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Table of Contents
About FabFilter Pro-MB
Overview
Loading presets
Purchasing FabFilter Pro-MB
Support
2
Introduction
Quick start
Using FabFilter Pro-MB
Knobs
Display and workflow
Basic band controls
Expert band controls
Processing mode
Oversampling
Full Screen mode and resizing
Spectrum analyzer
Input and output options
MIDI Learn
Undo, redo, A/B switch
Presets
Saving presets
How presets are stored
Purchasing FabFilter Pro-MB
Entering your license key
Support
Manual installation
VST plug-in versions
External side chaining
License agreement
Acknowledgements
About FabFilter
About FabFilter Pro-MB
3
Multiband compression and expansion are very powerful and useful tools, but many people find the concept
quite difficult to grasp, or don't know how and when to use it. With FabFilter Pro-MB, multiband dynamics
processing becomes intuitive yet powerful at the same time.
The traditional approach to multiband processing is to simply split the whole incoming signal into bands using a
set of crossovers. In most cases however, this is overly complicated as you're often only interested in working
with a particular frequency range. Instead, we have chosen to approach this from the user's perspective: think
bands, not crossovers. You're working on some audio and want to adjust a certain frequency range... so just
create a band at that frequency range and start working! The interface clearly reflects that the rest of the
spectrum stays untouched.
Next, we have also pushed the limits to achieve the best possible sound. We've gone through a lot of research
and developed our own unique Dynamic Phase processing mode. It has virtually the same frequency response
as traditional multiband processing, but features zero latency operation, no pre-ringing effects, and only
introduces phase changes when actually changing the gain. This mode really makes Pro-MB stand apart! Of
course, we have also included an excellent Linear Phase mode and a traditional Minimum Phase mode.
As you've come to expect from FabFilter, Pro-MB has a highly intelligent and intuitive interface, making it easy
to create, organize and adjust bands that are freely placed in the frequency spectrum. With its well-thought-out
display, designed to achieve an optimal workflow, FabFilter Pro-MB is an absolute time-saver and a joy to use.
Key features
Up to six processing bands, freely placed anywhere in the spectrum
Unique Dynamic Phase processing mode plus excellent Linear Phase and traditional Minimum Phase
modes
Any form of dynamics processing, from highly transparent compression, limiting and expansion to
pumping upward compression and punchy gating
Fully customizable per band: lookahead (up to 20 ms), variable knee, variable stereo linking with mid-
only or side-only processing, band/free side-chain triggering (external or internal), variable slopes
between 6 dB/oct and 48 dB/oct (in Dynamic and Linear Phase mode)
Intelligent, highly program- and frequency-dependent attack and release curves
Full Screen mode: with just the click of a button, Pro-MB instantly fills the whole screen, making super-
precise adjustments easy and fast
Choose between normal or large interface sizes
Unique interactive multiband display, designed for an optimal workflow
Global dry/wet mix from 0% to 200%
High-quality audio processing algorithms with 64-bit internal processing where needed
4
Up to four times oversampling
Accurate and smooth, customizable real-time frequency analyzer with pre-processing, post-processing
and SC options, freeze, tilt, speed and resolution settings, and horizontal spectrum zoom
Precise output metering
Retina support on OS X and High DPI support on Windows
FabFilter Pro-MB is available in VST, VST3, AU (Audio Units), AAX Native and AudioSuite formats (all both 64bit and 32-bit), as well as RTAS (32-bit only), for Mac OS X and Windows.
Windows requirements
32-bit: Windows 10, 8, 7, Vista or XP
64-bit: Windows 10, 8, 7 or Vista (x64)
VST 2/3 host or Pro Tools
Next: Quick start
See Also
Using FabFilter Pro-MB
Mac OS X requirements
OS X 10.6 or higher
AU or VST 2/3 host or Pro Tools
Intel processor
Quick start
5
The installer will copy the FabFilter Pro-MB plug-in into the common VST, VST 3, AU (macOS only) and Pro
Tools plug-in folders on your computer. On macOS, the global plug-in folders in /Library/Audio/Plug-Ins are
used.
In most cases, your host will then recognize the plugin automatically. However, if the instructions below do not
work, see Manual
Cubase
Choose an empty insert slot, for example in the Mixer, and select FabFilter Pro-MB from the menu that
appears. To use the MIDI features in Pro-MB, create a new MIDI track and set its output to the Pro-MB
instance you have just created. (The VST 3 version of Pro-MB can be found in the Dynamics section.)
Logic Pro
Choose an empty insert slot on one of your audio tracks, instrument tracks or buses and select FabFilter
Pro-MB from the pop-up menu. You will find FabFilter Pro-MB in the Audio Units > FabFilter section
(named FF Pro-MB).
Ableton Live
In Session view, select the track you would like to place FabFilter Pro-MB on, for example by clicking the
track name. At the left top of Ableton Live's interface, click on the Plug-in Device Browser icon (third icon
from the top). From the plug-ins list, double-click FabFilter/FabFilter Pro-MB, or drag it onto the track.
Pro Tools
Choose an empty insert slot on one of your audio tracks, instrument tracks or buses and select FabFilter
Pro-MB from the pop-up menu in the Dynamics section.
To begin, just open the plug-in, move your mouse above the display and click anywhere to create a first band.
Enjoy!
installation instead.
Next: FabFilter Pro-MB overview
See Also
About FabFilter Pro-MB
Overview
6
The interface of FabFilter Pro-MB is designed to be easy to use while providing all necessary information and
controls. It consists of the following elements:
Interactive multiband display
Using the interactive display, you can easily create, organize and adjust processing bands. See Display
and workflow.
Band controls
The band controls let you adjust the dynamics, level and triggering settings of one more selected bands.
See Basic band controls
Level metering
At the right of the interface, the output level meter and level read-outs provide an immediate overview of
the current output level. See Input and output options
MIDI Learn
MIDI Learn lets you easily associate any MIDI controller with any plug-in parameter. See MIDI Learn
Processing mode
The Processing mode setting specifies how the incoming signal is split into bands before processing them.
See Processing mode
Oversampling
The Oversampling setting sets the amount of internal oversampling, which reduces possible aliasing for
fast/aggressive dynamics processing and improves high-end frequency response for the Minimum Phase
and Dynamic Phase processing modes, at the cost of additional CPU usage. See Oversampling
Analyzer settings
Using the Analyzer settings, you can enable and customize the built-in spectrum analyzer that lets you
visually judge the effect of processing on the incoming signal. See Spectrum analyzer
Input and output options
At the right of the bottom bar, you can bypass the entire plug-in and adjust the initial input and final
output levels. See Input and output
Resize and Full Screen mode
Using the Resize button at the far right of the bottom bar, you can choose a desired interface size. In
addition, using the Full Screen button at the right top corner, you can enter Full Screen mode, in which
Pro-MB fills the whole screen. See Full Screen mode and resizing
Presets, undo, A/B, help
With the preset buttons, you can easily browse through the factory presets or save your own settings so
.
.
.
.
.
.
options.
.
you can re-use them in other songs. The Undo, Redo, A/B and Copy buttons at the top of the plug-in
interface enable you to undo your changes and switch between different states of the plug-in. Finally, the
7
Help menu provides access to help and version information. See Loading presets
and Undo, redo, A/B
switch.
