01Getting Started & Install
FORGE is a modular effects rack. Instead of one fixed effect, you drop modules into a rack — up to thirteen slots — and build exactly the processor a track needs: a compressor into an EQ into a reverb, a parallel drive branch, a tempo-synced delay on a send. There are fourteen module types across dynamics, tone, space, and digital, and every one is drawn as its own anodized card with a live scope so you can see what it does.
What you get
- VST3 and Standalone on macOS and Windows.
- Audio Unit (AU) additionally on macOS, for Logic and other AU hosts.
- Mac builds are Universal (Apple Silicon + Intel) and Apple-notarized, so they open without security warnings.
Install — the one-click installer (recommended)
- macOS — open
FORGE Installer.pkgand follow the prompts. It's Universal (Apple Silicon + Intel) and Apple-notarized — installs clean, no warnings. It places the VST3, AU and Standalone for you and removes any older copy so you never run a stale build. - Windows — run
FORGE Installer.exe. (Right-click the.zip→ Properties → tick Unblock before extracting if shown; if SmartScreen appears, More info → Run anyway.) - Launch your DAW and rescan plug-ins if it does not scan on start. In Logic, run the AU Manager if FORGE does not appear immediately.
Prefer to place the files yourself?
- macOS — copy the components manually: the VST3 to
/Library/Audio/Plug-Ins/VST3, the AU to/Library/Audio/Plug-Ins/Components, and the Standalone app to/Applications. - Windows — copy
FORGE.vst3intoC:\Program Files\Common Files\VST3; the StandaloneFORGE.execan live anywhere convenient. Rescan VST3 plug-ins in your DAW.
First launch
FORGE loads with an empty rack. Press + MODULE to open the palette, pick an effect, and turn the knobs. That is the whole workflow — everything else in this manual is there for when you want it.
02Signal Flow & the Rack
FORGE is drawn as a resizable rack chassis with mounting rails and machined cards. Audio enters at the top, flows card to card down the rack, and exits through the master bus.
The header
- FORGE nameplate and the NHOF mark.
- OUTPUT meter — a fast-attack / slow-release peak meter that turns red near clip.
- MASTER BUS — the final output-gain rotary, applied after the whole rack and any aux returns.
- AUTO-GAIN — a loudness match so a heavy chain does not jump in level (see §7).
- + MODULE — opens the palette to add a card.
Each module card
Every slot is a card tinted by its module family — dynamics, tone, space, or digital — with an engraved nameplate, machined knobs that glow in the accent colour, and a live scope. On the card you get:
- A knurled drag handle — grab it to reorder the card.
- < / > buttons — nudge the card one slot left or right.
- ON / BYP — a backlit power LED; bypassed modules are skipped entirely and add no latency.
- A mode chip on modules that have modes (e.g. the compressor's OPTO / FET / VCA / BUS).
- I/O — the routing button (see §4); its label shows the current route, e.g.
C>M(chain to master). - x — remove the module.
- A corner ⤢ glyph on the scope — opens the expandable pop-out.
The window is fully resizable, and every card scales with it — a wider window reads as a genuinely wider rack.
03Building a Chain
Add, remove, reorder
Press + MODULE to open the palette — a grid of all fourteen module types laid out by family. Click a tile and the module is appended to the rack with its factory defaults. Remove a card with its x; reorder by dragging the knurled handle or with the card's </> buttons. You can hold up to thirteen modules at once.
Bypass & mode
The ON/BYP button on each card toggles that module in or out of the signal; a bypassed module costs no CPU and adds no latency. Modules with sonic variants show a mode chip — for example the reverb's PLATE / HALL / ROOM / SPRING, or the delay's SYNC / MS / PINGPONG.
A few starting points
- Vocal chain: Gate (de-ess) → Compressor (OPTO) → Equalizer → Reverb on a send.
- Drum bus: Transient → Compressor (BUS) → Drive (parallel branch) → Limiter.
- Synth widener: Filter → Modulate → Imager → Delay (host-synced).
