Frequently Asked Questions

After purchasing, you'll receive an email with a "View Order" button. Click that and you will be taken to a page with download links for both Mac and Windows installers. Simply download the installer for your operating system and follow the on-screen instructions. The plugin will automatically install to your default VST3/AU/AAX plugin folder. Then open your DAW and rescan for new plugins.

Installation paths:

• macOS AU: /Library/Audio/Plug-Ins/Components/

• macOS VST3: /Library/Audio/Plug-Ins/VST3/

• macOS AAX: /Library/Application Support/Avid/Audio/Plug-Ins/

• Windows VST3: C:\Program Files\Common Files\VST3\

• Windows AAX: C:\Program Files\Common Files\Avid\Audio\Plug-Ins\

Your license key will be emailed to you after purchase. Open the plugin in your DAW and select "Enter License Key" in the activation window. Enter your license key (format: XXXXXXXX-XXXX-XXXX-XXXX-XXXXXXXXXXXX) and click Activate. Make sure you're connected to the internet for the first activation. Once activated, the plugin works offline.

You can try our plugins free for 14 days with full functionality. Download and install the plugin, then click "Start 14-Day Demo" when the activation overlay appears. No credit card required. The demo includes all features with no audio watermarks or limitations. After 14 days, you'll need to purchase a license to continue using the plugin.

Our plugins work with all major DAWs that support VST3, AU, or AAX format plugins, including:

• Ableton Live (10+)

• Logic Pro (10.5+)

• Pro Tools (2020+)

• FL Studio (20+)

• Reaper (6+)

• Cubase (11+)

• Studio One (5+)

• Bitwig (4+)

• Reason (11+)

• GarageBand (10.4+)

If your DAW supports VST3 (Windows/Mac), AU (Mac), or AAX (Mac/Windows), our plugins will work.

After purchase, you'll receive an email from Lemon Squeezy with your license key and download links. You can also access your downloads anytime by logging into your Lemon Squeezy account with the email you provided at purchase at lemonsqueezy.com. If you can't find the email, check your spam folder or contact us at orraaudio.com/support.

Yes! Your license allows installation on up to 3 computers that you personally own and use. This is ideal for a studio desktop, laptop, and home setup. You cannot share your license with others. If you need to deactivate a computer to free up a slot, use the deactivation option in the plugin settings by clicking the Orra logo.

Check your email for the original purchase confirmation from Lemon Squeezy. You can also log into your Lemon Squeezy account using the email you provided at purchase to view your purchases and license keys. If you still can't find it, contact us at orraaudio.com/support with your purchase email address, and we'll resend your license key within 72 hours.

License transfers are handled on a case-by-case basis. Contact us at orraaudio.com/support with details about why you want to transfer, and we'll work with you to make it happen if possible. Please note that transferred licenses cannot be transferred again. We do not support resale through unauthorized third-party marketplaces.

To deactivate a plugin from a computer: Open the plugin in your DAW, click the Orra logo in the top-left corner, and select "Deactivate License." This will free up one of your 3 activation slots. If you no longer have access to that computer (sold, broken, etc.), contact us at orraaudio.com/support and we can manually reset your activations.

Our plugins validate your license online periodically. Once activated, the plugin works offline.

All updates within the 1.x version line are completely free for existing license holders. This includes bug fixes, new features, and performance improvements. Major version upgrades (2.0, 3.0, etc.) may require a paid upgrade, but existing customers may receive loyalty discounts.

Absolutely! All our plugins are fully native on Apple Silicon processors, providing optimal performance on M1, M2, M3, and M4 Macs without needing Rosetta translation. You'll experience excellent CPU efficiency and fast load times on these machines.

macOS:

• macOS 10.13 (High Sierra) or later

• Intel or Apple Silicon (native support)

• VST3, AU, or AAX compatible DAW

• 4GB RAM minimum (8GB recommended)

Windows:

• Windows 10 or later (64-bit only)

• Intel or AMD processor

• VST3 or AAX compatible DAW

• 4GB RAM minimum (8GB recommended)

Both platforms:

• 100MB free disk space

• Internet connection for activation

Orra EQ is designed for zero-latency operation. The plugin introduces 0 samples of latency, making it perfect for tracking and live monitoring as well as mixing and mastering.

Orra EQ is highly optimized and uses approximately 0.1-3% CPU on modern systems with a typical configuration. CPU usage increases slightly when using multiple saturation bands or the spectrum analyzer at high refresh rates. You can reduce CPU usage by lowering the analyzer refresh rate in the settings.

