig Studio 3+

Installation

macOS Installation

• Download the FlickSwitch installer package
• Double-click the `.pkg` file and follow the installation wizard
• Plugin files are installed to:
  - VST3: `/Library/Audio/Plug-Ins/VST3/FlickSwitch.vst3`
  - AU: `/Library/Audio/Plug-Ins/Components/FlickSwitch.component`
• Restart your DAW and rescan plugins if necessary

macOS Manual Installation (Alternative):

• Copy `FlickSwitch.vst3` to `/Library/Audio/Plug-Ins/VST3/`
• Copy `FlickSwitch.component` to `/Library/Audio/Plug-Ins/Components/`
• Restart your DAW

Windows Installation

• Download the FlickSwitch installer
• Run the `.exe` installer with administrator privileges
• Plugin files are installed to:
  - VST3: `C:\Program Files\Common Files\VST3\FlickSwitch.vst3`
• Restart your DAW and rescan plugins if necessary

Windows Manual Installation (Alternative):

• Copy `FlickSwitch.vst3` to `C:\Program Files\Common Files\VST3\`
• Restart your DAW

Uninstallation

• macOS: Delete the plugin files from their installation locations, or run the uninstaller if provided.
• Windows: Use "Add or Remove Programs" in Windows Settings, or manually delete the `.vst3` folder from the VST3 directory.
  

Licensing & Activation

Liminal requires a one-time online activation. After activation, the plugin works fully offline with no periodic check-ins required.

Activation Process

• Launch Liminal ( within your DAW)
• The activation dialog appears automatically on first launch
• Enter your license key exactly as provided (keys are case-sensitive)
• Click Activate
• The plugin connects to the license server to validate your key
• Once activated, you're ready to use Liminal—no internet required for future sessions

License Terms

| Feature | Details |
|---------|---------|
| Computers per license | 2 (e.g., studio desktop + travel laptop) |
| License type | Perpetual (no subscription) |
| Internet required | Only for initial activation |
| Offline use | Fully supported after activation |

Managing Your License

• Your key is provided to you upon purchase of Liminal and will be displayed at checkout as well as in a receipt emailed to you
• You many contact support to disable old license activations (e.g. when switching computers)
• If you've opted into saving your purchase info through our payment processing partner, FastSpring, your invoice history (including license activation key) will also be displayed when you click the "manage your orders" link in your original purchase email

Activation Troubleshooting

| Issue | Solution |
|-------|----------|
| "Unable to connect" | Check firewall/antivirus settings; ensure outbound HTTPS is allowed |
| "License limit reached" | Deactivate an old machine |
| "Invalid license key" | Verify no extra spaces; keys are case-sensitive |
| "License expired" | Contact support—perpetual licenses don't expire |

Support Contact: support@flickswitch.com

Header Bar

• Preset Browser: Access factory and user presets
• Save: Store current settings as a preset
• Randomize: Generate random effect configurations
• Performance Mode: Toggle momentary FX send behavior

Visualizer

The real-time waveform visualizer provides visual feedback for transient detection and allows interactive threshold adjustment. The scrolling waveform display shows approximately 3 seconds of audio history. Interactive threshold handles let you adjust detection sensitivity by dragging directly on the display.

Display Features

| Feature | Description |
|---------|---------------------------------------------------------------------------------|
| Waveform | ~3 seconds of scrolling audio history |
| Threshold 1 | White horizontal line (draggable) |
| Threshold 2 | White horizontal line (draggable) |
| Transient highlighting | Dark Green = Threshold 1, Medium Green = Threshold 2, Light Green = Noise Floor |
| dB Scale | Selectable ranges: 6, 12, 18, 32, 48, 64 dB |

Amplitude Range Selector

| Range | Best For |
|-------|----------|
| 6 dB | Heavily compressed/limited signals |
| 12 dB | Moderately compressed mixes |
| 18 dB | Typical master bus levels |
| 32 dB | Individual tracks, moderate dynamics |
| 48 dB | Wide dynamic range recordings |
| 64 dB | Maximum range, full dynamic capture |

AutoZoom

When enabled, the visualizer automatically adjusts the amplitude scale based on incoming signal levels, keeping the waveform optimally visible regardless of input gain.

Interactive Threshold Adjustment

Click and drag the threshold lines directly on the visualizer to adjust detection levels in real-time. The visualizer immediately reflects changes in transient detection.

Transient Detection

FlickSwitch's transient detection system is the heart of the plugin. Understanding and tuning the detection parameters is key to getting the best results.

Thresholds

FlickSwitch uses multiple thresholds to classify incoming audio:

Threshold 1 (Thresh 1)

| Parameter | Range | Default |
|-----------|-------|---------|
| Level | -70 dB to +6 dB | -6 dB |

Sets the detection level for high-intensity transients. Audio peaks exceeding this threshold are routed to Lane 1.

Usage Tips:
- Set high enough that only the hardest hits trigger
- For drums, aim to capture kick attacks and snare cracks
- Watch the visualizer—dark green waveform shows Threshold 1 triggers

Threshold 2 (Thresh 2)

| Parameter | Range | Default |
|-----------|-------|---------|
| Level | -70 dB to +6 dB | -15 dB |

Sets the detection level for low-intensity transients. Audio peaks between Threshold 2 and Threshold 1 are routed to Lane 2.

Usage Tips:
- Set lower than Threshold 1 to capture softer hits
- Good for ghost notes, hi-hat touches, and subtle accents
- Green highlighting in the visualizer shows Threshold 2 triggers

Threshold 3 (Thresh 3)

| Parameter | Range | Default |
|-----------|-------|---------|
| Level | -70 dB to +6 dB | -30 dB |

Reference threshold for floor level calculations. Works with the Floor parameter to establish the noise floor.

