Table of contents

Table of Contents
Introduction
. .About
. . . . .FabFilter
. . . . . . One
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
. .Key
. . .features
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
. .Quick
. . . . start
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

Using FabFilter One

. .Overview
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
. .Knobs
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
. .Oscillator
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
. .Filter
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
. .Envelope
. . . . . . .generator
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
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. .Modulation
. . . . . . . . basics
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
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. .Modulation:
. . . . . . . . .I .can't
. . . .stop
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
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. .MIDI
. . . .Learn
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15
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. .Undo
. . . .and
. . . redo
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
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How To Create
. .Creating
. . . . . . sounds
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
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. .Bass
. . . .sounds
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
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. .Lead
. . . .sounds
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
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. .Drums
. . . . .sounds
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
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. .Sounds
. . . . . .effects
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
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Presets
. .Loading
. . . . . .presets
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
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. .Saving
. . . . . presets
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
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. .How
. . . presets
. . . . . . are
. . .stored
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
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Purchasing FabFilter One

. .Purchasing
. . . . . . . .FabFilter
. . . . . . .One
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
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. .Entering
. . . . . . your
. . . .license
. . . . . key
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
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Support
. .Support
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
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. .Manual
. . . . . installation
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
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. .MIDI
. . . .controller
. . . . . . .messages
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
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. .License
. . . . . .agreement
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. .About
. . . . .FabFilter
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
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About FabFilter One
In the last few years, more and more people have started to use software synthesizers, software samplers and effect plug-
ins instead of good old hardware. However, it seems almost impossible to recreate those fat, warm-sounding analog
synths and effects in digital form. Many companies have tried and failed, giving their plugins vintage-look interfaces, tons
of features, and crappy effects, diverting you from the real issue: the sound.
FabFilter does things differently. We don't compromise on sound quality and ease of use. We give you the tools you need
to create your music. After years of intensive research and development, we present our first product: FabFilter One.

FabFilter One is a simple yet awesome sounding synthesizer, based on analog classics like the Korg MS-10. It has the
fattest filter you've ever heard in a digital synth. And we've invested lots of time in the little things that make all the
difference: smooth and sexy portamento, perfectly fine-tuned knobs and interpolation algorithms that are responsive and
smooth at the same time.
Of course, the FabFilter One also supports everything you've come to expect from modern plugins, like an extensive preset
system, sample accurate parameter changes, and a complete MIDI interface with MIDI Learn.
FabFilter One is available in VST, VST3, CLAP, AU (Audio Units) and AAX Native formats.

Windows requirements macOS requirements

Windows 11, 10, 8, 7 or Vista macOS 10.13 or higher (64-bit only)
64-bit or 32-bit VST 2/3, AU or CLAP host, or Pro Tools
VST 2/3 or CLAP host, or Pro Tools Intel or Apple Silicon processor

Next: Key features

See Also
Quick Start
Using FabFilter One

3
Key features
FabFilter One stands out on many points:
Best cut-off filter
We have put tremendous effort in creating the best cut-off filter ever. No useless features and options here: it's just
the fattest and smoothest self-oscillating digital filter you've ever heard. It sound is inspired by the analog Korg MS-
series from the late seventies: raw but never cheap, going crazy with high peak values, but never over the top. Even
at full resonance, there are none of the zippery digital artefacts that are so common among other plugin filters.
Great oscillator
The oscillator sounds strong, pure, and clean. Again, we've invested a lot of time to get just the right analog feel,
custom-shaping the waveforms and fine-tuning the sound. You get pure fatness in the low regions and total clarity in
the high regions! There are extensive pulse width modulation options and it's also possible to mix white or pink noise
into the signal, which is great for percussive sounds.
Smoothest portamento
Most synthesizers just slide from one note to another without giving it another thought. We understand that good
portamento is one of those things that give your play just that little bit extra. Good portamento is magic. So we've
fine-tuned it until it was just right, and added polyphony support as well. Feel it yourself!
Smart parameter interpolation
Parameter changes are interpolated by smart algorithms, ensuring both responsiveness and smooth transitions
without clicks or 'zipper' effects. This is especially important with MIDI controller changes.
Polyphony and velocity sensitivity
FabFilter One now supports 10-voice polyphony, volume and filter velocity sensitivity, and filter keyboard tracking.
As an extra bonus, the modulation generator can now also be synchronized to the plug-in host.
Straightforward user interface
The user interface is simple, modern, and easy to use. The knobs are large and can be dragged up and down as well
as turned around for precise adjustments. You can tweak and tune your sounds to your hearts' content without
having to hunt for impossible little knobs and sliders.
Presets
FabFilter One comes with a standard set of dozens of great sounds and enables you to create and save your own
presets. You can share your sounds with other FabFilter One users and the preset files are the same in the macOS
and Windows versions.
Sample accuracy and high sample rates
Naturally, the FabFilter One plug-in handles all parameter changes at sample accuracy and it can be used with
arbitrary sample rates.
Next: Quick start
See Also
Quick Start
Using FabFilter One