Orra EQ supports all standard sample rates from 44.1kHz to 192kHz and beyond. The plugin automatically adapts to your project's sample rate. Higher sample rates provide more headroom for high-frequency processing but use more CPU.

If your plugin doesn't appear in your DAW:

1. Rescan plugins in your DAW's preferences/settings

2. Verify installation path - ensure the plugin installed to a folder your DAW scans

3. macOS: Check System Preferences > Security & Privacy if the plugin was blocked

4. Windows: Make sure you're scanning the correct VST3 folder

5. Restart your DAW after installation

6. Restart your computer if needed

If issues persist, reach out via our orraaudio.com/support with your DAW and OS version.

Dynamic Saturation works like upward compression, but instead of adding gain to quiet signals, it adds saturation. It intelligently applies more harmonic enhancement to quiet signals while keeping loud peaks relatively clean.

Signals below the threshold receive progressively more saturation the quieter they are—bringing up low-level detail with rich harmonic content without over-saturating loud sections.

Available in: Orra Tube, Tape, and Models

Controls: Independent Threshold, Drive, Attack, and Release per band

Perfect for:

• Adding body to soft vocal phrases

• Enhancing fingerpicking detail on acoustic guitar

• Bringing out room ambience with warmth

• Adding presence to bass fret noise

All while maintaining natural dynamics and preventing muddy loud passages.

Snap to Key automatically aligns multiple selected bands to notes within your song's musical key. Instead of eyeballing frequencies or calculating harmonic relationships manually:

1. Select multiple bands (click and drag to create a selection box)

2. Right-click any selected control point and choose "Snap to Key"

3. Select a scale: Major, Minor, Major Pentatonic, or Minor Pentatonic

4. Each band snaps to the nearest note in that key

This creates harmonically coherent EQ adjustments that reinforce the song's tonality rather than working against it.

Use cases:

• Building parallel boosts at fundamental frequencies and overtones

• Creating chord-based EQ curves

• Ensuring corrective notches target problematic notes without affecting musical content

Snap to Note is also available for single-band precision frequency targeting.

Unlike most modern EQs that process bands in parallel, Orra EQ routes audio through bands sequentially—just like cascaded analog circuits.

Each band shapes the signal before passing it to the next, creating natural interactions between equalization stages and allowing saturation harmonics to build organically through the chain.

Why it matters:

Drive one band into tube saturation, follow it with tape compression, and the cumulative effect is richer and more complex than either could achieve independently. The series architecture delivers the kind of harmonic density and tonal complexity that made classic analog gear legendary.

This isn't just a technical detail—it's fundamental to Orra EQ's character.

Orra EQ includes 17 saturation algorithms across three categories:

Orra Tube: Musical tube saturation based on vintage preamp characteristics with asymmetric distortion for warm, silky enhancement.

Tape (6 models):

• Studio Reference (clean mastering)

• Console Master (bright punch)

• Multitrack Wide (balanced studio)

• Vintage Mono (dark vintage)

• Valve Preamp (thick tube-driven)

• Half-Inch HiFi (professional authority)

Each tape model offers three tape speeds and four noise reduction types.

Models (10 algorithms):

• Vintage Preamp • Power Tube • Transistor

• Diode (Germanium) • Diode (Symmetric) • Wavefolder

• Bit Crusher • British Console • VCA Console • Exciter

Because all saturation types live within the series signal chain, you can stack multiple algorithms using multible bands for complex harmonic textures.

Dynamic EQ in Orra EQ allows frequency-specific compression. Each band can respond dynamically to signal level:

Controls:

• Threshold: Signal level where dynamic processing begins

• Ratio: Amount of dynamic range reduction

• Attack/Release: How quickly the band responds

Use cases:

• De-essing: Tame harsh sibilance at 6-8kHz only when problematic

• De-resonance: Control room modes or instrument resonances

• Bass management: Control low-end buildup in dense mixes

Unlike static EQ, Dynamic EQ only processes when needed, maintaining natural tonality while controlling specific problems.

Yes! Orra EQ includes the abilibty to create and save presets across categories:

• Vocal (lead, background, de-essing, presence)

• Mastering (gentle enhancement, vintage warmth, modern clarity)

• Creative (lo-fi, tape crush, radio voice, telephone)

• Corrective (rumble removal, harshness taming, mud cleanup)

• Instruments (acoustic guitar, electric guitar, bass, drums, piano, synths)

• User

All presets are fully editable starting points. The preset browser includes search and favorites for quick access.

