@mthines/reaper-mcp 0.1.0

package/knowledge/genres/pop.md

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+---
+name: Pop
+id: pop
+lufs_target: [-14, -10]
+true_peak: -1.0
+---
+
+# Pop
+
+Pop mixes prioritize the vocal above everything else. The production is polished, bright, and spacious — wide stereo image, modern high-frequency air, and controlled low end. Every element serves to support and complement the lead vocal. Modern pop is heavily processed and transparent — tuning, timing correction, and layering are standard. The mix is competitive in loudness and instantly impressive on earbuds, car speakers, and club systems.
+
+## Characteristics
+
+- **Energy level**: Medium-high — controlled and polished rather than raw
+- **Frequency balance**: Bright and balanced; strong low end, airy highs, vocals sit on top
+- **Transients**: Smooth — heavy use of limiting and multiband compression
+- **Reverb/space**: Modern and wide; synthetic reverbs, lush pads
+- **Stereo width**: Very wide — heavy use of stereo effects and side-chain ducking
+- **Reference artists**: Taylor Swift, The Weeknd, Dua Lipa, Billie Eilish, Ariana Grande
+
+## EQ Approach
+
+### Global HPF settings
+
+| Instrument | HPF Frequency | Notes |
+|------------|--------------|-------|
+| Kick drum | 40–50 Hz | |
+| Bass | 40–60 Hz | Allow warmth |
+| Snare/clap | 100–150 Hz | Electronic snares often have energy here |
+| Electric guitar | 100–150 Hz | Pop guitars are tighter than rock |
+| Acoustic guitar | 120–150 Hz | |
+| Vocals | 80–100 Hz | |
+| Synths/pads | 60–100 Hz | Depends on role |
+| Piano | 50–80 Hz | Depends on arrangement |
+| Cymbals | 300–500 Hz | |
+
+### Frequency shaping targets
+
+| Frequency Zone | Treatment | Why |
+|----------------|-----------|-----|
+| Sub 20–60 Hz | Clean and defined; sub bass for energy but controlled | Modern pop has purposeful sub |
+| Bass 60–250 Hz | Warm and round; kick has punch at 60–80 Hz | Foundation |
+| Low-mids 250–500 Hz | Aggressive reduction (-3 to -5 dB) on non-essential elements | Pop needs clarity and space for vocal |
+| Mids 500 Hz–2 kHz | Carefully managed; vocal dominates | Most important zone for vocal presence |
+| Upper-mids 2–5 kHz | Controlled — harshness here kills modern pop | Clarity without brittleness |
+| Presence 5–8 kHz | Vocals and hi-hats — the definition zone | Vocal clarity and breath |
+| Air 8–20 kHz | Generous boost (+2 to +4 dB shelf) on vocals and mix | The sparkle that defines modern pop |
+
+Vocal-specific: Low-mid cut at 300–500 Hz to remove boxiness. Presence boost at 2–4 kHz. Generous air shelf at 10–16 kHz (+2 to +4 dB). Dynamic EQ cut at 6–9 kHz for sibilance control (not a static de-esser cut).