Next: Knobs
See Also
Quick start
Knobs
8
It is easy to control FabFilter Pro-MB's parameters with the large round knobs. They will light up when you
move the mouse cursor around to indicate that you can adjust them. The moment you move the mouse cursor
over a knob, a parameter value display will pop up, which shows the name and the current value of the
parameter.
All knobs support four ways of control:
1. Vertical mode
Click on the center area of a knob and drag up or down to rotate it. The knob reacts to the speed with
which you are dragging, so if you move the mouse slowly, you make precise adjustments.
2. Rotate mode
Grab the arrow of the knob and drag it around. By moving the mouse cursor further away from the
knob while dragging it, you can make precise adjustments.
3. Mouse wheel mode
Perhaps the easiest way to make adjustments is by using the mouse wheel when you hover over a
knob. This mode works for all the knobs and possible panning rings. (On Windows, you might need to
click in the plug-in interface first to make sure it is the active window.)
4. Text entry mode
Double-click a knob to enter an exact value using the keyboard.
Tips
To reset a knob to its default position, hold down the Ctrl key (Windows) or Command key (macOS) and
click the knob once. Note: In Pro Tools, Pro-MB uses the default Pro Tools keyboard shortcut for reset:
Alt+click.
To fine-tune a value when using vertical drag mode or the mouse wheel, hold down the Shift key while
dragging or moving the mouse wheel. Note: In Pro Tools, Pro-MB uses the default Pro Tools keyboard
shortcut for fine tune: Ctrl+drag on Windows or Command+drag on macOS.
There are several handy shortcuts in text entry mode. With frequency values, you can type e.g. '1k'
to set the value to 1000 Hz, and also 'A4' for 440 Hz, or even strings like 'C#3+13'. With dB values, you
can type e.g. '2x' to get +6 dB (the value that corresponds to two times louder). With all values, you can
also type a percentage (e.g. '50%' will put a knob exactly in the middle position).
Sometimes, knobs in our plug-in interfaces are linked: these be adjusted simultaneously by holding
down the Alt key (Shift key in Pro Tools) while dragging on one of them. For example, an output level
and input level setting of a plug-in could be adjusted simultaneously (in the opposite direction) this way.
Next: Display and workflow
See Also
Overview
Display and workflow
9
The large display provides an overview all bands and lets you easily create new bands and edit them. Each
band visualizes its potential dynamic range, while the thick yellow curve shows the overall dynamic frequency
response at the present moment.
Unlike traditional multiband tools, the unique workflow in FabFilter Pro-MB does not require you to divide the
entire spectrum in bands. You just create one or more bands at the frequency range that you actually want to
work on, and leave the rest of the spectrum unprocessed. We take care of the rest!
Creating bands
To create the first band, just click anywhere in the display. The band is created with a default width, but
you can adjust this with the mouse wheel as you hover over the display.
To create more bands, hover over an empty area or over an existing band in the display and click the +
button at the top.
Alternatively, you can drag the yellow overall curve or double-click in an empty area.
After creating a band, you can immediately start dragging to adjust it.
Selecting bands
Click anywhere inside a band to select it.
Click and drag on the display background to select adjacent bands by dragging a rectangle around them.
Alternatively, hold down Ctrl (Cmd on Mac OS X) and click another band to select multiple bands. Hold
down Shift and click a band to select a consecutive range of bands.
Click once in an empty area to deselect all bands.
Adjusting and editing bands
Click the peak dot in the center of a band and drag vertically to adjust the gain, or horizontally to adjust
the center frequency. All selected bands are adjusted in parallel. As you move a band across the
spectrum, the other bands are squashed and then moved as well to make space.
Use the mouse wheel or hold down Ctrl (Cmd on Mac OS X) and drag vertically to adjust the width of a
band.
Hold down Shift while dragging to fine-tune the settings of the selected bands.
Normally, dragging is constrained to either a horizontal or a vertical adjustment. To bypass this and drag
freely in both directions, hold down Alt while dragging.
If you move a band close to another band, it will snap to it, and they will start sharing a single crossover.
Likewise, you can also snap a band to the display edge. If you want, you can use this to divide the entire
spectrum in bands for a more traditional approach to multiband processing.
When hovering over a snapped crossover line, two buttons appear. The Split button creates a new band
between the two snapped bands. The Unsnap button unsnaps the two bands, creating a small empty area in
between. This lets you move them independently again.
When you hover the mouse over a band, additional controls appear in the display:
The solo/mute buttons enable you to mute a band or listen to it exclusively. Hold down the solo or mute
10
button to solo or mute a band only temporarily, as long as the mouse button is pressed, To solo or mute
a band exclusively, Ctrl-click (Windows) or Cmd-click (Mac) the solo or mute button.
The crossover lines let you drag each crossover independently. In contrast, dragging the peak dot
horizontally changes the center frequency, adjusting both crossovers in parallel.
The slope buttons set the low and high crossover slope for the band. Each crossover can have an
independently variable slope value from 6 dB/oct to 48 dB/oct. To change multiple slope values at the
same time, click and drag a rectangle around the slope buttons to select more than one.
The range line lets you easily adjust the Range parameter for a band by dragging the line up and down.
In the top-right corner of the display, there is a drop-down button to choose the display range: +/- 3 dB, 6
dB, 12 dB or 30 dB. When you are dragging a curve outside the current range of the display, the range will
expand automatically as needed.
Horizontal zooming
Sometimes it might be useful to zoom in to a specific frequency for extra precise editing. You can easily do this
by clicking and dragging the frequency scale at the bottom of the display, just above the bottom bar. You can
do the following:
Click and drag up and down to zoom in and out at the frequency you have clicked on.
While zoomed in, you can also drag left and right to move the frequency scale.
Just double-click the scale to return to its default full range.
Tips
In Full Screen mode, available via the button at the right top of the interface, the display will fill the
whole screen so you can make very precise adjustements. See Full Screen mode and resizing
.
You can turn off the automatic adjustment of the display range by clicking Auto-Adjust Display
Range in the Help menu.
Note that two display scales are drawn: the yellow scale is adjusted by the Display Range drop-down
button and corresponds to the band curves, range and the yellow overall curve. The gray scale is used by
the spectrum analyzer
and output level meter.
You can double-click the crossovers, slope buttons and range line to enter a value with the keyboard.
When you double-click the peak dot, you start editing the gain of the band; press Tab or double-click on
the center frequency in the parameter value display to edit the center frequency instead.
Next: Basic band controls
See Also
Overview
Basic band controls
11
Once one or more bands are selected in the multiband display, controls for the selected bands will appear at
the bottom of the display. The band controls will be positioned below the currently selected bands. Note that
the arrow at the top of the container has a glow that matches the color of the band it is controlling right now. A
subtle yellow glow indicates that you are controlling multiple bands simultaneously.
The Threshold knob sets the threshold level for compression or expansion. Whether the band triggers on
signals above or below the threshold depends on both the Range parameter and the current dynamics
mode (Compress or Expand): see Dynamics Mode
Threshold knob shows the level of the filtered and possibly stereo-linked signal that is used for detection.
This feedback makes it a lot easier to choose a proper setting.