Snapshot History is Orra EQ's built-in undo system that automatically saves your work as you go. Every meaningful change creates a timestamped snapshot you can instantly recall.

Features:

• Up to 100 snapshots per session (oldest snapshots auto-delete after 100)

• Timestamp and description for each snapshot

• Non-destructive - snapshots persist until you close the plugin

• Quick A/B comparison between snapshots

• Newest snapshot appears at the bottom of the scroll list

• Perfect for client revisions or exploring creative ideas

Think of it as an intelligent "local versions" system that captures your creative process without needing to save multiple project files.

Orra EQ's spectrum analyzer provides real-time frequency visualization with multiple display modes:

Display Modes:

• Linear FFT: Traditional frequency spectrum (great for precision work)

• Octave Bands: Musical representation (easier to read for creative decisions)

• Hybrid: Combines both approaches

Features:

• Adjustable refresh rate (Slow/Medium/Fast/Real-time)

• Pre/Post metering (see before and after EQ curve)

• Peak hold markers

You can show/hide the analyzer components individually via the colord circle toggles in the header or adjust its refresh rate to balance visual feedback with CPU usage.

Solo Mode lets you hear only what a specific band is doing:

• Mutes all other bands so you can isolate a single band's effect on the whole signal

• Perfect for surgical corrections or identifying problem frequencies

• Hear saturation or dynamic processing in context

• Click the "S" button on any band to solo it, or right click the control point and select "Solo" from the menu

Delta Mode lets you hear only what you're adding or removing in your selected band:

• Hear only the difference between the input and output

• Perfect for ensuring you're not removing wanted content

• Great for checking if de-essing or resonance removal is too aggressive

• Click the "D" button on any band for delta listening, or right click the control point and select "Delta" from the menu

Both modes affect what you hear in real-time while editing.

Creating Bands:

• Double left-click anywhere on the frequency graph to create an EQ band

• Double right-click to create an Orra Tube saturation band

• Shift+Dbl-right to create a Models band

• Alt/Opt+Dbl-right to create a Tape band

• Shift+Alt/Opt+Dbl-right to create a Dynamic EQ band

• Bands created below 100Hz automatically become low shelves

• Bands created above 10kHz automatically become high shelves

• Right-click an existing band's control point to change its filter type

Editing Bands:

• Drag the control point to move frequency and gain simultaneously

• Hold Cmd/Ctrl while dragging to fine-tune with more precision

• Scroll wheel over a band to adjust Q (bandwidth)

• Multi-select by clicking and dragging a selection box, then move all selected bands together

• Bands can also be controlled via the band controls panel

Orra EQ supports up to 16 bands with complete freedom to position them wherever needed.

Every band in Orra EQ has a Channel selector that lets you process the center (Mid) and sides (Side) of your stereo signal independently, all within a single plugin instance.

Channel options per band:

• Stereo (default): Band processes the full stereo signal

• Mid: Band processes only the center/mono content

• Side: Band processes only the stereo difference content

How to set a band's channel:

• Right-click any band and select the channel from the context menu

• Use the Channel dropdown in the side panel

• Press C to cycle through Stereo, Mid, and Side

M/S processing works with all five processing modes -- EQ, Orra Tube, Tape, Models, and Dynamic EQ. Separate Mid and Side response curves are drawn on the display in amber and teal.

Use cases:

• Keep bass tight and centered by boosting low-end on the Mid channel

• Add air and width by boosting highs on the Side channel

• Apply saturation to just the center or just the sides

• Tame sibilant cymbals on the sides while leaving the center vocal untouched

Orra EQ has full keyboard shortcut support. Right-click the Tips button (?) in the header to view the complete shortcut legend at any time.

Band Navigation:

• , (comma): Previous band

• . (period): Next band

Band Controls (with a band selected):

• S: Solo

• B: Bypass

• D: Delta (hear only what the band changes)

• H: Hide curve

• C: Cycle channel (Stereo/Mid/Side)

• Delete/Backspace: Remove band

Filter Type:

• 1: Bell

• 2: High Shelf

• 3: Low Shelf

Quick Band Creation:

• Double-click: EQ band

• Dbl-right-click: Orra Tube

• Shift+Dbl-right: Models

• Alt/Opt+Dbl-right: Tape

• Shift+Alt/Opt+Dbl-right: Dynamic EQ

Other:

• Scroll wheel over a band: Adjust Q

• Cmd/Ctrl+Z: Undo

• Space: Play/Stop (passes through to your DAW)

Every Dynamic EQ band has its own Sidechain dropdown in the right panel, directly under the Channel selector. It sets what audio drives that band's level detector—independently per band:

• Off (default): the band detects on its own input. Classic, frequency-conscious dynamic EQ behavior—ideal for de-essing and resonance taming. Existing sessions are unaffected.