+
+## Compression
+
+| Instrument | Style | Ratio | Attack | Release | GR Target | Notes |
+|------------|-------|-------|--------|---------|-----------|-------|
+| Kick | VCA | 4:1–6:1 | 2–5 ms | 30–80 ms | 4–6 dB | Punchy, defined |
+| Snare/clap | FET | 4:1–8:1 | 2–5 ms | 40–80 ms | 3–5 dB | Sharp and present |
+| Drum bus | VCA | 4:1 | 10 ms | 60–100 ms | 3–5 dB | |
+| Bass | VCA | 4:1–6:1 | 3–10 ms | 50–100 ms | 3–5 dB | Very consistent |
+| Lead vocals | FET then Opto | 4:1 + 3:1 | 8–12 ms + slow | 50 ms + auto | 5–8 + 2–4 dB | Heavy two-stage compression; pop vocals are tightly controlled |
+| BG vocals | Opto | 3:1 | 20 ms | auto | 3–5 dB | Blend smoothly |
+| Acoustic guitar | VCA | 3:1 | 15–30 ms | 80–200 ms | 2–4 dB | |
+| Mix bus | VCA | 2:1 | 10–30 ms | auto | 1–2 dB | Very light glue |
+
+## Stereo Width
+
+- **Sub/Bass (below 100 Hz)**: Mono
+- **Kick**: Center
+- **Snare/Clap**: Center or very slight width
+- **Vocals**: Center for lead; doubles spread wide (±40–70%)
+- **Synths/pads**: Very wide — fill the entire stereo field
+- **Acoustic guitar**: ±30–50% or hard panned in pairs
+- **Electric guitar**: ±50–80% depending on prominence
+- **Keys/piano**: Wide if pad-like; centered if playing rhythm lead
+- **Adlibs**: Often heavily panned for spatial interest (±70–100%)
+- **Reverb/delay returns**: Very wide
+
+## Common FX Chains
+
+### Lead vocals (modern pop)
+
+1. Pitch correction (Melodyne/Auto-Tune) — subtle for pop, transparent
+2. EQ (Pro-Q 3) — HPF 80 Hz, -3 dB at 350 Hz, dynamic cut at 8 kHz, +2 dB shelf at 12 kHz
+3. FET compressor — 4:1, 8 ms attack, 50 ms release, 5–8 dB GR
+4. Opto compressor — 3:1, slow attack, auto release, 2–4 dB GR
+5. EQ (finishing) — +1.5 dB at 15 kHz, small tweaks
+6. De-esser — 7–9 kHz, moderate threshold
+7. Saturation/exciter — subtle warmth
+8. Reverb send — medium hall or chamber (1.5–2.5s), pre-delay 25–35 ms, LPF on return
+9. Delay send — 1/8 or 1/4 note, filtered, blended low
+
+### Pop production / beat (drums + bass)
+
+- Kick: Sample replacement or layering; transient shaper for attack; heavy limiting
+- Snare/clap: Layered samples; saturator; short room reverb
+- Hi-hats: EQ HPF 500 Hz; subtle compression; subtle reverb
+- 808 bass: HPF 30 Hz; saturation for harmonic content in mids; hard limiting; mono below 80 Hz
+- Drum bus: Bus compressor 4:1, moderate settings; parallel drum bus with heavy comp blended in
+
+## What to Avoid
+
+- Anything that competes with the lead vocal in the 1–4 kHz range
+- Too little high-frequency air (muddy, dull — pop should sparkle)
+- Mono mix (pop is meant to be experienced in stereo headphones)
+- Sub bass that is uncontrolled (causes translation issues on small speakers)
+- Over-wet reverb on drums (pop drums are present and dry-ish)
+- Harsh 2–5 kHz buildup — modern pop is bright but smooth
+- Static de-essing artifacts — use dynamic EQ for natural-sounding sibilance control
+- Not checking on earbuds and small speakers (pop listeners hear this way)

package/knowledge/genres/rock.md

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+---
+name: Rock
+id: rock
+lufs_target: [-11, -9]
+true_peak: -1.0
+---
+
+# Rock
+
+Rock mixes are energetic, punchy, and guitar-forward. The mix should feel powerful and direct — tight low end, present midrange (guitars and vocals competing for space), and defined transients. Reverb is used tastefully; the room is felt but not heard. Classic rock leans warmer and more spacious; modern rock is drier and more compressed.