The Range knob limits the maximum amount of applied gain change. In addition, the Range knob
chooses between downward and upward compression or expansion: see Dynamics Mode
The Dynamics Mode buttons select between compression and expansion. In combination with the Range
knob, four different types of dynamic processing are possible: see Dynamics Mode
The Attack knob sets the speed with which gain reduction sets in. Fast attack times are needed when
you want to react on transients as fast as possible, for example to achieve limiting (Compress mode) or
gating (Expand mode). The Attack knob shows a percentage value from 0% to 100%, because actual
attack times are very program dependent, and even depend on the placement of the band in the
frequency spectrum.
The Release knob sets the speed at which the compressor/expander recovers from gain reduction.
Higher release values will result in more subtle leveling. Like Attack, the Release knob shows a
percentage value from 0% to 100%, because actual release times are very program dependent, and even
depend on the placement of the band in the frequency spectrum.
The Ratio slider adjusts the amount of compression or expansion that is applied, scaling the dynamic
effect of the band on the input signal. For example, when applying compression with a ratio setting of
4:1, three of every four dB above the threshold will be attenuated. In comparison, the Range knob limits
the final amount of compression or expansion rather than scaling it.
The Knee slider sets the type of knee to use for the compressor/expander. A soft knee setting causes it
to react more gradually around the threshold, somewhat smoothing the dynamic effect.
The Lookahead slider sets the compressor/expander to start reacting up to 20 ms before gain change is
actually detected. This is an excellent way to preserve transients, while still avoiding ultra-fast attack
times that might cause distortion or aliasing. You can globally enable or disable lookahead with the
Lookahead Enabled button in the bottom bar.
The Output Level knob adjusts the final level of the band: this is equal to the gain value controlled by
the peak dot for a band in the display
between mid and side levels of the band, which is very useful in many multiband processing situations.
For example, you can easily make the low-end of your signal more mono, or increase high-end stereo
width.
The bypass button at the left top lets you easily bypass the currently selected bands. While a band is
bypassed, it is dimmed in the display and the bypass button itself glows red. You can temporarily bypass
a band by holding down the mouse on the bypass button.
The delete button at the right top removes the currently selected bands. If you have accidentally
deleted some bands, you can easily restore them using the Undo
interface.
The band preset button, just left of the delete button, opens a drop-down menu that lets you save and
load specific settings for a band. You can simply overwrite the Default preset to change the default
settings for new bands.
. The Output Pan ring around the level knob adjusts the panning
below. The circular side-chain level meter around the
below.
below.
button at the top of the plug-in
The Expert button at the right enables or disables the expert controls for all bands.
Dynamics Mode
12
FabFilter Pro-MB can apply any kind of dynamics processing per band, using the Dynamics Mode buttons in
combination with the Range knob. When the Dynamics Mode is set to Compress, use either a negative or
positive range to apply downward (normal) or upward compression. The same applies to Expand mode. Here
are diagrams to visualize the four different combinations:
Downward compression
Using Compress mode in combination with a negative Range will result in
normal, downward compression. The dynamic range of the signal is reduced
by attenuating peaks that exceed the specified threshold level.
Upward compression
Using Compress mode in combination with a positive gain does the opposite of
normal compression: instead of reducing peaks above the threshold, it adds
gain as soon as the level drops below the threshold. So this reduces the
dynamic range from the noise floor up instead of from the peaks down.
Upward compression can be very useful to add loudness and body, while
leaving the transients untouched. Also, when used with extreme range, ratio
and release values, you can achieve creative pumping effects.
Downward Expansion
When using Expand mode in combination with a negative range, the signal will
be attenuated as soon as it drops below the threshold, increasing the
perceived dynamics of the signal around the threshold. This is the most
common type of expansion and with higher ratio and range values, it's often
called gating.
Upward Expansion
Expand mode in combination with a positive range will again do the opposite
of normal expansion: instead of attenuating the signal when it drops below the
threshold, it will add gain as soon as the signal exceeds the threshold,
emphasizing the peaks in the audio. So this increases the dynamic range from
the threshold up instead of from the threshold down. Upward expansion is a
great way to enhance transients. For example, you can easily increase the
impact of a snare in a drum loop using upward expansion.
Tips
If multiple bands are selected, the band controls will adjust all selected bands simultaneously.
If you hold down the Alt key while dragging a band's Output Level knob, the Output Pan ring will
simultaneously be adjusted in such a way, that make-up gain is applied according to the current Stereo
Link Mid-only or Side-Only processing amount. For example, when using 100% mid-only processing,
holding the Alt key while dragging the band's Output Level to +6 dB, will also set the panning to "-6 dB
Side". This ensures the side signal stays unchanged, only adding make-up gain to the mid signal.
If lookahead is disabled, oversampling is turned off, and the processing mode is set to Dynamic Phase or
Minimum Phase, FabFilter Pro-MB works without any latency. When lookahead is enabled, the latency will
be 20 ms, plus possible additional latency for Linear Phase processing and oversampling.
Next: Expert band controls
See Also
Overview
Display and workflow
Expert band controls
13
Next to the normal band controls, FabFilter Pro-MB contains additional expert controls, enabled by the Expert
button at the right of the floating band controls. These consist of advanced yet highly useful side-chain
triggering and stereo-linking options.
The Band/Free buttons select the frequency range of the trigger signal: either the band input signal
itself (which is the default setting, used when Expert mode is off), or a freely chosen range anywhere in
the spectrum. Enabling Free mode will reveal side-chain filtering controls just above the band controls. It
uses intelligent and adaptive filtering, which makes triggering on narrow frequency ranges a lot easier.
The In/Ext buttons choose between the internal, normal plug-in input, or the external side chain input.
For more information on connecting the external side chain in various hosts, see External side
The Audition button lets you listen to the filtered and stereo-linked signal that will be used to trigger
dynamics processing for this band. You can turn Audition mode on or off with a single click, but you can
also click-and-hold the button to temporarily audition the trigger signal.
chaining.
Stereo linking and mid-only/side-only processing
The Stereo Link slider sets the amount of stereo linking for the trigger input signal, and also selects between
normal stereo processing or mid-only/side-only processing.
The first half of the slider range sets stereo linking from 0% (fully unlinked, channels operate independently)
up to 100% (fully linked, resulting in the same gain reduction for both channels).
By dragging the slider further, the band will eventually process only the mid-signal (mono content of the
processed audio), or only the side-signal (stereo content of the processed audio). Using the small Stereo Link
Mode button at the right bottom of the Stereo Link slider, you can toggle between the two.
Mid- or side-only processing can be very useful, especially during mastering. For example, bass or lead vocals
are often placed in the center of the stereo image, so only processing the mid-signal will leave all stereo
content untouched, ensuring the most transparent end result possible.
To better understand the working of these settings, enable the Audition button. You can now directly hear the
effect of stereo linking and mid-only or side-only processing!
Tips
When triggering on a very specific frequency, choosing a very narrow range in Free mode often works
better than the default Band mode.
When using mid-only or side-only processing, hold down the Alt key while adjusting the Output Level
knob for a band to easily apply make-up gain. For example, when using 100% mid-only processing,
holding the Alt key while dragging the band's Output Level to +6 dB, will also set the panning to "-6 dB
Side". This ensures the side signal stays unchanged, only adding make-up gain to the mid signal.
The Stereo Link slider is of course only enabled in the stereo version of FabFilter Pro-MB.