Threshold Floor

| Parameter | Range | Default |
|-----------|-------|---------|
| Level | -70 dB to +6 dB | -60 dB |

The minimum level below which audio is considered noise. Prevents false triggers from background noise, hum, or very quiet signals.

Usage Tips:
- Raise if you're getting triggers from noise floor
- Lower if quiet transients aren't being detected
- Set just above your source's noise floor

Sensitivity Controls

| Parameter | Range | Default | Affects |
|-----------|-------|---------|---------|
| Sensitivity A | 0-100 | 50 | Threshold 1 responsiveness |
| Sensitivity B | 0-100 | 50 | Threshold 2 responsiveness |

Adjust how responsive the detection is to transient attacks:
- Lower values: More sensitive, bigger envelopes
- Higher values: More selective, tighter envelopes

Lookahead

| Parameter | Range | Default |
|-----------|-------|---------|
| Time | 0-10 ms | 10 ms |

Analyzes future audio to detect transients before they occur. This allows the plugin to respond instantly to transients without missing the initial attack.

How It Works:
- The detector "looks ahead" into the audio buffer
- Transients are detected early, then the audio is delayed to match
- The dry signal is automatically aligned, so there's no phase issues

Usage Tips:
- 10 ms (default) provides the most accurate detection
- Reduce for lower latency in live situations (may miss some attack)
- Set to 0 for zero-latency operation (detection reacts to signal as it arrives)

Detection Modes

Liminal offers three detection algorithms optimized for different source material:

Percussive Mode

Best For: Drums, percussion, sharp attacks, staccato instruments

Uses fast envelope followers (~1 ms attack, ~30 ms baseline) with multi-band spectral flux detection across four frequency bands. A 25 ms refractory period prevents rapid re-triggering.

Tips:
- Start here for any drum or percussion source
- Works well on bass with plucked/slapped playing
- May be too aggressive for pads or sustained instruments

Sustained Mode

Best For: Pads, strings, vocals, piano, anything with gradual attacks

Uses slower envelope followers (~80 ms fast, ~800 ms baseline) that track note onset and release states. Detects inflection points (decay-to-rise transitions) and monitors sustain tails. Requires 50 ms silence before releasing note state.

Tips:
- Essential for synth pads and string sections
- Works well on vocals to detect phrase beginnings
- Better for piano than Percussive mode

Adaptive Mode

Best For: Mixed content, automatic operation, complex sources

Continuously analyzes incoming signal and automatically classifies it as percussive or sustained based on crest factor, rise time, sustain ratio, and spectral stability. Smoothly blends between detection algorithms using a ~300 ms analysis window.

Tips:
- Great for full mixes or stems with varied content
- Use when you're unsure which mode to choose

---

Detection EQ (Input EQ)

Each threshold has independent low cut and high cut filters applied to the sidechain signal used for transient detection. This lets you focus detection on a specific frequency range — for example, using a high-pass filter to ignore kick drums and only trigger on snare hits, or a low-pass to ignore cymbals.

Each filter provides:
- Frequency (20–20,000 Hz)
- Q / Resonance (0.025–40.0)
- Slope — selectable from 6, 12, 18, 24, 30, 36, 48, 72, 96 dB/oct, or Brickwall
- EQ Monitor — solos the EQ-filtered sidechain signal so you can hear exactly what the detector is listening to

Output EQ (Per-Lane)

Each of the three lanes has independent low cut and high cut filters on its output, applied after effect processing and before the final mix. This is useful for shaping the frequency content of each lane — for example, rolling off low-end from a heavily distorted transient lane to keep the mix clean, or trimming highs from the non-transient lane.

Output EQ filters offer the same controls as the detection EQ: frequency, Q, and slope (6 dB/oct through Brickwall).

The EQ Mode toggle switches the UI display between Input (detection) and Output (per-lane) EQ views.

Transient Detection Hold

Each threshold (1 and 2) has a Hold parameter (0–500ms) that sets the minimum duration a transient detection flag stays active. This prevents rapid re-triggering on closely spaced transients, giving the effect lanes more time to process before the gate closes. Useful for sustaining effect tails on fast, dense material like drum rolls or strummed guitars.

Lanes

Liminal splits your audio into three lanes based on transient detection results:

| Lane | Trigger Condition | Typical Content |
|------|------------------|---------------------------------------|
| Lane 1 | Signal exceeds Threshold 1 | Hard hits, kick attacks, snare cracks |
| Lane 2 | Signal between Threshold 2 and 1 | Ghost notes, softer hits, accents |
| Lane 3 | Signal below Threshold 2 | noise floor, ambient content, reverb |

Lane Routing

Each lane operates independently and can route audio to any combination of the three effect slots (A, B, C):
Input Audio
│
▼
┌─────────────────────────┐
│ Transient Detector │
└─────────────────────────┘
│ │ │
▼ ▼ ▼
┌───────┐ ┌───────┐ ┌───────┐
│Lane 1 │ │Lane 2 │ │Lane 3 │
│(High) │ │ (Low) │ │(Sust.)│
└───┬───┘ └───┬───┘ └───┬───┘
│ │ │
├─────────┼─────────┤
│ FX Routing │
▼ ▼ ▼
┌───────┐ ┌───────┐ ┌───────┐
│Slot A │ │Slot B │ │Slot C │
└───────┘ └───────┘ └───────┘
│ │ │
└─────────┴─────────┘
│
▼
Mixed Output

Routing Matrix Example:

| Send | Lane 1 | Lane 2 | Lane 3 |
|------|--------|--------|--------|
| FX A | ✓ | - | - |
| FX B | - | ✓ | - |
| FX C | - | - | ✓ |

This configuration sends each lane to its own dedicated effect slot.