+
+## Characteristics
+
+- **Energy level**: High — punchy transients, forward presentation
+- **Frequency balance**: Mid-forward; guitars occupy 200 Hz–5 kHz heavily
+- **Transients**: Punchy kick and snare with preserved attack
+- **Reverb/space**: Short-to-medium room reverb; plate on snare; vocals get subtle tail
+- **Stereo width**: Guitars panned wide; center reserved for kick, snare, bass, vocals
+- **Reference artists**: Foo Fighters, AC/DC, Pearl Jam, Nirvana, Rage Against the Machine
+
+## EQ Approach
+
+### Global HPF settings
+
+| Instrument | HPF Frequency | Notes |
+|------------|--------------|-------|
+| Kick drum | 40 Hz | Preserve sub punch |
+| Bass guitar | 50–60 Hz | Allow some sub warmth |
+| Snare | 100 Hz | |
+| Electric guitar | 80–120 Hz | Tighter for rhythm, 80 Hz for lead |
+| Acoustic guitar | 100–150 Hz | |
+| Vocals | 80–100 Hz | |
+| Pads/keys | 80 Hz | |
+| Cymbals/overheads | 200–300 Hz | |
+| Room mics | 80–200 Hz | |
+
+### Frequency shaping targets
+
+| Frequency Zone | Treatment | Why |
+|----------------|-----------|-----|
+| Sub 20–60 Hz | Keep kick and bass; HPF everything else | Foundation and punch |
+| Bass 60–250 Hz | Warm and present; kick at 60–80 Hz, bass guitar at 80–150 Hz | The engine |
+| Low-mids 250–500 Hz | Reduce on guitars and bass (-2 to -4 dB at 300–400 Hz) | Clear the mud zone |
+| Mids 500 Hz–2 kHz | Preserve guitar body; compete carefully with vocals | Most congested zone |
+| Upper-mids 2–5 kHz | Controlled — 3–4 kHz is the harshness zone; be careful on guitar | Edge and cut |
+| Presence 5–8 kHz | Vocals and snare presence; guitar brightness | Definition |
+| Air 8–20 kHz | Cymbals, vocal air (+1 to +2 dB shelf on vocals) | Openness |
+
+Guitar-specific: Cut around 250–400 Hz on rhythm guitars to reduce mud. Boost 2–4 kHz gently (+1 to +2 dB) for cut in the mix. Scoop mids (400 Hz – 1 kHz) slightly on high-gain rhythm guitars.
+
+## Compression
+
+| Instrument | Style | Ratio | Attack | Release | GR Target | Notes |
+|------------|-------|-------|--------|---------|-----------|-------|
+| Kick | VCA/FET | 4:1–6:1 | 2–5 ms | 50–100 ms | 4–6 dB | Fast, punchy |
+| Snare | FET | 4:1–8:1 | 3–8 ms | 50–100 ms | 4–6 dB | Let crack through |
+| Overheads | Opto | 2:1–3:1 | 20–40 ms | 100–200 ms | 2–4 dB | Gentle control |
+| Drum bus | VCA | 4:1 | 10–20 ms | 50–100 ms | 3–6 dB | Glue drums together |
+| Bass | VCA | 4:1–6:1 | 5–15 ms | 50–150 ms | 3–5 dB | Consistent output |
+| Rhythm guitars | VCA | 3:1 | 15–25 ms | 50–200 ms | 2–4 dB | Even out picking |
+| Lead vocals | FET then Opto | 4:1 + 4:1 | 10 ms + slow | 50 ms + auto | 4–6 + 2–3 dB | Two-stage vocal control |
+| Mix bus | VCA | 2:1–4:1 | 10–30 ms | Auto | 1–3 dB | Glue and density |
+
+Parallel drum compression is heavily used in rock. Blend 40–60% crushed signal for impact without losing punch.
+
+## Stereo Width
+
+- **Bass (below 100 Hz)**: Mono always — sum to mono below 100 Hz
+- **Kick**: Center
+- **Snare**: Center
+- **Overheads**: Wide (±80–100%) — cymbals and room information
+- **Rhythm guitars**: Hard pan ±70–100% — left and right filling the stereo field
+- **Lead guitar**: Slightly off center (±20–40%) or doubled hard panned
+- **Bass guitar**: Center
+- **Lead vocals**: Center
+- **BG vocals**: Panned pairs (±30–60%) around lead vocal
+- **Keys/pads**: Spread wide in stereo to fill behind guitars
+- **Reverb returns**: Very wide — create the sense of space
+
+## Common FX Chains
+
+### Lead vocals
+
+1. EQ (Pro-Q 3 or ReaEQ) — HPF 80–100 Hz, -2 dB at 300 Hz, dynamic cut at 8 kHz for sibilance
+2. FET compressor (Pro-C 2 FET or JS 1175) — 4:1, 10 ms attack, 50 ms release, 4–6 dB GR
+3. Opto compressor (Pro-C 2 Opto) — 4:1, slow attack, auto release, 2–3 dB GR
+4. EQ (subtle) — +1 to +2 dB shelf at 10 kHz for air
+5. De-esser — 6–9 kHz, gentle threshold
+6. Reverb send — short room (1.0–1.5s RT60) or plate, pre-delay 20–30 ms