Next: Processing mode
See Also
Overview
Basic band controls
Display and workflow
14
Processing mode
15
The Processing Mode button in the bottom bar selects the algorithm that is used to split the incoming audio into
bands to be able to process them separately.
While developing FabFilter Pro-MB, we have gone through a lot of research and developed our own unique
Dynamic Phase processing mode. It has virtually the same frequency response as traditional multiband
processing, but features zero latency operation, no pre-ringing effects, and only introduces phase changes
when actually changing the gain. This mode really makes Pro-MB stand apart! Of course, we have also included
an excellent Linear Phase mode and a traditional Minimum Phase mode.
Linear Phase
In Linear Phase mode, the resulting spectrum after splitting the signal into bands and summing them together
again, is always guaranteed to have a flat phase response.
FabFilter Pro-MB's linear phase implementation guarantees an excellent frequency response, even at the lowest
frequencies! Also, note that changing crossover frequencies in Linear Phase mode sounds just as smooth as
when using the other modes, no zipper effects whatsoever. This might sound trivial, but it is actually quite
unique in linear-phase processing.
Linear phase processing will give much more transparent results than the traditional Minimum Phase method,
at the expense of quite a bit of extra latency and possible pre-ringing artifacts (which are an inevitable sideeffect of any kind of linear phase processing).
Minimum Phase
Minimum Phase mode uses a traditional way of splitting the signal into bands using filters. This does not
introduce extra latency, but it will introduce static phase changes at the crossover frequencies instead.
Especially when using higher slopes, these phase effects will become very apparent and often unpleasant,
which makes this method virtually unusable for mastering purposes. The only exception to this, is using the 6
dB/oct slopes throughout. This also does not introduce static phase changes and is therefore very suitable for
mastering. With narrow bands, it is even capable of steeper filtering than you would expect!
Dynamic Phase
Finally, the unique Dynamic Phase mode gives you the best of both worlds: it results in a flat/linear phase
response when no gain processing is applied, but does not introduce latency or pre-ringing artefacts (like
linear-phase processing) or static phase distortion (like minimum phase processing). Minor phase effects will
only be introduced when the gain of a band is actually changed. This is possible because the input signal is not
actually split into bands, but is treated with intelligent dynamic filtering, offering almost the exact same
frequency response as with linear phase and minimum phase processing.
Dynamic Phase is by far the most transparent mode, suitable for both mastering and mixing, so we have
chosen this as the default processing mode for new plug-in instances. Note that Dynamics Phase mode closely
approximates the behavior of "normal" multiband processing, but in some cases, like muting all bands, or
placing bands next to each other, it works slightly differently.
Tips
You can customize the default processing mode setting (and other default plug-in settings) used for new
plug-in instances via the preset menu, by choosing Options > Save As Default.
Next: Oversampling
See Also
Overview
Display and workflow
Oversampling
16
The dynamics algorithms often need to make very quick changes to the audio when compressing or expanding.
These sudden changes can introduce a small amount of aliasing, which causes distortion and generally
reduces the quality of the audio signal.
Oversampling is a way to reduce that aliasing by running the internal process at a sample rate that is two or
four times higher than the host's sample rate. Additionally, this will also improve the frequency/phase response
for high frequencies (near the Nyquist frequency at half the sample rate) in the Dynamic Phase and Minimum
Phase processing modes.
When should I use oversampling?
You need it more when the compression or expansion is more aggressive and apparent. Usually, this is the case
when using lower Attack and Release and/or higher Ratio and Range settings.
Of course, in return for a reduction of possible aliasing/distortion, the plug-in will use more CPU power when
using oversampling. In addition, oversampling introduces a small latency, in addition to any processing mode
or lookahead latency.
Tips
Do you want to use zero-latency processing? Disable oversampling and lookahead in the bottom bar, and
use either Dynamic Phase or Minimum Phase processing.
Next: Full screen mode and resizing
See Also
Overview
Processing mode
Full Screen mode and resizing
17
With just the click of a button, the Pro-MB interface will fill up the whole computer screen so you can make
ultra-precise adjustments and get the best view on the spectrum analyzers.
To exit Full Screen mode, just press Escape or click the Full Screen button again.
Resizing
In addition to Full Screen mode, you can also customize the normal interface size using the Resize button at
the right of the bottom bar. You can choose between Medium (the original size of Pro-MB), Large or Extra
Large. Once you have selected a size, it will automatically become the default size for new plug-in instances.
Tips
When using the VST3 plug-in, you can resize the plug-in interface by just dragging the window edges to
any size you like. Of course you can always go back to one of the predefined sizes with the resize button.
The Large and Extra Large interface options will be greyed out in the Resize button menu if the current
display is too small to support them.
Next: Spectrum analyzer
See Also
Overview
Display and workflow
Spectrum analyzer
18
To help you judge the effect of the different dynamics processing bands on the incoming audio signal, FabFilter
Pro-MB includes a powerful real-time frequency analyzer.
The spectrum analyzer can be customized via the analyzer settings panel, which pops up automatically when
you hover above the Analyzer button in the bottom bar. It offers the following options:
Using the Pre, Post and SC buttons at the top of the analyzer settings panel, you can choose to
enable/disable the pre-processing, post-processing and side-chain spectrum visualization. Note that when
global bypass
disabled as well.
The Resolution setting determines how precise the spectrum analyzer works. Higher resolution settings
allow more precision in the low-frequency area, but because more incoming samples are needed to
calculate a single spectrum, the update rate will be lower which generally results a slower attack time.
The Low value corresponds to a resolution of 1024 points, Medium to 2048, High to 4096, and
Maximum to 8192 points.
The Speed setting selects the release speed of the spectrum. A fast release shows dynamic changes
more clearly, while a slow release gives you more time to examine the spectrum before it disappears.
The Tilt setting tilts the measured spectrum around 1 kHz with a specified slope, expressed in dB per
octave. The default setting of 4.5 dB/oct results in a natural looking spectrum, resembling best how
loudness is perceived by the human ear.
Using the Freeze button at the left bottom of the panel, the spectrum will stop falling and show the
maximum over time. While Freeze is enabled, a blue line at the top of the Analyzer button in the bottom
bar indicates this state as well.
The spectrum analyzer uses the gray gain scale at the righthand side of the multiband display, ranging from
-100 to 0 dB.
is enabled, the plug-in won't receive or handle any audio, so the spectrum analyzer is
Horizontal zooming
Sometimes it might be useful to zoom in to a specific frequency. You can easily do this by clicking and dragging
19
the frequency scale at the bottom of the display, just above the bottom bar. You can do the following:
Click and drag up and down to zoom in and out at the frequency you have clicked on.
While zoomed in, you can also drag left and right to move the frequency scale.
Just double-click the scale to return to its default full range.
Tips
When skipping through presets, the current analyzer settings are not changed, but they are saved in
songs.
Hold down the Freeze button to freeze temporarily until you release the mouse button again.
If desired, you can make the analyzer panel 'sticky' by clicking the Analyzer button once. Click it again to
hide the panel.
Next: Input and output options
See Also
Overview
Display and workflow
Input and output options
20
At the righthand side of the interface, FabFilter Pro-MB offers a high-resolution output level meter. At the top of
the meter, the maximum output level is displayed together with a clipping indicator. Simply click the level
reading to reset it. Note that the level meter uses the gray display scale, ranging from -100 to 0 dB.