• External: the band detects on Orra EQ's external sidechain bus. Route any track in your DAW into the sidechain input to key the band from anywhere in your session.

• Link 1–36: the band detects on an Orra Link channel. Works across busses, tracks, and groups regardless of whether your host supports flexible sidechain routing.

Because each band is independent, you can duck the mud band off the bass DI, dip the boxy band off the snare, and ease the harsh band off the lead vocal—all at once, off three different sources, in one plugin instance.

The Sidechain dropdown only affects bands in Dynamic EQ mode.

Orra Link is a free sidechain companion plugin that lets you sidechain any track in your session—even in DAWs whose routing won't normally let you sidechain across bus types. It writes audio into a shared memory region with 36 numbered channels, and any Orra EQ Dynamic EQ band can read from any of them.

To use it:

1. Insert Orra Link on the source track (the track whose audio should trigger the band)

2. Set Orra Link's channel number (1–36)

3. In Orra EQ, pick the matching Link N entry in the band's Sidechain dropdown

Why use Link instead of External:

• Bypasses DAW-specific sidechain routing limitations entirely

• One source can feed multiple receivers across multiple plugin instances

• Different bands of the same Orra EQ can key off completely different Link channels

Reliability: if a Link sender stops (track removed, plugin disabled, host crash), the band falls back to self-detection within ~340ms—audio keeps flowing with no stuck gain reduction. There's zero added latency on the receiver side.

This is intentional, and it matches the convention used by Pro-Q 3, Pro-MB, and other modern dynamic EQs.

When a Dynamic EQ band uses an External or Link sidechain, the detector bypasses the band's own bandpass filter and reads the full sidechain signal directly. So moving the band's frequency knob doesn't change *what* triggers the band—the frequency knob only controls *which* frequencies get ducked when it does trigger. A kick routed to the sidechain triggers the band the same way no matter where you place the band's frequency.

By contrast, self-detect mode (Off) keeps the classic frequency-conscious behavior: a bandpass filter at the band's center frequency feeds the detector, so the band only reacts to energy near its own frequency. Use Off for de-essing and resonance work where you want the band to trigger on its own content.

Yes — Orra Link introduces one audio block of intrinsic latency between sender and receiver (the duration of one audio block at your DAW's current buffer size). On most setups this is just a few milliseconds.

In practice, this is imperceptible for Dynamic EQ sidechain detection: the band's envelope follower has ms-scale attack and release time constants that smooth right over the block delay, so the detection feels instantaneous.

If you need absolutely zero added delay — for example, when key timing matters precisely — use the External sidechain mode instead. External routes the host's native sidechain bus directly into Orra EQ, which is sample-accurate with zero added latency.

Quick rule of thumb:

• Link 1–36 → flexible routing across any tracks/buses, with one audio block of latency that the envelope smooths over

• External → host-routed, zero added latency, but limited to whatever your DAW's native sidechain routing supports

Orra EQ has a global Oversampling control in the header that reduces aliasing artifacts on any saturation band (Orra Tube, Tape, Models, and Dynamic Saturation):

• Off — native sample rate, lowest CPU. Suitable for tracking and lighter drive amounts.

• 2× — doubles the internal sample rate during saturation. Cleaner highs and less audible aliasing on hot drive settings.

• 4× — highest fidelity. Use on hot saturation in mastering, or when the source has lots of high-frequency content. The Bit Crusher and Wavefolder benefit most from 4× when used aggressively.

The setting persists with the project. It has no effect on pure EQ bands or Dynamic EQ bands—those run at native rate and incur no aliasing, so there's no CPU cost for using them alongside saturation bands.

Piano View is a vertical scrollable piano keyboard available on every band as a tab in the settings panel. It lays out all 88 standard piano keys plus extended octaves so the full 20Hz–20kHz range is reachable.