Lane Controls

Each lane has identical controls:

Mute

| Parameter | Range | Default |
|-----------|-------|---------|
| Mute | On/Off | On (unmuted) |

Silences the lane's output. Useful for isolating other lanes during setup.

Solo

| Parameter | Range | Default |
|-----------|-------|---------|
| Solo | On/Off | Off |

Solos this lane, muting all other lanes. Multiple lanes can be soloed simultaneously.

Gain

| Parameter | Range | Default |
|-----------|-------|---------|
| Gain | 0-100% | 50% |

Per-lane volume control. Adjust the relative balance between lanes before they're sent to effects.

Tips:
- Boost Lane 1 gain to emphasize transients
- Reduce Lane 3 gain if noisefloor is overwhelming the transients
- Use gain staging to optimize effect input levels

FX Send A / B / C

| Parameter | Range | Default |
|-----------|-------|---------|
| FX Send A | On/Off | Off |
| FX Send B | On/Off | Off |
| FX Send C | On/Off | Off |

Toggle whether this lane sends audio to each effect slot. A lane can send to multiple slots simultaneously.

Routing Examples:

• Parallel Processing:
  - Lane 1 → A only (pitch shift the transients)
  - Lane 3 → B only (reverb on sustain)
  - Lane 2 → no sends (ghost notes stay dry)
• Layered Effects:
  - Lane 1 → A + B + C (transients through all three effects)
  - Lane 2 → B + C (medium transients skip the first effect)
  - Lane 3 → C only (sustain only gets the third effect)
• Full Parallel:
  - All lanes → A + B + C (everything goes everywhere—use effect Dry/Wet to control)

Effects Reference

Liminal includes nine studio-quality effects. Each effect slot (A, B, C) can load any effect, and each slot has independent parameters. Note that each lane also has dedicated Output EQ controls independent of this effect slot system.

Common Slot Controls

Every effect slot shares these controls:

| Control | Range | Default | Description |
|---------|-------|---------|-------------|
| Effect Selector | 9 effects | - | Dropdown to choose which effect is loaded |
| Sync | On/Off | Off | Toggle tempo sync for time-based parameters |
| Dry/Wet | 0-100% | 100% | Master dry/wet blend for the slot |

Note: Most effects also have their own internal Dry/Wet parameter with different defaults (shown in each effect's parameter table). The Repeater effect uses only the slot Dry/Wet.

Bitcrush

Sample rate and bit depth reduction with optional modulation for lo-fi, retro, and degraded sounds.

Parameters

| Parameter | Range | Default | Description |
|-----------|-------|---------|-----------------------------------------|
| Rate | 20-40,000 Hz | 40,000 Hz | Sample rate reduction frequency |
| Bits | 1-16 | 16 | Bit depth (lower = more degraded) |
| Wander | 0-100% | 0% | Tape-like LFO modulation of sample rate |
| Dry/Wet | 0-100% | 100% | Effect mix |

Parameter Details

Rate: Controls the effective sample rate. At 40,000 Hz, the signal is nearly pristine. As you lower the rate, aliasing artifacts and stepped waveforms become apparent.
- 40,000 Hz: Clean
- 10,000 Hz: Subtle aliasing
- 4,000 Hz: Telephone quality
- 1,000 Hz: Heavily degraded
- 100 Hz: Extreme steps, almost pitched

Bits: Reduces bit depth, quantizing amplitude values.
- 16 bits: CD quality (65,536 levels)
- 12 bits: Vintage sampler character
- 8 bits: Classic game console sound
- 4 bits: Heavily quantized
- 1 bit: Square wave distortion

Wander: Applies a slow 3 Hz LFO to modulate the sample rate, creating wobbly, unstable degradation reminiscent of dying samplers or tape warble.

Usage Tips:

- Apply to Lane 1 for crunchy, punchy transients
- Use low Bits with high Rate for clean quantization
- Use low Rate with high Bits for aliased, metallic tones
- Wander adds movement to static bitcrushing

Delay

Stereo delay with tempo sync, feedback, and width control for echoes, rhythmic patterns, and spatial effects.

Parameters

| Parameter | Range | Default | Description |
|-----------|-------|---------|-------------|
| Feedback | 0-100% | 50% | Regeneration amount |
| Diff | 0-100% | 0% | L/R channel differentiation |
| Time (Free) | 0-1,000 ms | 200 ms | Delay time in milliseconds |
| Time (Sync) | Note values | 1/4 | Tempo-synced delay time |
| Width | 0-100% | 0% | Stereo width (0=mono, 100=ping-pong) |
| Dry/Wet | 0-100% | 0% | Effect mix |

Sync Note Values

When Sync is enabled, Time snaps to musical divisions:

| Value | Description |
|-------|-------------|
| 1/1 | Whole note |
| 1/2 | Half note |
| 1/3 | Half note triplet |
| 1/4 | Quarter note |
| 1/6 | Quarter note triplet |
| 1/8 | Eighth note |
| 1/12 | Eighth note triplet |
| 1/16 | Sixteenth note |
| 1/24 | Sixteenth note triplet |
| 1/32 | Thirty-second note |

Parameter Details

Feedback: Controls how much of the delayed signal is fed back into the delay line. Higher values create more repeats.
- 0%: Single echo
- 50%: Moderate decay
- 90%+: Long, building echoes (be careful with feedback buildup)

Diff (Differentiation): Adds subtle variation between left and right delay channels, creating a wider, more organic stereo image without full ping-pong.