At the right bottom of the interface, you'll find the bypass, mix, input level and output level controls, all
accessed via a single output button. As soon as you hover the mouse above the output button, a panel will pop
up, giving you access to the following settings:
The Input Level/Pan knob at the left adjusts the level and L/R panning of the input signal before any
processing is applied. You can use this as an alternative to changing the threshold of all bands.
The Output Level/Pan knob at the right adjusts the level and L/R panning of the final output signal.
This lets you compensate globally for any gain added or removed by dynamics processing.
The Global Bypass toggle button to the left of the Mix button bypasses the entire plugin. While most
hosts already provide the ability to bypass plug-ins, our internal global bypass feature is guaranteed to
correctly compensate the latency of the plug-in and it also applies soft bypassing to avoid clicks. While
the plug-in is bypassed, the display dims and a red light glows in the bypass button itself. The top of the
output button in the bottom bar is also highlighted in red.
The Mix slider enables you to mix between the dry and processed signals, scaling the overall dynamic
and static gain changes for all bands. Because the Mix slider ranges from 0% to 200%, you can also
choose to increase overall gain processing instead of fading it out!
Tips
You can directly adjust the mix, input gain or output gain by clicking and dragging the button text
vertically. You can also double-click the button text to directly enter a value using the keyboard.
If desired, you can make the output options panel 'sticky' by clicking the output button once. Click it
again to hide the panel.
By holding down the Alt key while dragging, input and output level can be adjusted simultaneously in the
opposite direction.
You can reset the level meter peak read-outs by clicking them.
Next: MIDI Learn
See Also
Overview
Knobs
MIDI Learn
21
Controlling FabFilter Pro-MB's parameters directly with MIDI is very easy using the MIDI Learn feature. With
MIDI Learn, you can associate any MIDI controller with any parameter.
Click the MIDI Learn button in the bottom bar to enter MIDI Learn mode. The interface dims and the
parameters that can be controlled are highlighted. Each parameter has a small text balloon that displays the
associated controller number. Now do the following to associate a controller number with a parameter:
1. Touch the control of the desired parameter in the interface that you wish to control. A red square will
mark the chosen parameter.
2. Adjust the slider or knob on your MIDI keyboard or MIDI controller that you want to associate with
that parameter.
That's it! The parameter will now be controlled with the MIDI controller. You can now go back to step 1 to
associate a different parameter. Note that there is no warning when you associate a different knob with a
controller number that is already used. It will just be replaced.
To exit MIDI Learn mode, click the MIDI Learn button again, or click Close at the top of the interface.
Click the small menu drop-down button next to the MIDI Learn button to access the MIDI Learn menu:
Enable MIDI
This globally turns MIDI control of parameters on or off: useful in hosts that automatically send all MIDI
events on a track to all effect plug-ins associated with that track as well.
Clear
This submenu shows all parameter associations and lets you delete individual associations or clear all
associations in one step.
Revert
Reverts to the last saved MIDI mapping (or the state when the plug-in was started).
Save
Saves the current MIDI mapping so Revert will go back to this state. The current mapping is
automatically saved when closing the plug-in.
Routing MIDI to effect plug-ins
For MIDI Learn to work properly, the plug-in need to actually receive MIDI of course. Depending on your host,
it can be quite difficult to route MIDI data to effect plug-ins. Here's how to do it in the most important hosts:
Logic Pro
Instead of adding FabFilter Pro-MB to one of the insert slots, create a new Instrument Track, and click
on the Instrument slot. Then choose AU MIDI-controlled Effects > FabFilter > FF Pro-MB. Now, the
plug-in receives MIDI. To get audio into the plug-in, click the 'Side Chain' drop down menu in Logic's
plug-in header and choose the actual input track. Next, you can mute that original track, so you only
hear the audio through the plug-in. The only downside is that plug-ins with an external side-chain cannot
use it anymore.
Cubase
Simply create a new MIDI track and set its output to the Pro-MB instance you would like to control via
MIDI.
Pro Tools
Create a new MIDI track. From the MIDI input drop down menu, choose your MIDI device (if not
22
already selected) and from the MIDI output drop down menu, choose FabFilter Pro-MB -> channel 1 for
the instance you would like to control.
Ableton Live
First of all, create a new MIDI track. From the 'MIDI from' drop down menu, choose your MIDI device (if
not already selected). Then, in the 'MIDI to' drop down menu, choose the Audio track that has FabFilter
Pro-MB on it. NOTE: only the first plug-in on any track can receive MIDI!
Next: Undo, redo, A/B switch
See Also
Overview
Undo, redo, A/B switch
23
The Undo and Redo buttons at the top of the FabFilter Pro-MB interface enable you to easily undo changes you
made to the plug-in. With the A/B feature, you can quickly switch between two different states of the plug-in.
The Undo button at the left will undo the last change. Every change to the plug-in (such as dragging a
knob or selecting a new preset) creates a new state in the undo history. The Undo button steps back
through the history to restore the previous states of the plug-in.
The Redo button cancels the last undo command. It steps forward through the history until you are back
at the most recent plug-in state.
The A/B button switches from A to B and back. Before switching, the current state of the plug-in is
saved, so if you click this button twice, you are back at the first state. The button highlights the currently
selected state (A or B). In the example above, the A state is active.
The Copy button copies the active state to the inactive state. This marks the current state of the plug-in
and allows you to go back to it easily with the A/B button. After clicking Copy, the button disables itself to
show that both states are equal, so there is nothing to copy anymore.
Notes
If the plug-in parameters are changed without using the plug-in interface, for example with MIDI or
automation, no new undo states are recorded.
The Undo and Redo buttons will disable themselves if there is nothing to undo or redo.
Next: Loading presets
See Also
Overview
Loading presets
24
FabFilter Pro-MB comes with a selection of excellent factory presets that provide many useful multiband setups
for different scenarios and types of audio.
To load a preset, click the preset button. The presets menu will appear with all available presets. Click a
menu item to load that preset. The currently selected preset is highlighted with check marks.
To explore the presets one by one, click on the little arrow buttons to the left and right of the main preset
button. This will load the previous or next preset in the menu.
The preset button shows the name of the current preset. If you have changed the preset by adjusting one or
more parameters, the name is dimmed to indicate that this is not the original preset anymore.
Tips
The Default Setting preset is loaded automatically when FabFilter Pro-MB is started. To change the
default settings, simply overwrite this preset by clicking Options > Save As Default in the presets
menu.
To open a preset outside the presets folder, click Options > Open Other Preset. This might be useful if
someone sends you a preset by email, for example.
If somehow the factory presets are lost or not installed properly, click Options > Restore Factory
Presets in the preset menu to restore them.
MIDI Program Change and Bank Select
Loading a presets can also be done via MIDI, using Bank Select and Program Change messages. Click Options
> Enable MIDI Program Changes in the preset menu to enable or disable this feature. When enabled, the
corresponding bank/program numbers are shown in front of the preset name (for example: (2/65) My Preset).
This means that you can load that preset by first sending a Bank Select message to select bank 2 and then
sending a Program Change message to select program 65.