+7. Delay send — 1/4 note, -60 ms decay, filtered (LPF 6 kHz, HPF 200 Hz)
+
+### Drums
+
+- Kick: Channel EQ (punch at 60 Hz, reduce 300 Hz, click at 3–5 kHz), gate, VCA comp 4:1
+- Snare top: EQ (HPF 100 Hz, crack at 200 Hz, presence at 5 kHz), FET comp 6:1
+- Snare bottom: Phase flip, blend with top for snare rattle
+- Overheads: Gentle high shelf boost (+1–2 dB at 10 kHz), Opto comp 2:1
+- Room mics: HPF 100–200 Hz, slow comp 4:1, blend for ambience
+- Drum bus: VCA comp 4:1, 10 ms attack, 50–100 ms release, 3–5 dB GR, HPF sidechain 80 Hz
+- Parallel bus: FET/hard comp 20:1, crush 10–15 dB, blend 40–50%
+
+### Electric guitar
+
+1. Amp sim (if DI) or direct into chain (if already amped)
+2. EQ — HPF 80–120 Hz, cut 250–400 Hz (-2 to -3 dB), boost 2–4 kHz (+1–2 dB)
+3. Light compressor — 3:1, 15–25 ms attack, 100–200 ms release, 2–3 dB GR (evening out, not squashing)
+
+## What to Avoid
+
+- Too much reverb on drums — rock drums are close and punchy, not washy
+- Muddy guitars (200–400 Hz buildup from multiple guitars stacking)
+- Harsh upper mids on guitars without presence cutting through (different from harshness — presence is 5–8 kHz, harshness is 2–5 kHz)
+- Bass guitar fighting kick below 100 Hz — one should own each sub zone
+- Over-compressing the drum bus (crest factor below 8 dB means the punch is gone)
+- Narrow stereo image — rock guitars need to fill the sides
+- Vocals too wet (reverb tail over 1.5s makes rock feel soft and unclear)
+- Lack of parallel compression on drums (rock punch largely comes from this technique)

package/knowledge/plugins/_template.md

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+---
+name: Plugin Display Name
+fx_match: ["exact name in REAPER FX list", "alternate match string"]
+category: eq # eq | compressor | limiter | saturator | reverb | delay | gate | de-esser | amp-sim | channel-strip | analyzer | stereo-imager | multiband | pitch-correction
+style: transparent # transparent | character | vintage | modern | surgical  (optional)
+vendor: Vendor Name
+preference: 70 # 0-100. Stock REAPER: 30-50. Popular third-party: 70-85. Industry standard: 85-95.
+replaces: [] # optional: list of stock plugin IDs this replaces, e.g. ["rea-eq"]
+---
+
+# Plugin Display Name
+
+## What it does
+
+One paragraph describing the plugin's purpose, character, and primary use cases. Be specific about its sonic character (clean/colored, aggressive/gentle, etc.) and what problems it solves best.
+
+## Key parameters by name
+
+List parameters EXACTLY as they appear in the plugin UI (since these are what the agent sees via `get_fx_parameters`). Use the parameter's actual name, not a description.
+
+| Parameter | Range | Description |
+|-----------|-------|-------------|
+| Band 1 Frequency | 20–20000 Hz | Center/cutoff frequency for band 1 |
+| Band 1 Gain | -24 to +24 dB | Boost or cut amount |
+| Band 1 Q | 0.1–40 | Bandwidth — higher Q = narrower band |
+| Band 1 Type | Bell/Shelf/HPF/LPF | Filter shape |
+
+## Recommended settings
+
+### Use case 1: [e.g., Vocals]
+
+Specific parameter values for this use case. Be precise.
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Band 1 Type | HPF | Remove low-frequency rumble |
+| Band 1 Frequency | 80–100 Hz | Below fundamental vocal range |
+| Band 1 Slope | 24 dB/oct | Clean, steep cut |
+
+### Use case 2: [e.g., Kick drum]
+
+...
+
+## Presets worth knowing
+
+If the plugin ships with notable factory presets that the agent can load via `set_fx_preset`:
+
+- **Preset Name** — What it does, when to use it as a starting point
+- **Another Preset** — ...
+
+If no useful presets exist, write: "No notable factory presets. Build from scratch using recommended settings."
+
+## When to prefer this
+
+Bullet list of situations where this plugin is the best choice over alternatives:
+
+- When you need [specific characteristic]...