Width: Controls stereo behavior.
- 0%: Mono delay (both channels identical)
- 50%: Moderate stereo spread
- 100%: Full ping-pong (echoes alternate left/right)

Usage Tips:

- Tempo-synced 1/8 or 1/16 delays on Lane 1 create rhythmic transient patterns
- Long delays on Lane 3 (sustain) add depth without cluttering transients
- Use Diff for subtle stereo widening without obvious ping-pong
- Keep Feedback moderate when using high Dry/Wet to prevent buildup

Flanger

Classic flanger effect with LFO-modulated delay line and stereo width control for jet, sweep, and chorus-like sounds.

Parameters

| Parameter | Range | Default | Description |
|-----------|-------|---------|-------------|
| Rate (Free) | 0.05-5 Hz | 0.5 Hz | LFO modulation frequency |
| Rate (Sync) | Note values | 1/1 | Tempo-synced LFO rate |
| Feedback | 0-100% | 50% | Resonance/intensity |
| Amount | 0-100% | 50% | Modulation depth |
| Width | 0-100% | 100% | Stereo spread |
| Dry/Wet | 0-100% | 50% | Effect mix |

Sync Note Values

| Value | Description |
|-------|-------------|
| 4/1 | Four bars |
| 3/1 | Three bars |
| 2/1 | Two bars |
| 1/1 | One bar |
| 1/2 | Half note |
| 1/3 | Half note triplet |
| 1/4 | Quarter note |
| 1/6 | Quarter note triplet |
| 1/8 | Eighth note |
| 1/12 | Eighth note triplet |
| 1/16 | Sixteenth note |
| 1/24 | Sixteenth note triplet |
| 1/32 | Thirty-second note |

Parameter Details

Rate: Controls the speed of the LFO sweeping through the delay time.
- Slow rates (0.05-0.2 Hz): Gentle, sweeping movement
- Medium rates (0.3-1 Hz): Classic flanger sweep
- Fast rates (2-5 Hz): Vibrato-like, warbling effect

Feedback: Increases the resonant peak of the comb filtering effect.
- Low feedback: Subtle phase shifting
- High feedback: Intense, metallic, jet-like sweep

Amount: Controls the depth of the LFO modulation.
- Low amounts: Subtle movement
- High amounts: Dramatic sweeping

Width: Spreads the flanger in stereo by offsetting the LFO phase between channels.
- 0%: Mono (both channels in sync)
- 100%: Full stereo (L/R channels 180° out of phase)

Usage Tips:

- Sync to 1/1 or 2/1 for subtle, musical movement
- High feedback on transients creates aggressive metallic attacks
- Use on Lane 3 for swirling sustain textures
- Combine with Delay for complex modulated echoes

Grain

Granular delay effect that slices audio into tiny grains and plays them back with pitch, timing, and envelope variations.

Parameters

| Parameter | Range | Default | Description |
|-----------|-------|---------|-------------|
| Spray | 0-100% | 50% | Grain buffer position randomization |
| Rate (Free) | 0.1-100 Hz | 10 Hz | Grain spawn frequency |
| Rate (Sync) | Note values | 1/16 | Tempo-synced grain rate |
| Pitch | -24 to +24 st | 0 | Grain pitch transposition |
| Shape | 5 options | Round | Grain envelope shape |
| Dry/Wet | 0-100% | 0% | Effect mix |

Sync Note Values

| Value | Description |
|-------|-------------|
| 1/1 | Whole note |
| 1/2 | Half note |
| 1/3 | Half note triplet |
| 1/4 | Quarter note |
| 1/6 | Quarter note triplet |
| 1/8 | Eighth note |
| 1/12 | Eighth note triplet |
| 1/16 | Sixteenth note |
| 1/24 | Sixteenth note triplet |
| 1/32 | Thirty-second note |
| 1/64 | Sixty-fourth note |

Grain Shapes

| Shape | Description |
|-------|-------------|
| Rectangle | Hard on/off, clicking, glitchy |
| Triangle | Linear fade in/out, moderate smoothness |
| Round | Smooth sinusoidal envelope (default) |
| Slope Up | Fade in only, hard cut at end |
| Slope Down | Hard start, fade out |

Parameter Details

Spray: Controls how far back into the audio buffer grains can read.
- 0%: All grains read from the same position (tight, rhythmic)
- 50%: Moderate spread creates textured clouds
- 100%: Maximum spread, very diffuse and ambient

Rate: How frequently new grains spawn.
- Low rates (0.1-2 Hz): Sparse, individual grain events
- Medium rates (5-20 Hz): Textured, cloud-like
- High rates (50-100 Hz): Dense, almost continuous

Pitch: Transposes the playback pitch of each grain.
- Use musical intervals (+12 = octave up, -12 = octave down)
- Combine with Spray for pitch clouds

Shape: The amplitude envelope of each grain.
- Round is smoothest and most natural
- Rectangle creates rhythmic, stuttering textures
- Slope shapes create directional motion

Usage Tips:

- Apply to Lane 1 for granular transient explosions
- Pitch +7 (perfect fifth) or +12 (octave) creates harmonic clouds
- High Spray + slow Rate = ambient pad generator
- Sync to tempo for rhythmic granular patterns
- Use Rectangle shape for glitchy, stuttering effects

Overdrive

Tube-style saturation with tone control for warmth, grit, and harmonic richness.