How it works:

• The key matching the selected band's frequency glows green when perfectly in tune with a note, fading to yellow as the band moves off-pitch

• A compact readout at the top shows Hz, note name, and cents off

• Mouse-wheel scrolls; the view auto-recenters on the active key whenever you move a band to a different note

It's great for tuning drums, finding harmonic resonances, snapping bands to musical pitches, or just keeping a musical sense of where you're EQing.

Zones View is a vertical problem-zone strip showing the frequency regions every mix engineer ends up thinking about:

SUB / BASS / MUD / BOXY / BODY / HARSH / SIBILANCE / AIR

A gold indicator line shows where the selected band's frequency sits. It's useful for a quick gut-check of what you're working on—especially helpful for less experienced ears, or for sanity-checking the frequency you just dialed in. Zones is the default settings tab for EQ-mode bands.

In v1.2.1 the settings panel became permanent furniture—it's always visible and never collapses, so the close buttons were removed. This is a deliberate workflow change.

Because the 120px settings slot no longer expands and collapses, the main EQ display stays at a constant width and your band positions don't shift around as you work. No more controls jumping when you open or close a panel.

The panel also now auto-opens to the right view for the selected band's mode (Zones for EQ, Tape settings for Tape, Dynamic settings for Dynamic EQ, etc.), and each band remembers its last visited tab. When no band is selected, the slot shows a rotating tips carousel instead of sitting empty.

Not necessarily. The target zone represents the average tonal curve of professional masters in that genre. Your mix may have intentional deviations — that's your artistic choice. Use the target as a guide, not a rule.

If the blue curve is significantly off, consider increasing the Correction knob or adding manual EQ adjustments with the 6 draggable nodes. Remember: the goal is a mix that sounds great, not one that perfectly traces the green zone.

This is intentional. Tone Zone's spectral density gate detects when the mix is in a sparse section — intro, bridge, breakdown — and reduces correction automatically.

Target curves represent full mixes at their loudest. Applying that same tonal correction to a solo vocal or sparse acoustic passage would produce unmusical results. Correction engages fully when the spectrum is dense (choruses, drops, full arrangements). This is the correct behavior and requires no adjustment.

Tone Zone includes transition detection that should minimize this, but it can still be audible at high settings. Two knobs address this directly:

• Speed — Reduce this knob (slower = smoother transitions). For mastering, 0–30% is recommended. Near-zero Speed means the correction reflects the overall tonal curve, not moment-to-moment changes.

• Ceiling — Lowering this limits how extreme any single correction step can be, which naturally reduces the audible impact of transitions.

Try Speed at 10–20% and Ceiling at 15–30% for the smoothest mastering-appropriate response.

Yes. Tone Zone works on any track — PDC now compensates correctly in all major DAWs, so tracks stay in time regardless of where Tone Zone is inserted.

The 24 factory target curves are derived from full-mix analysis, so they won't be as meaningful on isolated tracks. For individual track use, the Reference Track Learning feature is the better path: analyze a reference that matches the instrument or subgroup, then apply that custom curve as your target. The 6-band manual EQ and per-band saturation are fully useful on any track regardless of the target curve.

No. Your DAW automatically compensates via plugin delay compensation (PDC) on any track. You will not notice the latency during normal playback or mixing — it's transparent.

The ~163ms at 44.1 kHz (~149ms at 48 kHz) comes from the 7168-sample FFT overlap-add processing that powers the smooth, transparent tonal correction engine. This is standard for mastering-grade spectral tools — comparable to iZotope Ozone, FabFilter Pro-Q in linear phase mode, and similar processors.

The only scenario where latency matters is if you're tracking live audio through the plugin in real time, which is not a recommended practice. PDC now works correctly on all tracks in all DAWs, so individual track use is fully supported.

Each mode targets a different type of harmonic character. Right-click any EQ node in the spectrum display to switch modes:

• Tube — Warm and rich. Even-order harmonics via an asymmetric waveshaper, modeled on vacuum tube behavior. Best for low-mid warmth, vocal body, and bass richness.

• VCA — Punchy and tight. Odd-order harmonics via symmetric tanh saturation, modeled on SSL-style console circuitry. Best for presence, clarity, and transient glue.

• British — Thick and weighty. Mixed harmonics with high-frequency rounding, modeled on Neve transformer character. Best for low-end weight and smoothing harsh highs.

All three use parallel processing — the original signal passes through untouched while only a bandpass-filtered copy is saturated and blended back in. On the master bus, keep drive at 1–3 dB; you should feel the effect more than hear it.