04Routing & Aux Buses
By default a card is a serial insert: audio flows in the top and out the bottom, card to card. When you want more than a straight line, each card's I/O button opens a routing menu with an INPUT and an OUTPUT choice. FORGE gives you eight stereo aux buses alongside the main chain and master.
| Route | Set | What happens |
|---|---|---|
| Serial insert | Input = Chain, Output = Master | Classic in-place processing (the default). Label C>M. |
| Parallel branch | Input = In 1–8, Output = Master | Takes an aux input, processes it, and sums the result into the main mix — parallel compression, blend-in distortion, and so on. |
| Send | Output = Out 1–8 | The module's output goes to that aux bus and the main chain is left untouched — a true effects send (e.g. a reverb send). Multiple sends accumulate on a bus. |
The host exposes matching In 1–8 and Out 1–8 buses (enabled as you use them) so you can wire FORGE's sends and returns to your DAW. Routed and parallel modules process into their own scratch buffers and are summed at the destination, so master gain applies everywhere.
05Effect Modules
Fourteen module types across four families. Every knob shows 0–1 on screen but scales to the real engineering ranges below (log-tapered where noted). Dynamics modules report live gain-reduction to their scope.
Compressor — OPTO / FET / VCA / BUS
A feed-forward, log-domain compressor with a stereo-linked peak detector and soft/hard knee. Each mode re-tunes the ballistics: FET is fast (halved attack), OPTO and BUS are slower on release — the bus mode is the classic mix-glue voicing.
| Control | Range | Default |
|---|---|---|
| THRESH | −60…0 dB | −18 |
| RATIO | 1…20 :1 | 4 |
| KNEE | 0…40 dB | 24 |
| ATTACK | 0.1…100 ms (log) | 12 |
| RELEASE | 10…1000 ms (log) | 120 |
| MAKEUP | 0…24 dB | 3 |
Gate — GATE / EXPAND / DE-ESS
A per-sample gate / downward expander with a split-band de-esser sidechain. Release is derived from HOLD.
| Control | Range | Default |
|---|---|---|
| THRESH | −60…0 dB | −42 |
| RANGE | −60…0 dB | −30 |
| HOLD | 0…200 ms | 40 |
| DE-ESS | 2–12 kHz (log) | 6.5k |
| AMT | −12…0 dB | −4 |
Limiter — true-peak brickwall
A look-ahead brickwall limiter (~2 ms look-ahead, reported to the host as latency for delay compensation), instant attack with a smoothed auto-release, output clamped to the ceiling. THRESH acts as drive into the wall.
| Control | Range | Default |
|---|---|---|
| THRESH | −24…0 dB | −6 |
| CEILING | −3…0 dB | −1 |
| RELEASE | 1…500 ms (log) | 80 |
Transient — attack / sustain shaper
A dual fast/slow envelope-follower shaper — boost or soften the attack and lengthen or tighten the sustain, independent of level.
| Control | Range | Default |
|---|---|---|
| ATTACK | −12…12 dB | 6 |
| SUSTAIN | −12…12 dB | −3 |
| SENS | 0…100 % | 54 |
| OUTPUT | −12…12 dB | 0 |
Equalizer — 6-band parametric, M/S capable
HPF → low shelf (120 Hz) → two sweepable mid bells → high shelf (8 kHz) → LPF.
| Control | Range | Default |
|---|---|---|
| LOW / HIGH | ±18 dB shelves | 2.5 / 1.5 |
| L-MID / H-MID | ±18 dB bells | −3 / 4 |
| LM FREQ | 120–2000 Hz (log) | 420 |
| HM FREQ | 800–12000 Hz (log) | 2400 |
| HPF / LPF | 20–400 / 3k–20k Hz | 30 / 19k |
Parametric EQ — 8-band, STEREO / M/S
Eight bands: band 1 a low shelf, bands 2–7 sweepable bells sharing one Q, band 8 a high shelf. Every band's frequency and gain is a knob, and each band's curve type (bell / shelf / high-pass / low-pass) is switchable by clicking its handle on the scope.
| Control | Range | Default |
|---|---|---|
| LOW F … HIGH F | bands 1–8, 30 Hz → 20 kHz (log) | 80 · 160 · 350 · 750 · 1.6k · 3.5k · 7k · 12k |
| G1…G8 | ±18 dB each | 0 |
| Q | 0.3…3.0 | 1.0 |
Filter — multimode, LP24 / BP / HP / NOTCH
A zero-delay-feedback state-variable filter with in-loop tanh drive and self-oscillation; LP24 cascades two 12 dB sections. A sine LFO can sweep the cutoff.