Parameters

| Parameter | Range | Default | Description |
|-----------|-------|---------|-------------|
| Drive | 0-100% | 50% | Input gain before saturation |
| Freq | 20-20,000 Hz | 1,000 Hz | Tone control center frequency |
| Tone | 0-100% | 50% | Tone shaping (low/high balance) |
| Dry/Wet | 0-100% | 0% | Effect mix |

Parameter Details

Drive: Controls how hard the signal hits the saturation stage.
- 0-30%: Subtle warming, gentle harmonics
- 30-60%: Moderate saturation, noticeable grit
- 60-100%: Heavy distortion, aggressive tone

Freq: Sets the center frequency of the tone control.
- Lower values: Tone control affects bass/low-mids
- Higher values: Tone control affects presence/highs

Tone: Shapes the frequency balance after saturation.
- 0%: Low-pass emphasis, darker sound
- 50%: Neutral balance
- 100%: High-pass emphasis, brighter sound

Usage Tips:

- Light Drive (20-40%) on Lane 1 adds punch to transients
- Heavy Drive on Lane 3 sustain creates fuzzy, sustained distortion
- Adjust Tone based on source—brighter for dull sources, darker for harsh sources
- Use moderate Dry/Wet to retain transient clarity while adding warmth

Pitch

Pitch shifter and frequency shifter with stereo detune and transient-triggered random variation.

Parameters

| Parameter | Range | Default | Description |
|-----------|-------|---------|-------------|
| Transpose | -24 to +24 st | 0 | Pitch shift in semitones |
| Hz Mode | On/Off | Off | Switch to frequency shift mode |
| Freq | -500 to +500 Hz | 0 Hz | Frequency shift (Hz Mode only) |
| Stereo Detune (st) | 0-100 cents | 0 | L/R detuning in cents |
| Stereo Detune (Hz) | 0-100 Hz | 0 Hz | L/R detuning in Hz (Hz Mode) |
| Random | 0-24 st | 0 | Random pitch variation per transient |
| Dry/Wet | 0-100% | 100% | Effect mix |

Operating Modes

Semitone Mode (Default):
- Transpose sets pitch in musical semitones
- Stereo Detune measured in cents (100 cents = 1 semitone)
- Preserves harmonic relationships

Hz Mode:
- Freq shifts by exact frequency in Hz
- Creates inharmonic, metallic effects
- Useful for special effects and sound design

Parameter Details

Transpose: Shifts pitch in semitone steps.
- +12: One octave up
- +7: Perfect fifth up
- +5: Perfect fourth up
- -12: One octave down
- -7: Perfect fifth down

Stereo Detune: Applies opposite detuning to left and right channels, creating width.
- 0: No stereo effect
- 10-20 cents: Subtle widening, chorus-like
- 50+ cents: Dramatic stereo spread

Random: Applies random pitch variation that changes with each transient.
- New random pitch is generated each time a transient is detected
- Range is ± the specified value
- Creates organic, ever-changing pitch effects

Hz Mode Frequency Shift:
- Unlike pitch shifting, frequency shift adds/subtracts a fixed Hz value
- 0 Hz: No change
- Positive values: Shift spectrum up (brighter, metallic)
- Negative values: Shift spectrum down (darker, flanging)

Usage Tips:

- +12 semitones on Lane 1 creates an octave-up transient layer
- Use Random (2-4 st) for organic, varied transient pitches
- Stereo Detune (15-30 cents) adds width without obvious pitch change
- Hz Mode with small values (5-20 Hz) creates subtle frequency shifting effects
- Hz Mode with large values creates robotic, inharmonic textures

Reverb

16-line feedback delay network (FDN) algorithmic reverb with size, decay, and width control.

Parameters

| Parameter | Range | Default | Description |
|-----------|-------|---------|-------------|
| Predelay (Free) | 0-500 ms | 20 ms | Initial delay before reverb |
| Predelay (Sync) | Note values | 1/64 | Tempo-synced predelay |
| Size | 0-100% | 50% | Room size |
| Decay | 0-10,000 ms | 4,000 ms | Reverb tail length |
| Feedback | 0-100% | 50% | Density/diffusion |
| Width | 0-100% | 100% | Stereo spread |
| Dry/Wet | 0-100% | 0% | Effect mix |

Sync Note Values (Predelay)

| Value | Description |
|-------|-------------|
| 0 | No predelay |
| 1/64 | Sixty-fourth note |
| 1/32 | Thirty-second note |
| 1/24 | Sixteenth triplet |
| 1/16 | Sixteenth note |
| 1/12 | Eighth triplet |
| 1/8 | Eighth note |
| 1/6 | Quarter triplet |
| 1/4 | Quarter note |
| 1/3 | Half triplet |
| 1/2 | Half note |
| 1/1 | Whole note |

Parameter Details

Predelay: Time before the reverb tail begins.
- 0-20 ms: Intimate, close sound
- 20-50 ms: Natural room separation
- 50-100 ms: Clear transient before reverb
- 100+ ms: Dramatic separation, rhythmic uses

Size: Controls the perceived room size by adjusting delay line lengths.
- 0-30%: Small rooms, closets, tight spaces
- 30-60%: Medium rooms, studios, chambers
- 60-100%: Large halls, cathedrals, vast spaces

Decay: How long the reverb tail sustains.
- 0-500 ms: Tight, controlled decay
- 500-2,000 ms: Natural room decay
- 2,000-5,000 ms: Long, lush tails
- 5,000-10,000 ms: Infinite-style sustain

Feedback: Controls the density and diffusion of the reverb.
- Low feedback: Sparse, clear reflections
- High feedback: Dense, smooth, washy reverb

Width: Stereo spread of the reverb output.
- 0%: Mono reverb
- 100%: Full stereo (default)

Technical Details

FlickSwitch's reverb uses a 16-line FDN (Feedback Delay Network)

Usage Tips

- Apply to Lane 3 only to reverb sustain without washing out transients
- Tempo-synced predelay (1/8 or 1/16) creates rhythmic space
- Small Size + long Decay = dense pad-like reverb
- Large Size + short Decay = quick hall ambience
- Use on Lane 1 with short Decay for transient "verb splash"

Repeater

Beat repeat / stutter effect that captures audio and loops it rhythmically with jitter and volume decay.