Increase the Speed knob. At low Speed settings, the analyzer uses slow time constants that average over several seconds — staccato bass hits get smoothed out, making the analyzer think there's less bass present than there actually is. Higher Speed values let the analyzer track momentary energy more accurately, so the correction responds to what's actually happening rather than a slow average.

You can also drag the left range handle to exclude the low-frequency region from auto-correction entirely, while keeping correction active in the mids and highs.

Drag the small grip icon in the bottom-right corner of the plugin window. The window maintains a fixed aspect ratio and can be resized between 800×520 and 1,400×910 pixels. Not all DAWs support resizable plugin windows — if the grip is unresponsive, check your DAW's plugin window settings.

AUTO toggles the FFT-based correction engine on or off.

AUTO on (default): The correction engine runs normally, nudging your spectrum toward the target curve. This introduces ~163ms of latency (~149ms at 48 kHz), automatically compensated by your DAW's plugin delay compensation (PDC).

AUTO off: The correction engine runs with a flat correction curve (transparent passthrough) — no tonal change. The analysis curve, manual EQ bands, and per-band saturation all remain active. Latency stays consistent, ensuring your DAW's PDC keeps all tracks in time.

Use AUTO off when you want the visual analysis and manual EQ without the auto-correction engine influencing the sound, or for a quick A/B to hear exactly what the correction contributes.

BYP is Tone Zone's internal bypass. It disables all processing — auto-correction, manual EQ, and saturation — while keeping the analysis curve running.

Unlike your DAW's bypass, the internal bypass uses a smooth crossfade in and out, so there are no pops or audio glitches when switching. The analysis continues during bypass, so you can keep reading your mix while comparing the processed and unprocessed signal. BYP maintains the same latency as normal processing, so there are no timing mismatches when toggling.

Yes. As of v1.1, the Tone Zone window size persists between sessions and projects. Resize the window to your preferred dimensions using the grip icon in the bottom-right corner, and it will open at that size every time.

Tone Zone requires a stereo signal path and will only appear on stereo tracks or buses. Some DAWs (like Logic Pro) hide plugins that don't match the track's channel count.

If you're looking for Tone Zone on a mono track's FX chain, it won't appear there. Insert it on a stereo track, stereo bus, or your master output and it will show up as expected.

If the plugin still doesn't appear after confirming a stereo path:

1. Rescan plugins in your DAW's preferences

2. Verify the installer completed successfully (check the system VST3/AU folders)

3. Restart your DAW after installation

Orra Press is a serial compressor plugin built around a single idea: that every stage of a dynamics chain deserves its own character. Rather than forcing you to insert separate plugins to shape dynamics, Orra Press gives you six reorderable slots, each of which can host one of six dynamics engines: Classic (VCA), Optical, FET, Multiband (linear-phase FIR), Spectral (FFT-domain), and Limiter (mastering-grade brick-wall).

Every slot can hold any of the six types — duplicates allowed. Chain a Classic into a Spectral into a Limiter if the song wants it. Compare four arrangements with the built-in A / B / C / D snapshots. Save your favourites as user presets.

Orra Press includes six dynamics engines, each with its own character:

• Classic — VCA-style feedforward compressor (zero latency)

• Optical — opto-style dual-release with program-dependent behaviour

• FET — aggressive FET grab with saturation and an all-buttons-in mode

• Multiband — linear-phase FIR 4-band split with per-band compression

• Spectral — FFT-domain per-bin dynamic reduction for resonance taming

• Limiter — mastering-grade brick-wall with ISP-aware true-peak detection and LUFS metering

Each slot can host any engine type. Duplicates are allowed.

Yes, Orra Link is included with Orra Press.

Orra Link is a tiny sender-only plugin that ships alongside Orra Press. Its job is to broadcast a track's audio onto a numbered Link channel in a shared bus that every Orra Press instance in the project can read from.

Orra Link's UI has three controls: a CHANNEL dropdown (Unassigned, then Link 1 through Link 36), a SEND toggle (mute the broadcast at the source without changing channel assignment), and an OUTPUT gain knob for gain-staging the sidechain feed without touching the source track's fader. A status pip in the header shows whether the channel is currently broadcasting ("Live") or muted at the source.

Each slot in Orra Press has its own SIDECHAIN source dropdown, sitting just above the knob area. Three categories of source are available:

• Off — the default. The compressor keys off its own input. Standard compression behaviour.

• External — the host's dedicated stereo Sidechain bus. Whatever your DAW routes to the plugin's SC input drives detection.