+- On [specific instrument type] because...
+- Avoid when you need [different characteristic] — use [alternative] instead
+
+---
+
+<!-- CONTRIBUTING GUIDE
+
+To add a new plugin knowledge file:
+
+1. Copy this template to knowledge/plugins/{vendor-slug}/{plugin-slug}.md
+2. Fill in ALL frontmatter fields
+3. Set fx_match to the exact string(s) REAPER shows in its FX list
+   - Open REAPER > FX Browser > find your plugin > copy the name exactly
+   - VST plugins: usually "VST: Plugin Name (Vendor)" or just "Plugin Name"
+   - VST3 plugins: usually "VST3: Plugin Name"
+   - JS plugins: usually "JS: plugin/name"
+4. Set preference score:
+   - 30-50: Stock/free plugins you use as fallback only
+   - 55-70: Good third-party plugins you like but have alternatives
+   - 70-85: Preferred plugins you reach for first
+   - 85-95: Industry-standard tools, best in category
+5. List recommended settings with EXACT parameter names (copy from REAPER's FX window)
+6. Run /learn-plugin in Claude Code for a guided interview instead of writing manually
+
+-->

package/knowledge/plugins/fabfilter/pro-c-2.md

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+---
+name: FabFilter Pro-C 2
+fx_match: ["Pro-C2", "Pro-C 2", "VST3: Pro-C2 (FabFilter)", "VST: Pro-C2 (FabFilter)", "FabFilter Pro-C 2"]
+category: compressor
+style: transparent
+vendor: FabFilter
+preference: 85
+replaces: ["rea-comp"]
+---
+
+# FabFilter Pro-C 2
+
+## What it does
+
+FabFilter Pro-C 2 is a professional compressor with six compression styles that model different hardware character: Clean (transparent), Classic (vintage VCA), Opto (optical/program-dependent), FET (fast, aggressive, 1176-style), Variable-Mu (tube, warm, slow), and Bus (VCA bus glue). Each mode changes the character, knee behavior, and program dependency. It has excellent visualization (gain reduction over time, input/output spectrum), sidechain EQ, lookahead, and auto gain. The go-to compressor for mixing and mastering when available.
+
+## Key parameters by name
+
+| Parameter | Range | Description |
+|-----------|-------|-------------|
+| Threshold | -60 to 0 dB | Level at which compression begins |
+| Ratio | 1:1 to Inf:1 | Compression strength |
+| Attack | 0.01–2000 ms | Time to reach full compression |
+| Release | 1–5000 ms / Auto | Recovery time — Auto = program-dependent |
+| Knee | 0.1–40 dB | Soft vs hard knee — higher = smoother onset |
+| Hold | 0–500 ms | Minimum gate-open time |
+| Makeup | -30 to +30 dB | Output makeup gain |
+| Mix | 0–100% | Parallel compression blend |
+| Style | Clean/Classic/Opto/FET/Variable-Mu/Bus | Character model |
+| Auto Gain | checkbox | Automatically compensate for threshold/ratio |
+| Lookahead | 0–20 ms | Future-looking to catch transients |
+| Stereo Link | 0–100% | L/R coupling |
+| Sidechain HPF | 10–1000 Hz | Filter on sidechain (prevent bass triggering compression) |
+| Sidechain EQ | on/off | Enable sidechain equalization |
+
+## Recommended settings
+
+### Vocals — FET style (punchy, present)
+
+The "1176 in a box" setting. Works for rock, pop, r&b vocals needing character and presence.
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Style | FET | Fast, aggressive FET character |
+| Threshold | Set for 4–6 dB GR | |
+| Ratio | 4:1 | Moderate — let dynamics through |
+| Attack | 10–15 ms | Let the consonant attack through first |
+| Release | 50–80 ms | Fast — snappy vocal compression |
+| Knee | 2–4 dB | Slightly soft for transparency at onset |
+| Makeup | Match perceived level | |
+
+### Vocals — Opto style (smooth, transparent)
+
+Second vocal compressor in a serial chain after the FET hit. Or primary compressor for smoother genres.