Parameters

| Parameter | Range | Default | Description |
|-----------|-------|---------|-------------|
| Rate (Free) | 0.5-50 Hz | 8 Hz | Repeat rate in Hz |
| Rate (Sync) | Note values | 1/16 | Tempo-synced repeat divisions |
| Repeats | 0-16 | 4 | Number of repeats before release |
| Jitter | 0-100% | 0% | Timing randomization |
| Vol Decay | 0-100% | 0% | Volume reduction per repeat |

Sync Note Values

| Value | Description |
|-------|-------------|
| 1/1 | Whole note |
| 1/2 | Half note |
| 1/3 | Half note triplet |
| 1/4 | Quarter note |
| 1/6 | Quarter note triplet |
| 1/8 | Eighth note |
| 1/12 | Eighth note triplet |
| 1/16 | Sixteenth note |
| 1/24 | Sixteenth note triplet |
| 1/32 | Thirty-second note |

Parameter Details

Rate: How frequently repeats occur.
- Slow rates (0.5-4 Hz): Dramatic, spaced-out stutters
- Medium rates (4-12 Hz): Classic beat repeat feel
- Fast rates (15-50 Hz): Glitchy, granular-like stutters

Repeats: Number of times the captured audio loops.
- 0: No effect (pass-through)
- 1-4: Short bursts
- 8-16: Extended stutter sequences

Jitter: Randomizes the timing of each repeat.
- 0%: Perfectly rhythmic, quantized repeats
- 50%: Moderate human feel, slight timing drift
- 100%: Chaotic, unpredictable timing

Vol Decay: Reduces volume with each repeat cycle.
- 0%: All repeats at equal volume
- 50%: Gradual fade out
- 100%: Rapid fade, echo-like decay

How It Works

The Repeater operates as a state machine:

• IDLE: Waiting for transient trigger
• CAPTURING: Transient detected, recording audio buffer
• REPEATING: Playing back captured buffer N times
• IDLE: Sequence complete, waiting for next trigger

Usage Tips:

- Apply to Lane 1 for transient stutter effects
- 1/16 sync at 4 repeats creates classic beat repeat
- Add Jitter (20-40%) for more organic, human feel
- Vol Decay creates natural echo-like trails
- Use on full drum bus for fill-style effects
- Combine with Pitch effect for pitched stutter

Waveshaper

Wavefolding distortion with drive and asymmetry control for harmonic-rich saturation and extreme mangling.

Parameters

| Parameter | Range | Default | Description |
|-----------|-------|---------|-------------|
| Drive | 0-100% | 50% | Input gain before folding |
| Fold | 0-100% | 1% | Folding amount |
| Asym | 0-1 | 1 | Asymmetry (harmonic balance) |
| Dry/Wet | 0-100% | 0% | Effect mix |

Parameter Details

Drive: Controls the input level hitting the waveshaper.
- Higher drive pushes the signal further into the folding region
- Affects how many folds occur

Fold: Controls the intensity of wavefolding.
- 0-10%: Subtle harmonic enhancement
- 10-30%: Moderate folding, rich harmonics
- 30-60%: Aggressive folding, metallic tones
- 60-100%: Extreme mangling, very distorted

Asym (Asymmetry): Controls the balance between even and odd harmonics.
- 0: Pure odd harmonics (square-wave-like)
- 0.5: Mixed harmonics
- 1: Even/odd balance (default), fuller sound

What Is Wavefolding?

Unlike clipping distortion (which flattens peaks), wavefolding reflects the waveform back on itself when it exceeds a threshold. This creates complex harmonic patterns that grow denser as the signal gets louder.

Clipping: ___/‾‾‾‾‾‾\___ (flat tops)
Folding: ___/\/\/\/\___ (folded peaks)

Usage Tips

- Light Fold (5-15%) on transients adds punch and presence
- Heavy Fold creates synth-like, metallic tones
- Use on Lane 3 for aggressive sustain distortion
- Combine with Overdrive for layered saturation
- Low Asym values sound more "hollow," high values more "full"

FX Chain Routing

Liminal allows flexible routing between effect slots A, B, and C.

Routing Toggles

| Toggle | Effect |
|--------|--------|
| A → B | Routes Slot A output into Slot B input |
| B → C | Routes Slot B output into Slot C input |

Routing Configurations

Parallel Mode (Default)

All three slots process independently:

Input ─┬─► Slot A ─┬─► Output
├─► Slot B ─┤
└─► Slot C ─┘

- Each lane's audio goes directly to its enabled slot(s)
- Slot outputs are summed at the end
- Maximum flexibility, no interaction between effects

Serial A→B Mode

Slot A feeds into Slot B:

Input ─┬─► Slot A ─► Slot B ─┬─► Output
└─► Slot C ───────────┘

- Audio through A is processed again by B
- Slot C remains parallel
- Example: Pitch (A) → Delay (B)

Serial B→C Mode

Slot B feeds into Slot C:

Input ─┬─► Slot A ────────────┬─► Output
└─► Slot B ─► Slot C ──┘

- Audio through B is processed again by C
- Slot A remains parallel
- Example: Delay (B) → Reverb (C)

Full Serial A→B→C Mode

All three slots in series:

Input ─► Slot A ─► Slot B ─► Slot C ─► Output

- Audio passes through all three effects sequentially
- Maximum effect stacking
- Example: Overdrive (A) → Delay (B) → Reverb (C)

Routing Tips:

• Use serial for traditional effect chains: Guitar-style chains often go Distortion → Modulation → Time-based
• Use parallel for independent processing: Different lanes can have completely separate effect paths
• Mix serial and parallel: A→B serial with C parallel gives you a chain plus a separate effect
• Watch gain staging: Serial chains can build up level quickly—adjust slot Dry/Wet accordingly

Global Controls

Input Gain

| Parameter | Range | Default |
|-----------|-------|---------|
| Input Gain | 0-100% | 50% |

Adjusts the level of audio entering Liminal before transient detection and processing.