Important: All the presets in your preset folder are numbered automatically, starting with bank 0 and program
0. This way, you are able to access any of the presets via MIDI. However, this also means that when you add
new presets to the menu, bank/program numbers of other presets might change. Be aware of this when
recording program changes in a session!
Next: Saving presets
See Also
Overview
Saving presets
25
You can easily extend the included presets with new settings to build your own library of presets for FabFilter
Pro-MB that you can reuse in various projects. This is also a good way to copy settings across multiple
instances of FabFilter Pro-MB in a session.
To save the current setting as a preset, click the preset button, and then click Save As. A standard Save dialog
will appear. Type a name for the new preset and click Save to finish.
In the Save dialog, you can also rename and delete existing presets and create a new folder to store presets in.
New folders will show up as new categories in the preset menu. (On macOS, this should be done with the
Finder.)
See How presets are stored
Next: How presets are stored
See Also
Loading presets
Overview
to determine the preset folder location and learn more about factory presets.
How presets are stored
26
Presets for FabFilter Pro-MB are stored in separate files with the .ffp extension (for FabFilter Preset). All presets
reside in subfolders in the main preset folder. The subfolders will show up as separate categories in the preset
menu. You can also further divide the subfolders into categories.
You can manage the preset files just like other files on your computer. The easiest way to do this is in the Save
dialog that appears if you are saving a preset. The preset menu will automatically reload itself with the changes
when the dialog is closed.
Furthermore it is very easy to share your newly created presets with other users since FabFilter presets use the
same file format on both Windows and macOS.
The default location of the main preset folder is My Documents\FabFilter\Pro-MB for Windows, and
~/Library/Audio/Presets/FabFilter/FabFilter Pro-MB for macOS. To change this location, first copy all presets to
the desired new location, and then click Options > Change Preset Folder in the preset menu and select the
new folder.
Restoring factory presets
If you have accidentally lost the factory presets, you can easily restore them by clicking Options > Restore
Factory Presets in the preset menu. This will install all factory presets again.
Next: Purchasing FabFilter Pro-MB
See Also
Saving presets
Overview
Purchasing FabFilter Pro-MB
27
Once you have downloaded and installed the evaluation copy of FabFilter Pro-MB, you may evaluate it during
30 days. Every time you start the plug-in, you will see the following dialog:
While there are still days left, you can click Evaluate to start working with the plugin. If you want to keep
using FabFilter Pro-MB after the evaluation period, you must buy a copy in the online FabFilter Shop by clicking
the Buy Now button in the evaluation dialog.
Go to the FabFilter Shop and purchase FabFilter Pro-MB now
We accept credit cards from all major companies, check payments, wire payments, and PayPal. The FabFilter
Shop uses secure connections and encryption: therefore your personal information is completely safe.
Within a few minutes after you have purchased your copy, you will receive an email containing your personal
license key. You use this license key to turn the evaluation copy into a fully registered version without the
evaluation dialog and the 30-day trial restriction.
Note: If the evaluation period has expired but you didn't have the chance to properly evaluate the plug-in, you
can request a new evaluation period by contacting us at info@fabfilter.com
.
Next: Entering your license key
See Also
Support
License agreement
Entering your license key
28
After you have purchased FabFilter Pro-MB in the online FabFilter Shop , you will immediately receive an email containing your personal license key. This license key will turn the evaluation version into a fully registered
plug-in.
Start FabFilter Pro-MB and click Enter License in the evaluation dialog, or click Enter License on the Help
menu if the plug-in is already running.
Copy the license information from the email you have received and paste it into the text field. Make sure
that you are copying the entire license key including the Product and Licensee lines! If you are not sure
what text to copy, just copy and paste the whole e-mail.
After you have entered your license information, you will need to restart the plug-in host, so make sure you
save your settings if needed. From now on, you will be able to use FabFilter Pro-MB for an unlimited period of
time with full support via email.
Tips
After your purchase, you can always retrieve your license key again by logging into your personal
FabFilter account . Here you can also keep track of all your orders and take advantage of great
discounts when buying other FabFilter plug-ins.
To deauthorize your license key and remove it from the computer, click Deauthorize on the Help menu.
If you temporarily needed to install your license on another computer, or if you have transferred your
license to someone else, this is the way to deinstall your personal license key safely.
Next: Support
See Also
Purchasing FabFilter Pro-MB
Support
License agreement
Support
29
If you need help with problems or questions, and the help file does not provide an answer, please visit the
support pages on our web site.
Go to FabFilter Support
From here, you have direct access to the customer support forum, very useful tutorial videos for all FabFilter
plug-ins, online and PDF versions of all our help files, and a section with extra downloads (such as presets,
controller templates, older plug-in versions).
For sales-related questions and technical support, you can also contact FabFilter directly at info@fabfilter.com
Reporting a bug
If you have encountered a bug in FabFilter Pro-MB, first of all make sure that you are using the latest version of
the plug-in, which you can find at www.fabfilter.com/download
Pro-MB that you are using by clicking Help > About in the plug-in interface. If the bug is still present in the
latest version, please send us an e-mail at info@fabfilter.com
possible: operation system and version, host software and version, steps to reproduce the bug, etc. Thanks in
advance!
Next: Manual installation
See Also
Overview
About FabFilter
. You can easily check the version of FabFilter
and include as much technical information as
.
Manual installation
30
When installing FabFilter Pro-MB, the installation program will try to copy the plug-in into the appropriate plugins folders, and in most cases your host will recognize FabFilter Pro-MB automatically. Otherwise, please follow
these instructions:
Windows
On Windows, most hosts have their own VST plug-ins folder. So if you are using Windows and your host does
not recognize FabFilter Pro-MB, you need to locate the proper plug-ins folder for your host first (it is usually
shown in the Preferences or similar dialog). Then, copy the file FabFilter Pro-MB.dll from C:\Program
Files\FabFilter\Pro-MB (or C:\Program Files (x86)\FabFilter\Pro-MB if you are using a 32-bit host on 64-bit
Windows) to the plug-ins folder that you have found and restart the host so it can reload all its plug-ins. For
the AAX version of Pro-MB, copy the FabFilter Pro-MB.aaxplugin folder to the common Pro Tools AAX plug-in
folder on your computer; for the RTAS version of Pro-MB, copy the FabFilter Pro-MB.dpm and FabFilter Pro-
MB.dpm.rsr files to the Pro Tools RTAS plug-in folder on your computer.
You can simply uninstall plug-ins or bundles via the Control Panel.
macOS
On macOS, plug-ins are installed in the standard plug-in folders in the system Library folder. These are the only
possible correct locations:
Audio Units: /Library/Audio/Plug-Ins/Components
VST/VST3: /Library/Audio/Plug-Ins/VST and /Library/Audio/Plug-Ins/VST3
RTAS: /Library/Application Support/Digidesign/Plug-Ins
AAX: /Library/Application Support/Avid/Audio/Plug-Ins
Note: AU and VST/VST3 plug-ins may also be placed in the user's Library folders under
/Users/<username>/Library/Audio/Plug-Ins.