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Style | Opto | Program-dependent, smooth |
+| Threshold | Set for 2–4 dB GR | Light touch as second stage |
+| Ratio | 3:1 to 4:1 | |
+| Attack | 20–40 ms | Slow — follow phrase dynamics |
+| Release | Auto | Program-dependent release (key feature of Opto) |
+| Knee | 6–10 dB | Soft knee, very transparent |
+| Mix | 100% | Full wet |
+
+### Drum bus — Bus style (VCA glue)
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Style | Bus | VCA glue character |
+| Threshold | Set for 3–6 dB GR | Hit moderately |
+| Ratio | 4:1 | |
+| Attack | 10–30 ms | Preserve kick/snare transients |
+| Release | Auto or 80–150 ms | |
+| Knee | 4–6 dB | |
+| Sidechain HPF | 80 Hz | Prevent kick low-end from causing pumping |
+
+### Master bus — Classic style (subtle glue)
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Style | Classic | Vintage VCA — subtly warm |
+| Threshold | Set for 1–3 dB GR | Very light |
+| Ratio | 2:1 | Gentle |
+| Attack | 10–30 ms | |
+| Release | Auto | Program-dependent |
+| Knee | 6–12 dB | Smooth |
+| Mix | 100% | |
+
+### Parallel drums — FET style (crush and blend)
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Style | FET | Aggressive FET squash |
+| Threshold | Set for 15–20 dB GR | Crush the signal |
+| Ratio | 20:1 | Near limiting |
+| Attack | 0.01–1 ms | Kill all transients |
+| Release | 50–100 ms | Some pump |
+| Mix | 40–60% | Blend with dry |
+
+## Presets worth knowing
+
+Pro-C 2 ships with a factory preset library. Notable ones:
+- **Vocal Medium** — FET style, 4:1, moderate — good starting point
+- **Bus Glue** — Bus style, 2:1 — master bus starting point
+- **Drum Bus** — Bus style, 4:1 — drum bus with HPF on sidechain
+
+## When to prefer this
+
+- Always prefer over ReaComp or JS 1175 when installed
+- When you need program-dependent Opto behavior for smooth vocal leveling
+- When you need true VCA bus compression with sidechain HPF
+- When you need parallel compression with the Mix knob
+- FET mode for everything that needs character and aggression
+- Variable-Mu for the warmest, most vintage-sounding compression (pads, full mixes)
+
+This is the go-to compressor in all situations when available.

package/knowledge/plugins/fabfilter/pro-l-2.md

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+---
+name: FabFilter Pro-L 2
+fx_match: ["Pro-L2", "Pro-L 2", "VST3: Pro-L2 (FabFilter)", "VST: Pro-L2 (FabFilter)", "FabFilter Pro-L 2"]
+category: limiter
+style: transparent
+vendor: FabFilter
+preference: 92
+replaces: ["rea-limit"]
+---
+
+# FabFilter Pro-L 2
+
+## What it does
+
+FabFilter Pro-L 2 is the industry-standard mastering limiter and loudness maximizer. It provides true peak limiting (ISP — intersample peak detection), integrated LUFS metering, multiple limiting algorithms, automatic gain control for target loudness, and adjustable transient shaping. It is the last plugin in the mastering chain before export. Its combination of ISP-based true peak limiting and loudness display make it essential for modern streaming delivery. Unlike ReaLimit (simple brickwall), Pro-L 2 actively maximizes loudness while preserving dynamics.