| Control | Range | Default |
|---|---|---|
| CUTOFF | 40–18000 Hz (log) | 1800 |
| RESO | 0.1…18 Q | 4 |
| DRIVE | 0…12 dB | 2 |
| LFO | 0…12 Hz | 0 |
| DEPTH | 0…4000 Hz | 0 |
Drive — tube / tape / fuzz
A precisely modeled waveshaper run through a 2× oversampler, with a bias control for even-harmonic asymmetry and a high-shelf tone at 3 kHz — from gentle valve warmth to hard fuzz.
| Control | Range | Default |
|---|---|---|
| DRIVE | 1…24 | 6.4 |
| TONE | −12…12 dB | 2 |
| BIAS | 0…100 % | 54 |
| MIX | 0…100 % | 80 |
| OUT | −24…6 dB | −1 |
Distortion — SOFT / HARD / FOLD / RECT
Pre-gain into a precisely modeled distortion curve through a 2× oversampler, with a high-shelf tone at 2.5 kHz, wet/dry mix, and an output trim.
| Control | Range | Default |
|---|---|---|
| GAIN | 0…36 dB | 14 |
| TONE | −12…12 dB | 3 |
| EDGE | 0…100 % | 62 |
| MIX | 0…100 % | 70 |
| OUT | −24…6 dB | −3 |
Reverb — PLATE / HALL / ROOM / SPRING
An algorithmic 4-line feedback delay network with Hadamard mixing, per-line damping, and predelay; the mode re-scales size and decay.
| Control | Range | Default |
|---|---|---|
| SIZE | 0…100 % | 62 |
| DECAY | 0.2…8 s | 2.4 |
| PREDLY | 0…150 ms | 24 |
| DAMP | 800–16000 Hz (log) | 6000 |
| WIDTH | 0…100 % | 100 |
| MIX | 0…100 % | 28 |
Delay — SYNC / MS / PINGPONG
A fractional delay line with feedback, in-loop tone low-pass, and tape-style wow/flutter; ping-pong cross-feeds the channels. When host sync is on, times lock to the DAW tempo (see §8).
| Control | Range | Default |
|---|---|---|
| TIME | 0.02…1.5 s | 0.35 |
| FDBK | 0…95 % | 38 |
| TONE | 800–16000 Hz (log) | 6000 |
| WOW | 0…100 % | 18 |
| MIX | 0…100 % | 26 |
Modulate — chorus / flange / phase
An LFO-swept fractional delay with feedback; PHASE mode uses four modulated all-pass stages. WIDTH spreads the LFO across the stereo field. LFO rate can lock to host tempo.
| Control | Range | Default |
|---|---|---|
| RATE | 0.05…8 Hz (log) | 0.8 |
| DEPTH | 0…100 % | 42 |
| FDBK | 0…90 % | 20 |
| WIDTH | 0…100 % | 100 |
| MIX | 0…100 % | 35 |
Bitcrusher — CRUSH / DECIMATE / NOISE
A bit quantizer plus a sample-and-hold sample-rate reducer for classic lo-fi character. All jitter/noise comes from a seeded generator, so it is deterministic and the audio thread never calls a global RNG.
| Control | Range | Default |
|---|---|---|
| BITS | 1…16 bit | 8 |
| RATE | 1000–44100 Hz (log) | 11025 |
| JITTER | 0…100 % | 12 |
| MIX | 0…100 % | 50 |
Imager — multiband width, STEREO / MS / 3-BAND
FORGE's utility module: a mid/side matrix with a low-mono crossover (bass stays mono) and rotation. Widen or narrow the stereo image safely, without collapsing the low end.
| Control | Range | Default |
|---|---|---|
| WIDTH | 0…200 % | 128 |
| LOW-MONO | 20–400 Hz (log) | 120 |
| ROTATE | −45…45° | 0 |
06Live Visualizers
One shared analysis, per-module scopes
Every card carries a live glass scope, but they share a single efficient analysis path. The focused card (the one you clicked) feeds a lock-free spectrum, and on the UI thread a single 2048-point FFT runs at 30 fps, log-binned for the EQ and filter scopes. The focused card's bezel brightens so you know which module is driving the spectrum.
Each module type draws its own overlay: the EQ and 8-band EQ draw an exact magnitude curve with draggable band handles over the live spectrum; the compressor and limiter draw the I/O curve with a live operating dot and a gain-reduction trail; the imager draws a goniometer with a correlation readout; drive, distortion, and bitcrush draw their transfer curve with a live sample dot; the reverb, delay, mod, and transient modules draw their envelopes and LFOs. A live output-level bar runs along the bottom of every scope.