Usage:
- Increase if transients aren't being detected (signal too quiet)
- Decrease if you're getting false triggers or distortion
- Affects both detection sensitivity and effect input levels

Output Gain

| Parameter | Range | Default |
|-----------|-------|---------|
| Output Gain | 0-100% | 50% |

Adjusts the final output level after all processing.

Usage:
- Compensate for level changes from effects
- Match bypassed and processed levels
- Prevent clipping in your DAW

Global Mix

| Parameter | Range | Default |
|-----------|-------|---------|
| Mix | 0-100% | 100% |

Master dry/wet control that blends the original input signal with all processed output.

Usage:
- 0%: Completely dry (no effect)
- 50%: Equal blend of dry and wet
- 100%: Fully wet (default)
- Use for parallel processing—keep some dry signal for punch

Bypass

| Parameter | Range | Default |
|-----------|-------|---------|
| Bypass | On/Off | Off |

Bypasses all Liminal processing, passing input directly to output.

Notes:
- Useful for A/B comparison
- Automatable for creative effect drops
- Zero latency when bypassed

Performance Mode

Performance Mode transforms the FX send buttons from toggle switches into momentary gated triggers, ideal for live performance and real-time effect manipulation.

Enabling Performance Mode

Click the Perf button in the global controls to toggle Performance Mode on/off.

How It Works

| Mode | Button Behavior |
|------|------------------------------------------------------|
| Normal (Off) | Click to toggle send on/off permanently |
| Performance (On) | Hold to send, release to stop. Double click to latch |

Use Cases:

• Live Effect Throws: Hold FX send to add reverb/delay during a breakdown, release to return to dry
• Real-Time Builds: Gradually engage more FX sends during a buildup
• Momentary Chaos: Quick bursts of extreme effects (bitcrush, repeater)
• DJ-Style Effects: Beat-synced effect punches on specific hits

MIDI Control in Performance Mode

Performance Mode works with MIDI note control:

| Lane | FX A | FX B | FX C |
|------|------|------|------|
| Lane 1 | C1 (24) | D1 (26) | E1 (28) |
| Lane 2 | F1 (29) | G1 (31) | A1 (33) |
| Lane 3 | B1 (35) | C2 (36) | D2 (38) |

- Note On: FX send activates
- Note Off: FX send deactivates
- Works with pad controllers, keyboards, or drum triggers

Sidechain Compression

Liminal includes a sidechain compressor that ducks lanes based on the level of a selected "master" lane.

Parameters

| Parameter | Range | Default | Description |
|-----------|-------|---------|-------------|
| SC Master | Off, Lane 1, 2, 3 | Off | Source lane for sidechain key |
| SC Ratio | 1:1 to 64:1 | 64:1 | Compression ratio |
| SC Attack | 0.1-100 ms | 10 ms | Compressor attack time |
| SC Release | 10-1,000 ms | 150 ms | Compressor release time |

How It Works

• Select a lane as "SC Master" (e.g., Lane 1)
• The master lane passes through its effects normally
• The master lane's output level becomes the "key" signal
• When the key signal is loud, other lanes are compressed/ducked
• When the key signal is quiet, other lanes return to normal

Signal Flow

Lane 1 (SC Master) ─────────────────────────────► Output
│
└─► Key Signal ─► Compressor ─┐
│
Lane 2 ─────────────────────► [Duck] ──┴─► Output
Lane 3 ─────────────────────► [Duck] ──┴─► Output

Parameter Details

Ratio: How aggressively the compressor reduces gain.
- 1:1: No compression
- 4:1: Moderate ducking
- 10:1: Strong ducking
- 64:1: Near-limiting (effectively a gate)

Attack: How quickly compression engages when the key signal rises.
- Fast (0.1-5 ms): Immediate ducking, can affect transients
- Medium (5-30 ms): Natural response
- Slow (30-100 ms): Transients pass through, body is ducked

Release: How quickly compression releases when the key signal falls.
- Fast (10-50 ms): Quick recovery, can cause pumping
- Medium (50-200 ms): Natural, smooth recovery
- Slow (200-1,000 ms): Sustained ducking, smooth tails

Use Cases

• Transient Clarity: Set Lane 1 as SC Master to duck reverb/delay when hard transients hit
• Pumping Effects: Fast attack, medium release creates rhythmic pumping
• Clean Layering: Keep sustain effects from masking transient processing
• Dynamic Space: Reverb swells up during quiet moments, ducks during hits

Preset System

Liminal includes a professional preset management system for saving, loading, and organizing your sounds.

Preset Browser

Access the preset browser from the header bar. Features include:

• Factory Presets: Pre-designed starting points organized by category
• User Presets: Your saved custom settings
• Favorites: Quick access to starred presets
• Search: Find presets by name

Saving Presets

• Click Save in the header bar
• Enter a preset name
• Optionally add:
  - Creator name
  - Description
  - Tags for organization
• Click Save

Loading Presets

• Open the preset browser
• Navigate or search for a preset
• Click to load

Randomize Function

Click Randomize to generate random effect settings. This randomizes:
- Effect selections
- Effect parameters (those marked as randomizable)
- FX send routing

Tip: Use Randomize for creative inspiration, then fine-tune from there.