+
+## Key parameters by name
+
+| Parameter | Range | Description |
+|-----------|-------|-------------|
+| Input Gain | -6 to +6 dB | Pre-limiting gain stage |
+| Output Level | -inf to 0 dBFS | True peak ceiling — set to -1.0 or -0.3 |
+| Transients | 0–100% | Increase to preserve transient punch; reduce for maximized loudness |
+| Attack | 0.01–150 ms | How quickly limiting engages — affects transient character |
+| Release | 0.01–2000 ms | How quickly gain recovers — program-dependent when in Auto |
+| Attack Type | Aggressive / Smooth | Aggressive = more volume, Smooth = more natural dynamics |
+| Lookahead | 0–15 ms | Minimum 0.5 ms for ISP detection |
+| Style | Transparent/Dynamic/Aggressive/Bus/Allround/Pumping/Mastering | Limiting character |
+| LUFS Target | -6 to -24 LUFS | Sets Output Level to hit target integrated loudness |
+| Stereo Link | 0–100% | L/R gain reduction coupling |
+| ISP | checkbox | True peak detection via intersample peak processing |
+
+## Recommended settings
+
+### Streaming master — Spotify/YouTube (-14 LUFS)
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Style | Transparent or Allround | Clean, natural dynamics |
+| Output Level | -1.0 dBFS | -1 dBTP ceiling (streaming requirement) |
+| ISP | on | True peak detection |
+| LUFS Target | -14 LUFS | Spotify/YouTube integrated target |
+| Transients | 40–60% | Preserve some punch |
+| Lookahead | 1–4 ms | Adequate catch time |
+| GR target | 1–3 dB average | Subtle maximization |
+
+### Streaming master — Apple Music (-16 LUFS)
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Style | Transparent | |
+| Output Level | -1.0 dBFS | |
+| ISP | on | |
+| LUFS Target | -16 LUFS | Apple Music target |
+| Transients | 50–70% | More transient preservation at lower targets |
+
+### Club master / EDM (-8 to -6 LUFS, louder)
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Style | Dynamic or Aggressive | More loudness, still coherent |
+| Output Level | -0.3 dBFS | -0.3 dBTP for club playback |
+| ISP | on | |
+| LUFS Target | -8 to -6 LUFS | Competitive club loudness |
+| Transients | 20–35% | Sacrifice some transient for loudness |
+| Attack | 0.5–2 ms | Fast limiting |
+| Lookahead | 2–5 ms | |
+
+### Mix bus protection (not mastering)
+
+Use as a safety net during mixing, not for loudness maximization:
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Style | Transparent | No character |
+| Output Level | -0.3 dBFS | |
+| ISP | on | |
+| Transients | 80–100% | Maximum transient preservation |
+| Input Gain | 0 dB | Don't drive extra gain in |
+| GR target | 0.5–1 dB max | True safety net only |
+
+## Presets worth knowing
+
+- **Transparent** — Clean limiting, maximum transient preservation
+- **Streaming** — Pre-configured for -14 LUFS, -1 dBTP delivery
+- **Mastering Allround** — Balanced loudness and dynamics for general mastering
+
+## When to prefer this
+
+- Always for final master delivery — this is the industry standard mastering limiter
+- When LUFS targeting is needed (streaming delivery, broadcast)
+- For true peak (-1 dBTP) compliance with ISP enabled
+- When the mix needs competitive loudness maximization, not just clipping prevention
+
+ReaLimit is only used when Pro-L 2 is not installed. Pro-L 2 is in a different category — it is a loudness maximization tool, not just a brickwall.

package/knowledge/plugins/fabfilter/pro-q-3.md

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+---
+name: FabFilter Pro-Q 3
+fx_match: ["Pro-Q3", "Pro-Q 3", "VST3: Pro-Q3 (FabFilter)", "VST: Pro-Q3 (FabFilter)", "FabFilter Pro-Q 3"]
+category: eq
+style: transparent
+vendor: FabFilter
+preference: 90
+replaces: ["rea-eq"]
+---
+
+# FabFilter Pro-Q 3
+
+## What it does
+
+Pro-Q 3 is the industry-standard parametric EQ for mixing and mastering. It offers up to 24 bands with natural-phase, linear-phase, and zero-latency modes. Each band can operate in mid/side or left/right mode independently. Dynamic EQ mode turns any band into a frequency-reactive compressor or expander — this is its killer feature for taming sibilance, resonances, and proximity effect without static cuts. Excellent spectrum analyzer with collision detection (match EQ against a reference). Clean, transparent character; adds no harmonic coloration. CPU-efficient given its capabilities.
