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All your vocal FX in one plugin.

Stabs, ad-libs and hooks, finished in seconds with 300+ presets for rap, trap, R&B, house and pop.

Try it free Hear the difference

AU, VST3 and standalone, for Mac and Windows.

StabLib FX plugin window showing the effects list, the preset bar, and a chain of Parametric EQ, Chorus and Reverb with the EQ's curve open

Take a look around.

Point at any part of the plugin, or tap it, to see what it does.

The StabLib FX plugin window, with the Parametric EQ open
The effects
All 14 effects, always in view. Click one to add it to your chain, or drag it in. The ones already in the chain light up in their own colour.
Presets
300+ factory presets, plus the ones you save. Step through them with the arrows, or open the browser to search and filter them by style or effect.
Save, undo and redo
Save the whole chain as your own preset. Undo and redo step back and forward through your changes, even adding, removing or moving an effect.
A/B
Two versions of the same sound. Try an idea on B, flip back to A, and keep whichever is better.
Randomize
A whole new chain in one click. The arrow beside it sets how wild the result is, and any effect you've locked stays as it is.
Live
For recording through it. Switch LIVE on and the whole plugin delays your voice by under a millisecond, so you hear every effect as you sing and your DAW's low-latency monitoring leaves it running. The number under it is the plugin's delay right now. Switch it off to mix.
Mix, Auto and Out
Mix blends the whole chain with the dry vocal. Auto Gain keeps the output as loud as the input, so switching the plugin on and off is a fair comparison, with a safety limiter at 0 dB. Out sets the final level, beside the meters.
The chain
Your effects in the order the vocal goes through them. Drag one left or right to change the order, or click it to jump to its controls.
Effect modules
Every effect in the chain gets a module of its own. Its ? button explains what the effect does and what each control does, in plain words.
Module buttons
Move the effect up or down the chain, lock it so Randomize leaves it alone, randomize just this effect, solo it to hear it on its own, bypass it, or remove it.
Presets for each effect
Every effect has presets of its own too, so you can swap just the reverb or just the EQ without touching the rest of the chain.
The EQ graph
Click the graph to add a band, then drag it up to boost or down to cut, with up to 24 bands. The moving shape behind the curve is your vocal.

The same take, with and without.

Press play, then switch between the two while it plays. It's the same take at the same loudness, so the only difference you hear is StabLib FX.

Demo 1

Without StabLib FX With StabLib FX

Demo 2

Without StabLib FX With StabLib FX

Demo 3

Without StabLib FX With StabLib FX

Load one plugin, not five.

The EQ, pitch, chorus, delay and reverb you'd stack on a vocal live in one insert, as one chain you can save and recall as a preset.

Five plugins

  1. EQ
  2. Pitch
  3. Chorus
  4. Delay
  5. Reverb

One StabLib FX

  1. StabLib FX
  2. Free
  3. Free
  4. Free
  5. Free
The same five effects on a vocal’s inserts: as separate plugins, and as one StabLib FX.

  1. Drop it on a vocal

    Load StabLib FX on any vocal track: AU or VST3 in your DAW, or the standalone app.

  2. Pick a preset

    Browse 300+ chains by style, from ad-libs and stabs to trap, drill, R&B, house and pop.

  3. Make it yours

    Tweak any effect, drag the chain into a new order or hit Randomize, then save it as your own preset.

14 effects, in any order.

Stack them however you like, give each one its own mix, and save the chain as your own preset. Pick one to see it.

Dynamics

Tone

Pitch

Drive

Modulation

Stereo

Time

Space

The Noise Gate module, set to its Vocal Booth preset

Noise Gate

Silences the quiet bits between your phrases (breaths, headphone bleed, room hiss) and lets everything louder straight through. Keep it first in the chain, so the noise it removes never gets fed into a reverb or delay.

Try this: Play the track and slowly raise THRESHOLD until the noise in the gaps disappears. If the start or end of words gets cut off, back it down a little.

The Transient Shaper module, set to its Punch Boost preset

Transient Shaper

Changes the punch and body of a sound. The transient is the sharp start of each sound (a consonant, a drum hit); the sustain is everything that rings on after it. Turn either one up or down.

Try this: For more punch, turn ATTACK up to about +30%. For a tighter, drier sound, turn SUSTAIN down. Even out any change in volume with OUTPUT.

The Parametric EQ module, set to its Pop Modern Vocal preset

Parametric EQ

Turns chosen frequency ranges up or down: take out boominess, add air, cut a harsh ring. The line on the graph is your EQ curve, and the moving shape behind it is the sound going through.

Try this: Click the graph to add a band, then drag it down to cut or up to boost. Cut narrow, boost wide: most problems are fixed by turning something down, not up.

The Pitch Shifter module, set to its Octave Up preset

Pitch Shifter

Changes the pitch of a voice, from an octave layer under an ad-lib to chipmunk and monster voices. It can also snap notes to a key (hard-tune) or turn a voice into a robot.