To uninstall the plug-ins from your Mac, you can just delete the specific FabFilter plug-in files at the above
locations. Finally, if you really want to delete all data written by our plug-ins, you can remove the following
folders/files from the user Library folder as well:
/Users/<username>/Library/Audio/Presets/FabFilter/FabFilter Pro-MB
/Users/<username>/Library/Application Support/FabFilter/Pro-MB
/Users/<username>/Library/Preferences/com.fabfilter.Pro-MB.1.plist
Note: Since OS X 10.7 (Lion), the system and user Library folders are marked as hidden by default. To make
them visible again in Finder, open Terminal (found in /Applications/Utilities) and enter the following commands:
chflags nohidden /Library
chflags nohidden ~/Library
If you still have problems, contact FabFilter Support .
Next: VST plug-in versions
See Also
Quick start
Support
VST plug-in versions
31
FabFilter Pro-MB is available in both VST 2 and VST 3 formats. They can be installed and used both at the same
time. The VST 3 format offers easy side-chaining, free interface resizing, and is more CPU-friendly in some
cases, but it can only be used by hosts that support it, for example recent versions of Cubase, Studio One or FL
Studio. The VST 2 format is compatible with a larger variety of hosts.
Both the VST 2 and VST 3 versions of the plug-in automatically adapt themselves to the channel layout of the
track they are inserted on (mono/stereo).
For the VST 2 format, there is a separate FabFilter Pro-MB (Mono) version of the plug-in which always runs in
mono mode. This is included for backwards compatibility with existing sessions. For new sessions we
recommend to use the regular plug-in which automatically adapts itself to the track it is inserted on.
Next: External side chaining
See Also
Quick start
Manual installation
External side chaining
Now, an extra menu appears right below: choose 'FF Pro-MB 3/4' instead of the default 'Track In' to route
32
FabFilter Pro-MB offers the possibility of feeding an external signal to its side chain, so that you can make it
trigger on a different signal than the audio it is actually processing. Feeding a signal to a plug-in's side-chain
inputs works slightly different in various hosts. This topic describes the procedure for some of the most popular
hosts around: Cubase
To explain how it works, we use a scenario with two tracks. The first one contains the audio that we want to
process with Pro-MB, which we'll call the main track from now. The second track contains the audio that we
want to route to Pro-MB's external side-chain input and use as trigger signal. We'll call this track the side chain
track.
After setting up everything according to the instructions below for your host, you can check whether everything
is routed correctly. Play the audio and enable FabFilter Pro-MB's Audition button to listen to the side-chain
signal. While auditioning, the real-time display and metering show the side-chain level, so you can easily set a
correct trigger threshold. Afterwards, disable the Audition mode again. Now, you'll hear that Pro-MB on the
main track will react to the sound of the side-chain track. Of course, you can fine-tune the plug-ins settings to
customize the effect.
Cubase
Open Cubase and create a new empty project.
Add two audio tracks that we'll use as main track and side chain track.
Add audio files on both the main track and the side chain track. You can simply drag audio files from a
Finder/Explorer window onto a track.
Open the Mixer. In the main track, click on an empty insert slot and select the VST 3 version of FabFilter
Pro-MB in the Dynamics menu (note the VST 3 icon which looks like ///).
Open FabFilter Pro-MB's interface and set Side Chain to Ext.
In the plug-in header, click on the Activate Side-Chain button (right of the R/W buttons) to enable the
external side chain in Cubase.
At the top of the Mixer, set the output for the side chain track to the side-chain input of FabFilter Pro-MB.
, Logic Pro, Ableton Live and Pro Tools.
Logic Pro
Open Logic Pro and create a new empty project via File > New...
Add two audio tracks (via Track > New...) that we'll use as main track and side chain track.
Add audio files on both the main track and the side chain track. You can simply drag audio files from a
Finder/Explorer window onto a track.
Select the main track and add Pro-MB in the first Insert effect slot.
Open FabFilter Pro-MB's interface and set Side Chain to Ext.
In the right top corner of the plug-in interface header, in the 'Side Chain' menu, choose the side chain
track. Now, the signal from the side chain track is sent to FabFilter Pro-MB's external side-chain input.
Ableton Live
Open Ableton Live and start with an empty arrangement. We'll use Track 1 as the side chain track and
Track 2 as the main track.
From the folder menu's on at the left top of Ableton Live's interface, drag different audio clips to the first
empty slots of Track 1 and Track 2.
From the VST (or Audio Units) plug-in menu, also at the left top of Ableton Live's interface, drag FabFilter
Pro-MB onto Track 2, the main track.
Open FabFilter Pro-MB's interface and set Side Chain to Ext.
In Track 1 (the side chain track) in the 'Audio To' menu select 'Track 2' instead of the default 'Master'.
the track's signal to FabFilter Pro-MB's external side chain inputs.
Note: In the scenario above, you won't hear Track 1 (the side-chain signal) anymore, since its audio is
33
only routed to Pro-MB's side-chain inputs. To avoid this, use one additional track (e.g. Track 3), choose
'Track 1' from its 'Audio From' dropdown menu, and in the 'Audio To' menu select 'Track 2' instead of the
default 'Master'. Now, from the extra menu below choose 'FF Pro-MB 3/4'. Of course, you can now leave
Track 1's 'Audio To' setting to the original 'Master' so you will still hear the signal.
Pro Tools
Open Pro Tools and start a new empty session.
Create two audio tracks that we'll use as main track and side chain track. Add audio files to both track.
Open the Mix window to display the tracks with their Insert slots and Sends slots.
In the first 'Sends' slot of the side chain track, choose 'Bus 1'. The track view for Bus 1 will open: set its
level slider to 0.0 dB so the bus actually produces audio!
In the first 'Inserts' slot of the main track, choose Dynamics > FabFilter Pro-MB.
Open FabFilter Pro-MB's interface and set Side Chain to Ext.
Now, in the 'Key Input' menu of the plug-in interface (just above the FabFilter logo), choose bus > Bus 1
instead of the default 'no key input'. Now, the audio from the side chain track is routed to Pro-MB's
external side chain input via Bus 1.
Next: License agreement
See Also
Quick start
Manual installation
FabFilter Software License Agreement
34
This license agreement concerns and describes your rights and the conditions upon which you may use the
FabFilter software you selected. We advise you to read this entire agreement. By accepting this agreement or
by using FabFilter software, you agree to all of these terms. If you do not accept and comply with these terms,
you may not use the FabFilter software or its features.
Applicability
This license agreement applies to all the FabFilter software, plug-ins and programs you may use during the
Evaluation period, and/or thereafter subject to an acquired license key to certain FabFilter software of any
version, including any and all upgrades, supplements or services, unless other terms come with such versions,
upgrades or supplements.
Licenses
The software will be licensed to the Customer, not sold. With the FabFilter license key, you will be granted after
full payment the right in perpetuity (meaning that the license agreement shall not automatically expire) to
install, run and use the software concerned under certain conditions. These conditions vary subject to the
license you acquired. FabFilter distinguishes the following licenses:
A Personal License is a named license to the software concerned, granting access to the software on an
unlimited number of Devices, as long the license is used by the designated person who acquired the
FabFilter license key. Usage of the Personal license by someone else but the designated licensee is an
infringement of the rights of FabFilter. The Customer should at all times protect its license key from theft
and/or abuse.