+
+## Key parameters by name
+
+Parameters are indexed per band. Band 1 parameters:
+
+| Parameter | Range | Description |
+|-----------|-------|-------------|
+| Band N Frequency | 10–48000 Hz | Center/cutoff frequency |
+| Band N Gain | -30 to +30 dB | Boost or cut — 0 for filter types |
+| Band N Q | 0.025–40 | Bandwidth — higher = narrower |
+| Band N Shape | Bell/LShelf/HShelf/LCut/HCut/Tilt/BandPass/Notch/Flat | Filter shape |
+| Band N Slope | 6/12/18/24/30/36/48/72/96 dB/oct | Only for cut filters |
+| Band N Stereo | Stereo/Left/Right/Mid/Side | Which part of stereo field to process |
+| Band N Dynamic | 0 or 1 | Enable dynamic EQ mode |
+| Band N Threshold | -80 to 0 dB | Dynamic mode threshold |
+| Band N Range | -30 to +30 dB | Max dynamic movement |
+| Band N Attack | 1–1000 ms | Dynamic mode attack |
+| Band N Release | 5–5000 ms | Dynamic mode release |
+| Output Gain | -36 to +36 dB | Master output trim |
+| Phase Mode | 0/1/2 | 0=Natural Phase, 1=Linear Phase, 2=Zero Latency |
+
+## Recommended settings
+
+### Surgical resonance removal (dynamic EQ mode)
+
+Use when a frequency is problematic only at certain loudness levels.
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Band N Shape | Bell | Targeted |
+| Band N Frequency | Problem frequency (e.g. 3200 Hz harsh peak) | Identify with spectrum analyzer |
+| Band N Gain | -3 to -6 dB | Maximum cut when triggered |
+| Band N Dynamic | on | Only cuts when signal is loud |
+| Band N Threshold | Set just above resonance level | |
+| Band N Attack | 5–10 ms | Fast enough to catch peaks |
+| Band N Release | 50–100 ms | Musical release |
+
+### De-essing via dynamic EQ (alternative to dedicated de-esser)
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Band N Frequency | 6000–9000 Hz | Sibilance zone — find the worst peak |
+| Band N Shape | Bell or High Shelf | Bell for surgical, shelf for broad |
+| Band N Gain | -4 to -8 dB | Maximum cut |
+| Band N Dynamic | on | Only triggers on harsh S sounds |
+| Band N Threshold | Just above normal vocal level | |
+| Band N Attack | 1–5 ms | Very fast for sibilance |
+| Band N Release | 30–60 ms | Fast enough for individual sibilants |
+
+### Mid/side mastering EQ
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Band 1 Stereo | Mid | HPF on Mid only |
+| Band 1 Shape | High Cut | |
+| Band 1 Frequency | 80–100 Hz | Mono bass, no rumble in M/S |
+| Band 2 Stereo | Side | Boost air in sides for width |
+| Band 2 Shape | High Shelf | |
+| Band 2 Frequency | 10000 Hz | Air boost |
+| Band 2 Gain | +1 to +2 dB | Subtle — side boost widens mix |
+| Band 3 Stereo | Side | Reduce low-mid width (tighten) |
+| Band 3 Shape | Bell | |
+| Band 3 Frequency | 200–400 Hz | Tighten low-mid stereo |
+| Band 3 Gain | -1 to -2 dB | |
+
+### Vocal track standard processing
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Band 1 Shape | High Cut | HPF |
+| Band 1 Frequency | 80–100 Hz | Remove rumble |
+| Band 1 Slope | 24 dB/oct | Clean cut |
+| Band 2 Shape | Bell | Reduce proximity effect / boxiness |
+| Band 2 Frequency | 250–400 Hz | |
+| Band 2 Gain | -1 to -3 dB | |
+| Band 3 Shape | Bell (dynamic) | Sibilance control |
+| Band 3 Frequency | 7000–9000 Hz | |
+| Band 3 Gain | -3 to -5 dB | |
+| Band 3 Dynamic | on | |
+| Band 4 Shape | High Shelf | Air/presence |
+| Band 4 Frequency | 10000–12000 Hz | |
+| Band 4 Gain | +1 to +2.5 dB | |
+
+## Presets worth knowing
+
+- **Default** — Flat, no processing. Good starting point.
+- Look for genre-specific vocal, mix bus, and mastering presets in the FabFilter preset library (if installed).
+
+## When to prefer this
+
+- Always prefer over ReaEQ when installed — superior visualization, dynamic EQ, and mid/side capabilities
+- For de-essing without a separate de-esser plugin (dynamic EQ mode on 6–9 kHz)
+- For mastering with linear phase mode (avoids phase distortion at low frequencies)
+- For matching EQ to a reference track (use the spectrum analyzer's reference display)
+- For complex resonance removal where the problem only appears at certain levels
+
+This is the go-to EQ in all situations when available. Only fall back to ReaEQ if Pro-Q 3 is not installed.