Try this: Octave layer under an ad-lib: PITCH -12, FORMANT 0, MIX about 40%. Hard-tune: set TYPE to Quantize, then set KEY and SCALE to match your song.

The Distortion module, set to its Tube Grind preset

Distortion

Adds grit, warmth and aggression by pushing the sound harder than it can cleanly handle, which squashes the peaks and adds new harmonics. Goes from a subtle warmth to full-on fuzz.

Try this: Set MIX to about 30%, then raise DRIVE until you hear the edge you want. Use OUTPUT to match the level with the effect off, so you're judging the tone, not the loudness.

The Bitcrusher module, set to its 8-Bit Game preset

Bitcrusher

Lowers the audio quality on purpose, for a lo-fi, digital, video-game or blown-speaker sound. It measures the sound more coarsely, in both volume and time, which adds grit, fizz and a metallic edge.

Try this: Leave BIT DEPTH high, bring SAMPLE RATE down to 8-12 kHz, then raise TONE to smooth off the harshest fizz. Blend it in with MIX.

The Doubler module, set to its Wide Adlib preset

Doubler

Makes one vocal sound like several takes sung together. Each extra voice drifts a little in pitch and timing, the way a singer's second take would, for a thicker, wider sound without the swirl of a chorus.

Try this: Start with 2 voices, MIX at 30-40% and WIDTH around 60%. If it sounds wobbly or out of tune, bring PITCH VAR down.

The Chorus module, set to its Dreamy Wide preset

Chorus

Layers slightly delayed copies of the sound whose pitch gently wobbles, for a lush, shimmering, wider sound. More obvious and synthetic than the Doubler: think classic 80s guitar or dreamy pads.

Try this: Set MIX to 30-50%, keep RATE slow (under 1 Hz) and raise DEPTH until it shimmers. If it gets glassy, pull HIGH CUT down.

The Flanger module, set to its Classic Jet preset

Flanger

Mixes the sound with a copy of itself, delayed by a tiny amount that keeps moving. That creates the sweeping, whooshing “jet plane” sound, from a gentle shimmer to a metallic, robotic whirl.

Try this: Set MIX to 50% and RATE slow (0.2-0.5 Hz), then raise FEEDBACK for a stronger, more metallic sweep.

The Tremolo module, set to its Fast Chop preset

Tremolo

Turns the volume up and down in a steady rhythm, from a gentle pulse to a hard, choppy stutter.

Try this: Click RATE to lock it to your tempo and pick 1/8 or 1/16. Use SHAPE Square for a rhythmic chop, or Sine for a smooth pulse.

The Auto-Pan module, set to its Wide Sweep preset

Auto-Pan

Moves the sound back and forth between the left and right speakers by itself, for movement and space in a mix.

Try this: Click RATE to lock it to your tempo and try 1/4. If the movement is too much on headphones, lower WIDTH.

The Delay module, set to its Ping-Pong Bounce preset

Delay

Repeats the sound as echoes. Short delays add width and slap; long ones leave rhythmic echoes trailing after each phrase, a classic for ad-libs and vocal throws.

Try this: Click the TIME knob to lock it to your song's tempo and pick 1/4 or 1/8. Set FEEDBACK to 25-35% and MIX to about 20%. Add DUCK so the echoes stay out of the way while you sing.

The Reverb module, set to its Vocal Plate preset

Reverb

Puts the sound in a space, from a small room to a hall or a huge cave, by adding the thousands of reflections a real room would. It's the main way to give a vocal depth and make it sit in the track instead of on top of it.

Try this: Start with MIX at 15-20% and DECAY at 1.5-2.5 s. If it sounds harsh or splashy, pull HIGH CUT down. A little PREDELAY (under ADV) keeps the words clear.

The Reverse Reverb module, set to its Classic Swell preset

Reverse Reverb

Plays a reverb backwards, so it swells up into each phrase instead of trailing off after it: the ghostly “sucked in” riser heard before vocal hits.

Try this: Leave TRIGGER on Each phrase, set CAPTURE to how long the swell should build (300-800 ms suits most vocals), and MIX to 30-50%. On Continuous, DUCK keeps the reversed wash from covering the words.

Works in your DAW.

AU and VST3 in Logic Pro, FL Studio, Ableton Live, Studio One, Cubase, Reaper, Bitwig and GarageBand, or on its own as the standalone app.

Stays in time

Every effect's delay is reported to your DAW, so the vocal lands exactly where you recorded it, and tempo-synced effects follow your session.

Light on your CPU

It rests when the vocal is silent and only wakes when there's something to process, so a session full of copies stays smooth.

Mac: macOS 11 or later, Apple Silicon or Intel. Windows 10 or 11, 64-bit. Pro Tools (AAX) isn't supported yet: a Pro Tools update is coming soon.

$9.99 a month, free for the first 7 days.

Every update included, on up to 2 of your computers, or 5 for your studio with Studio. Cancel any time.

Try it free for 7 days

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