• Link 1 through Link 36 — one of 36 sidechain channels fed by the companion Orra Link plugin.

All five compressor types respect the sidechain (Limiter ignores it — brick-wall limiters don't sidechain, so the SC dropdown is hidden on Limiter slots). Multiband splits the sidechain through its own FIR crossover bank so each band's detector keys off the matching SC band. Spectral runs a parallel FFT on the sidechain so per-bin detection keys off the SC spectrum.

Latency depends on which engine is loaded in each slot:

• Classic / Optical / FET: zero latency (with oversampling off)

• Multiband: 511 samples (~10.6 ms at 48 kHz, linear-phase FIR)

• Spectral: 2048 samples (FFT overlap-add)

• Limiter: lookahead time (3 ms by default = 144 samples at 48 kHz; more at higher quality tiers)

All latency is reported to the host for delay-compensated routing (PDC), so your mix stays in time.

If you're tracking through the plugin and cannot tolerate latency, avoid Multiband, Spectral, and the Limiter; stick to Classic / Optical / FET with oversampling off — those are zero-latency.

Plugin Formats: VST3, Audio Unit (AU), AAX

macOS: macOS 10.13 or later (Universal 2: Apple Silicon + Intel)

Windows: Windows 10 or later (64-bit)

All major DAWs are supported, including Ableton Live, Logic Pro, Pro Tools, FL Studio, Reaper, Cubase, and Studio One.

The A / B / C / D buttons in the header store four independent full-plugin snapshots. Each snapshot captures every slot's type and parameters, the chain order, sidechain routing — the entire plugin state.

Typical workflow:

• Click A. Dial in a setting.

• Click B. If B is empty, the first click stores the current state automatically. Tweak.

• Click A, then B, to compare. A / B / C / D switching recalls the stored snapshot instantly.

• Hit STORE to overwrite the highlighted slot with your current settings.

A / B / C / D snapshots persist with the project and with saved presets — you can ship a preset that includes four named variants of the same starting point.

Orra Press ships with 16 factory presets covering common starting points across vocals, drums, bass, master bus, and Spectral utilities. Some examples:

• Vocal — Tight FET, Smooth Opto, FET + Opto chain, Spectral Polish

• Drum Bus — Gentle Glue, Parallel Crush

• Kick — Punchy FET

• Bass — Classic Control, Multiband Tight

• Master — Transparent Glue, Opto + Classic, Final Limiter Light

• Spectral — De-Resonate, Broadband Tame

• Parallel Limiter (FET 1:20)

You can also save your own presets via the SAVE button. User presets live at ~/Library/Application Support/Orra Audio/Press/Presets/ on macOS.

Yes. Every engine has a Mix knob (0 to 100%). Setting it to 30–50% with an aggressive compressor setting gives you parallel compression within a single instance — the classic "New York" drum trick without needing an auxiliary bus.

You can also stack multiple engines for multi-stage compression. Try a Classic at 2:1 with 2 dB of GR into a second Classic at 2:1 with another 2 dB. Total 4 dB of reduction but the signal barely feels touched — multi-stage compression routinely sounds better than one big squash.

Each slot card has a pair of < / > arrow buttons that move the slot earlier or later in the signal chain. Reorder without losing parameters — your settings travel with the slot.

Switching a slot from one engine type to another also doesn't overwrite your settings. For example, flip a slot from Classic to FET and back — your Classic dial-ins are still there. This lets you audition different engines on the same slot without losing your work.

No — Spectral is a dynamic tool, not a static one.

Spectral's Resonance control is powerful but it only acts when the targeted bins exceed the threshold. For static tonal shaping, use an EQ. For taming peaks that only happen sometimes — like a ringy snare resonance, harsh vocal consonants in the 2–6 kHz range, or room modes — Spectral is the right tool.

At Resonance 0%, Spectral behaves like a broadband spectral compressor — every bin above threshold ducks. At 100%, it compares each bin to a smoothed local neighbourhood and only ducks bins that stick up from their surroundings — so narrow resonances get targeted while broadband content passes through untouched.