Undo/Redo

Liminal tracks all parameter changes with full undo/redo history:
- Undo: Cmd+Z (Mac) / Ctrl+Z (Windows)
- Redo: Cmd+Shift+Z (Mac) / Ctrl+Shift+Z (Windows)

Preset File Location

User presets are stored in:
- macOS: `~/Music/FlickSwitch/presets/`
- Windows: `Music\FlickSwitch\presets\`

Hot Reload

Liminal monitors the preset folder for changes. If you add, modify, or delete preset files externally, the browser updates automatically.

MIDI Control

Liminal supports MIDI control for real-time parameter manipulation.

DAW Automation

Most parameters can be automated from your DAW. In your DAW's automation lane, look for Liminal parameters organized by category. Parameters marked "Automatable: Yes" in this manual can be automated.

Performance Mode MIDI Mapping

Liminal responds to MIDI notes for triggering FX sends in Performance Mode. See 'Performance Mode' section above for the default MIDI note mappings.

Troubleshooting

No Sound Output

| Check | Solution |
|-------|----------|
| Lanes muted | Ensure lane Mute buttons show enabled (unmuted) |
| No FX sends | Enable at least one FX send (A, B, C) per lane |
| Effect Dry/Wet at 0% | Increase effect slot Dry/Wet |
| Global Mix at 0% | Increase Global Mix |
| Output Gain at 0% | Increase Output Gain |
| Bypass enabled | Disable Bypass |

Transients Not Detecting

| Check | Solution |
|-------|----------|
| Thresholds too high | Lower Threshold 1 and 2 |
| Input too quiet | Increase Input Gain |
| Wrong detection mode | Try Percussive mode for drums |
| EQ filtering wrong frequency | Adjust EQ filter or disable |
| Sensitivity too low | Increase Sensitivity A/B |

False Triggers / Noise Triggering

| Check | Solution |
|-------|----------|
| Floor too low | Raise Threshold Floor |
| Sensitivity too high | Lower Sensitivity A/B |
| Thresholds too low | Raise thresholds |
| Noisy source | Use noise gate before FlickSwitch |

Effects Sound Wrong

| Check | Solution |
|-------|----------|
| Sync not matching tempo | Enable Sync; ensure DAW tempo is set |
| Routing unexpected | Check A→B, B→C routing toggles |
| Multiple lanes to same slot | Intentional—signals sum together |

High CPU Usage

| Check | Solution |
|-------|----------|
| Too many effects | Disable unused effect slots |
| High Grain density | Lower Grain Rate |
| Long reverb tails | Reduce Reverb Decay |
| Oversampling (if available) | Reduce oversampling factor |

Plugin Not Appearing in DAW

| Platform | Solution |
|----------|----------|
| macOS | Verify files in `/Library/Audio/Plug-Ins/`, rescan plugins |
| Windows | Verify files in VST3 folder, rescan plugins |
| All | Check DAW supports VST3/AU format |

Parameter Reference

Quick Reference Table

All parameters with their ranges and defaults:

Transient Detection

| Parameter | Range | Default | Automatable |
|-----------|-------|---------|-------------|
| Threshold 1 | -70 to +6 dB | -6 dB | Yes |
| Threshold 2 | -70 to +6 dB | -15 dB | Yes |
| Threshold 3 | -70 to +6 dB | -30 dB | Yes |
| Threshold Floor | -70 to +6 dB | -60 dB | Yes |
| Sensitivity A | 0-100 | 50 | No |
| Sensitivity B | 0-100 | 50 | No |
| Lookahead | 0-10 ms | 10 ms | No |
| Mode | Percussive/Sustained/Adaptive | Percussive | Yes |
| EQ Enable A | On/Off | Off | No |
| Type A | LP/BP/HP | LP | No |
| Freq A | 20-20,000 Hz | 1,000 Hz | No |
| Res A | 0.1-12 | 0.71 | No |
| EQ Solo A | On/Off | Off | No |
| EQ Enable B | On/Off | Off | No |
| Type B | LP/BP/HP | LP | No |
| Freq B | 20-20,000 Hz | 1,000 Hz | No |
| Res B | 0.1-12 | 0.71 | No |
| EQ Solo B | On/Off | Off | No |

Lanes (×3)

| Parameter | Range | Default | Automatable |
|-----------|-------|---------|-------------|
| Mute | On/Off | On (unmuted) | Yes |
| Solo | On/Off | Off | Yes |
| Gain | 0-100% | 50% | Yes |
| FX Send A | On/Off | Off | Yes |
| FX Send B | On/Off | Off | Yes |
| FX Send C | On/Off | Off | Yes |

Global

| Parameter | Range | Default | Automatable |
|-----------|-------|---------|-------------|
| Input Gain | 0-100% | 50% | Yes |
| Output Gain | 0-100% | 50% | Yes |
| Mix | 0-100% | 100% | Yes |
| Bypass | On/Off | Off | Yes |
| Performance Mode | On/Off | Off | No |
| SC Master | Off/Lane 1/2/3 | Off | No |
| SC Ratio | 1:1 to 64:1 | 64:1 | No |
| SC Attack | 0.1-100 ms | 10 ms | No |
| SC Release | 10-1,000 ms | 150 ms | No |

FX Routing

| Parameter | Range | Default | Automatable |
|-----------|-------|---------|-------------|
| A → B | On/Off | Off | Yes |
| B → C | On/Off | Off | Yes |

Effect Parameters

See individual effect sections above for complete parameter listings.