Patch cables
When you route a module to an aux bus, a glowing curved patch cable is drawn from its OUT jack to the numbered node on the bottom aux-patch rail, with animated flowing dots whose speed and brightness follow that bus's live level — a real-time picture of your routing.
Expandable pop-outs
Click the ⤢ glyph in a scope's corner to open a large, centred, resizable mirror of that module's scope over a dimmed backdrop — for detailed metering or curve editing. Close it with the ✕ CLOSE button, the Escape key, or a click on the backdrop; drag the corner handle to resize it.
07Master & Auto-Gain
Master bus & output meter
The MASTER BUS rotary sets the final output gain after the whole rack (and any aux returns). The header OUTPUT meter shows the result and turns red as it approaches clip.
Auto-gain
The AUTO-GAIN toggle applies a loudness match so that switching a heavy chain in and out — or A/B-ing two rack setups — does not change perceived level, letting you judge the tone of a chain, not just its loudness.
08Host-BPM Sync
Sync to Host BPM is on by default. Each block, FORGE reads the host's tempo and pushes it to every module, so time-based effects line up to the DAW clock.
- The delay's synced times snap to musical divisions of the host tempo.
- Modulation (chorus / flange / phase) and any tempo-aware LFO lock to the beat.
- Turn sync off and those modules use their own TIME / RATE knobs directly.
Because FORGE also runs standalone and inside The Blapp Machine, the same sync follows Blapp's transport when it is the host — your tempo-based effects stay locked whether you are in a DAW, in Blapp, or running FORGE on its own.
09Bouncing & Printing
Printing a FORGE chain
- Bounce or freeze exactly as you would any other effect — FORGE prints its full processed output, aux returns included.
- The result is bit-identical whether the FORGE window is open or closed, because the scopes are read-only taps. You do not need to open the editor to print correctly.
- The limiter reports its ~2 ms look-ahead as latency, so hosts that do delay compensation keep your bounce in time.
- Reverb and delay tails are reported to the host so their trails are captured, not cut off.
Offline vs. real-time
Offline (fast) rendering hands FORGE much larger blocks than live playback. FORGE sizes all of its internal buffers to whatever block the host asks for and never allocates on the audio thread, so an offline bounce sounds identical to real-time playback — just faster.
10Presets & State
The whole rack — which modules are in which slots, their bypass state, their routing, and every knob position — is saved with the plugin. A chain recalls exactly inside a DAW session, and you can save your own full-rack setups as host presets. Because every parameter is a real plugin parameter, you can also automate any knob from your DAW.
11Troubleshooting & FAQ
FORGE does not appear in my DAW
Rescan plug-ins. On macOS the VST3 lives in /Library/Audio/Plug-Ins/VST3 and the AU in /Library/Audio/Plug-Ins/Components; in Logic, reset the AU cache via the AU Manager. On Windows, confirm FORGE.vst3 is in C:\Program Files\Common Files\VST3.
macOS says the app is from an unidentified developer
It should not — the Mac builds are Apple-notarized. If you copied a build manually and macOS still complains, right-click the app and choose Open once to clear the quarantine flag.
My tempo-synced delay is not locking to the beat
Confirm Sync to Host BPM is on and the delay is in SYNC mode. In standalone, the tempo comes from FORGE's own transport / Blapp; in a DAW it follows the host tempo.
A parallel or send module is silent
Check the module's I/O label. A parallel branch needs an Input = In 1–8 that is actually receiving audio; a send routes its output to Out 1–8 and leaves the main chain untouched — make sure something is returning that bus.
The output meter is red
Lower the MASTER BUS rotary, or add a Limiter as the last module. Enabling AUTO-GAIN also helps keep a heavy chain at a sane level.
Does opening the window change my sound or CPU?
No. All metering and analysis is disabled when no editor is open, and the taps are read-only. Bypassed modules also cost nothing, so trim your rack by bypassing what you are not using.
Can I run FORGE inside The Blapp Machine?
Yes — FORGE runs standalone, as a plug-in in your DAW, and hosted inside The Blapp Machine, all under the same license. Host-BPM sync follows whichever host is driving the transport.