CPU usage scales with which engines are loaded and what oversampling settings you use. Roughly:

• Classic / Optical / FET: very low CPU, especially with oversampling off

• Multiband: moderate CPU (linear-phase FIR processing)

• Spectral: higher CPU (2048-point FFT with overlap-add)

• Limiter: scales with quality tier — STD (4×) is light, ULTRA (16×) is heaviest

You can manage CPU by:

• Lowering per-slot oversampling (Off / 2× / 4× / 8×)

• Using a lower Limiter quality tier (STD or HIGH instead of ULTRA) when full ISP control isn't needed

• Disabling unused slots via the per-slot enable checkbox

Orra Tone Zone:

• Free (pay-what-you-can) — get it at whatever price works for you, including $0

• Includes all future 1.x updates

• 3 computer activations

• 14-day free demo available

Orra EQ:

• Price: $49

• Includes all future 1.x updates

• 3 computer activations

• 14-day free demo available

Orra Press:

• $49

• Includes the Orra Link companion plugin (sidechain sender)

• Includes all future 1.x updates

• 3 computer activations

• 14-day free demo available

Student Discount: Students receive 25% off (see separate FAQ)

We do not offer refunds. Instead, we provide a 14-day free trial so you can fully test the plugin and decide if it meets your needs before purchasing. This ensures you can make an informed decision with no financial risk.

If you experience technical issues or edge cases after purchase, we'll review refund requests on a case-by-case basis. Please contact us at orraaudio.com/support with details about your situation.

We strongly encourage using the full 14-day trial period to thoroughly evaluate the plugin before purchasing.

Yes! Students receive 25% off. Submit a request at orraaudio.com/support using your .edu email address (or equivalent institutional email) with proof of current enrollment. We'll send you a discount code within 24-48 hours. This discount cannot be combined with other offers.

We accept all major payment methods through our payment processor, Lemon Squeezy:

• Credit/Debit Cards: Visa, Mastercard, American Express, Discover

• PayPal

• Google Pay / AliPay / Cash App Pay / WeChat Pay

• Bank transfers

All transactions are secure and encrypted. We never see or store your payment information.

Yes! We use Purchasing Power Parity (PPP) to make our plugins accessible worldwide. Prices are automatically adjusted based on your location to reflect local purchasing power. The discount varies by region and is applied automatically at checkout. If you believe your pricing is incorrect, contact us at orraaudio.com/support.

No. All Orra Audio plugins are perpetual licenses—you pay once and own it forever. When you purchase a plugin, it's yours to use indefinitely with free updates within the same major version (1.x). We may consider subscription models down the road if we see a demand for it.

If you're experiencing unwanted distortion:

1. Check your input levels - make sure you're not clipping before the plugin

2. Look at the output meter for the track in your DAW - red = clipping, reduce output gain

3. Check your gain settings - excessive EQ boosts add significant gain

4. Check saturation settings - high drive settings intentionally add distortion

5. Reduce overall gain - use the output gain control to compensate for EQ boosts

If distortion persists, reach out via our orraaudio.com/support with:

• Your DAW and version

• Operating system

• A screenshot of your plugin settings

• A brief audio example if possible

If you experience crashes:

1. Update to the latest version - check for updates at orraaudio.com/download

2. Update your DAW to the latest version

3. macOS: Check if the plugin was blocked in System Preferences > Security & Privacy

4. Clear plugin cache - some DAWs cache plugin information that can become corrupted

5. Check system resources - ensure you have enough RAM and CPU available

6. Try a fresh project - see if the issue is project-specific

If crashes continue, reach out via our orraaudio.com/support with:

• DAW name and version

• Operating system and version

• Crash report (if available)

• Steps to reproduce the issue

If you're seeing license errors:

1. Check your internet connection - initial activation requires internet

2. Verify your license key - ensure you're entering it exactly as received

3. Check activations - you may have used all 3 computer slots

4. Restart the plugin - close and reopen it

5. Check firewall settings - ensure your DAW/plugin can connect to the internet

Common error messages:

• "License validation failed" - check internet connection

• "Too many activations" - deactivate from an old computer or contact support

• "Invalid license key" - double-check the key format

If problems persist, reach out via our orraaudio.com/support with your order number.

If you're experiencing GUI issues:

1. Update graphics drivers - especially important on Windows

2. Check scaling settings - some DAWs have DPI/scaling issues

3. Try different window sizes - resize the plugin window

4. macOS: Ensure your OS is up to date (Metal graphics improvements)

5. Windows: Update DirectX and graphics drivers

Known issues:

• High-DPI displays may show blurry text in some DAWs (we're working on this)

• Some hosts don't support resizable plugin windows

If issues continue, reach out via our orraaudio.com/support with:

• Screenshot of the issue

• DAW name and version

• Operating system and graphics card info