A Site License is a non-personal license to the FabFilter software concerned, acquired on the name of an
institution or entity, who is the licensee. A Site License will grant access to the FabFilter software on a
certain maximum number of designated Devices, as specified in the license key itself (e.g. "20 seats"). If
the Site License is used on computers/servers for any form of automated processing, the licensee may
not make any plug-in controls/parameters of the FabFilter software available to the end users of the
FabFilter software, i.e. only "black box" processing is allowed.
These FabFilter licenses, whether a Personal or Site License, will give you access to certain FabFilter software of
the specified major version. The license will include all future minor updates to the software (e.g. version 2.19
to version 2.20), which typically include bug fixes or small new features. The license will exclude any future
new major versions of the products (e.g. version 1.x to version 2.x). To allow yourself access to such new
major version of the software, a new FabFilter license to such major version must be acquired.
All FabFilter licenses, both Personal or Site License, give the Customer or end user the right to install and use
the FabFilter software to the extent it has been developed and under the conditions herein. Any rights not
explicitly granted to you, the Customer, remain with FabFilter, including but not limited to the right to alter,
reverse engineer, reverse compile, take apart, or disassemble the FabFilter software or any of the files in the
distribution.
A Bundle License is Personal or Site License for multiple FabFilter software products, which gives the Customer
or end user the right to install and use the specific software products that the bundle (e.g. Total Bundle)
contains at the moment of purchasing the Bundle License. Any software products or new major software
versions added to the bundle after that date cannot be claimed as part of the prior acquired Bundle License. A
Bundle License (if not Educational or NFR) can only be transferred as a whole, using a License Transfer.
An Upgrade License is a Personal or Site License for a new major version of FabFilter software. You may only
use an Upgrade License if you have a license for the previous major version of the same FabFilter software.
Educational (EDU) and NFR licenses
A Personal or Site License can be marked as EDU (Educational) or NFR (Not For Resale), meaning the following:
A Personal or Site License marked as Educational License is equal to the respective Personal or Site
License, with the only exception that the Educational License may not be transferred to a third party.
A Personal or Site License marked as NFR ("Not For Resale"), is typically intended for journalists that wish
to review the FabFilter software. A License marked as NFR is equal to the respective Personal or Site
License, with the only exception that the NFR License may not be transferred to a third party.
Duration and Evaluation
As specified in the specific terms per license, all licenses will be granted for perpetuity (meaning that the
license agreement shall not automatically expire), as long as all conditions herein are respected.
The Evaluation period is a period of thirty (30) days commencing on the first day of using the software
concerned and automatically expiring 30 days thereafter. After the Evaluation period has expired and no
FabFilter license key has been acquired, the software will stop working and should be removed from your
computer.
In addition to any and all such possibilities that FabFilter may have in accordance with the law, FabFilter may
terminate without prior notice or warning in case of abuse of the FabFilter software as well as in case of
(personal) bankruptcy.
Support
35
FabFilter shall give its reasonable commercial efforts to service any major version of any FabFilter software
including email support. FabFilter is entitled to terminate support for any major version of any FabFilter
software at any time at its sole discretion.
License Transfer
A Personal or Site License (not Educational or NFR) may be transferred to a third party. You will have to buy a
License Transfer to activate the "transfer"-option in your FabFilter account
. After this option has been
activated you will be able to transfer your license to any third party.
Third Party Software
VST is a trademark of Steinberg Media Technologies GmbH. RTAS and AAX are trademarks of Avid Technology,
inc. Audio Units is a trademark of Apple Computer, inc.
Applicable Law
This license agreement is governed by Dutch law. The courts of Amsterdam are authorized courts to rule on
any dispute that may arise from this license agreement.
Disclaimer
TO THE MAXIMUM EXTENT PERMITTED BY LAW, FABFILTER, FREDERIK SLIJKERMAN AND FLORIS KLINKERT,
AUTHORS OF THIS FABFILTER PRODUCT, SPECIFICALLY DISCLAIM ALL WARRANTIES, EXPRESSED OR
IMPLIED, INCLUDING BUT NOT LIMITED TO IMPLIED WARRANTIES OF NON-INFRINGEMENT,
MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. FABFILTER, FREDERIK SLIJKERMAN AND
FLORIS KLINKERT, DO NOT WARRANT THAT THE SOFTWARE WILL MEET YOUR REQUIREMENTS OR THAT THE
SOFTWARE WILL OPERATE ERROR-FREE OR UNINTERRUPTED. TO THE MAXIMUM EXTENT PERMITTED BY LAW,
FABFILTER, FREDERIK SLIJKERMAN AND FLORIS KLINKERT, SHALL NOT BE LIABLE FOR ANY DAMAGE A
FABFILTER PRODUCT MAY CAUSE OR DAMAGES THAT MAY ARISE OUT OF THE USE OF A FABFILTER PRODUCT
OR INABILITY TO USE A FABFILTER PRODUCT, INCLUDING BUT NOT LIMITED TO SPECIAL, INCIDENTAL,
CONSEQUENTIAL OR OTHER DAMAGES. IN NO EVENT FABFILTER, FREDERIK SLIJKERMAN OR FLORIS
KLINKERT WILL BE LIABLE FOR AN AMOUNT IN EXCESS OF TWO HUNDRED FIFTY EUROS (€ 250,00).
Next: Acknowledgements
See Also
Purchase FabFilter Pro-MB
Support
Acknowledgements
36
Thanks to all beta testers for helping us to fine-tune and finish FabFilter Pro-MB!
Some of the factory presets were created by external sound designers:
bManic (bM)
Stephan Müsch (SM)
Mark den Hartog / Zownd (Zwd)
Visit the FabFilter sound designers page to read more about each sound designer.
Next: About FabFilter
See Also
Purchase FabFilter Pro-MB
Support
About FabFilter
37
Beautiful sound. Fantastic workflow. These are the foundations of FabFilter. We create powerful audio plug-ins
with superb sound quality and innovative interfaces.
A unique perspective
At FabFilter, we make the best possible tools for music production and audio processing. To achieve this, we
continually rethink and challenge industry standards: we've never been afraid of reinventing the wheel.
Considering every little detail, we tune our algorithms and interfaces until they sound perfect, look amazing and
feel great to work with.
It's the sound that counts
Above everything else, you need superb sound quality. That's why we put a lot of effort into developing unique
audio processing algorithms, ranging from our famous resonating filters to transparent high-end EQ and
dynamics processing.
Innovative interfaces, great design
Every FabFilter plug-in has an easy-to-use, well-designed interface aimed at providing unsurpassed workflow.
Our plug-ins focus on the task you're performing at that specific moment: they expose the features you need,
when you need them. And because of our special attention to design, you'll be delighted every time you open a
FabFilter plug-in.
Don't take our word for it
We always set the highest standard for sound quality, usability and design to make truly great products that
raise the bar on what audio software can do. That's why we're very happy with the praise we've received from
users and press alike:
"In the decade since the release of its first plug-in, One, FabFilter has made an indelible mark on the
music production landscape." — Computer Music magazine
"While many other software developers are busy trying to model hardware, FabFilter is leaving them
in the dust by being visionaries and reaching into the future. FabFilter stuff is just on another level."
— Jeff Sanders
"FabFilter has an enviable reputation for making easy-to-use, powerful tools." — Music Tech
magazine
FabFilter was founded in 2002 by Frederik Slijkerman and Floris Klinkert, and is based in Amsterdam, The
Netherlands.
See Also
Support
FabFilter web site
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