4
Quick start
The installer will copy the FabFilter One plug-in into the common VST, VST 3, CLAP, 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 installation instead.
Pro Tools
Choose an empty insert slot on one of your audio tracks, instrument tracks or buses and select FabFilter One from
the pop-up menu in the Instruments section.
Studio One
Click the '+' button next to the Inserts tab of an audio track, instrument track or bus and select 'FabFilter One' from
the drop-down menu.
Logic Pro
Choose an empty insert slot on one of your audio tracks, instrument tracks or buses and select FabFilter One from
the pop-up menu. You will find FabFilter One in the Audio Units > FabFilter section (named One).
Ableton Live
In Session view, select the track you would like to place FabFilter One 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 One, or drag it onto the track.
Cubase
Choose an empty insert slot, for example in the Mixer, and select FabFilter One from the menu that appears. To use
the MIDI features in One, create a new MIDI track and set its output to the One instance you have just created. (The
VST 3 version of One can be found in the Instruments section.)
Use the Presets button at the top of the plug-in interface to try different settings from the many factory presets that are
bundled with FabFilter One. Have fun!
Next: FabFilter One overview
See Also
Overview
Loading presets

5
Overview
The FabFilter One interface is divided into several sections, somewhat like the front panel of a traditional analogue
synthesizer.

Oscillator
The oscillator is the heart of the synthesizer, producing the raw tones that are modified by the other components. It
also contains portamento, additional noise settings and settings that control the amount of frequency modulation by
the modulation generator and envelope generator.
Filter
The filter alters the tones from the oscillator to make them warmer and less harsh. Like a true analogue filter, it can
easily be driven to self-oscillation to create completely distorted sounds, or a warm lead with a little raw edge. The
filter section also contains settings that control the amount of frequency modulation by the modulation generator
and envelope generator
Envelope generator
The final touch and feel of the sound is defined by the envelope generator. Tweak the various settings here to create
anything between short percussive hits to long reverberating effects.
Modulation generator
The modulation generator generates a low-frequency square or triangle wave that can be used to modulate both the
frequency of the oscillator and the cut-off frequency of the filter. This is where the fun starts!
Additional features
This section contains a few useful extras. You can choose between monophonic and polyphonic (10-voice) mode, set
the type of pulse width modulation, set the amount of filter keyboard tracking and set the amount of keyboard
velocity modulation for the volume and the filter cut-off frequency.
Presets
With the preset button, you can easily browse through the factory presets or save your own sounds so you can re-
use them in other songs. See Presets.
Next: Knobs and switches
See Also
Quick start
Creating sounds

6
Knobs
It is easy to control FabFilter One'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, One 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, One 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 can 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: Oscillator
See Also
Overview

7
Oscillator
At the heart of the synthesizer, the oscillator produces the raw tones that are later modified by other components, such as
the filter and the envelope generator.

You control the oscillator with the following settings:

Wave Form
Selects the wave form that the oscillator produces: triangle (a soft, warm tone), sawtooth (a sharp bright tone
that is ideal for filtering), square (a more metallic sound, adjustable with the pulse width setting), and white noise
(which is great for percussive sounds and effects).
PW/PWM
Adjusts the pulse width of the square wave form, from an even square to an infinitely thin pulse (which is inaudible).
In combination with the Pulse Width Modulation switch in the Patching Features section, this knob also adjusts the
amount of pulse width modulation. See Modulation: I can't stop.
Scale
Transposes the tones that are produced by the oscillator by full octaves. The oscillator produces rich bass tones at
the 32' position and high whistles at 4'. The 16' and 8' settings are good for lead sounds.
Pitch
Slightly detunes the oscillator, which can be necessary if you want to play along with a record, or with live
instruments. To reset this setting, hold down Ctrl and click the Pitch knob once.
Portamento
Adjusts the amount of portamento or glide, which makes the oscillator slide from one note to another. A little
portamento is great for smooth keyboard solos, or when playing large bass intervals. The portamento feature in
FabFilter One is unique because it also works in polyphonic mode, so you can play sliding chords!
Noise
Adds extra noise to the oscillator signal. Use the Noise Type switch at the bottom to choose between white and pink
noise. A small amount of noise makes instruments sound more natural, and you can create thundering sound effects
with lots of pink noise. (Try the Pink Noise preset in the Basic submenu for a good starting point.)
Next: Filter
See Also
Overview

8
Filter
The 12 dB/octave low-pass filter is one of the most important components in the synthesizer. Especially when using the
modulation features, it is the key to creating great sounds.

The Frequency knob adjusts the cut-off frequency. Basically, all sounds below the cut-off frequency will go through the
filter, but sounds with higher frequencies are damped. At position 10, the cut-off frequency is far above 20 kHz and
therefore the filter will allow all frequencies to go through unchanged. At position 0, the cut-off frequency is just a few Hz
and the filter will block almost all sound from the oscillator.
The wave forms produced by the oscillator contain many harmonics: high frequencies that are multiples of the
fundamental tone. Therefore, they sound bright and a little harsh. By turning the Frequency knob to the left, you reduce
the number of harmonics to change the character of the wave forms and create warmer sounds.
The Peak knob adjusts the filter resonance. A little resonance will cause the filter to create warmer and more
characteristic tones. Around position 8, the filter starts to self-oscillate at the cut-off frequency which creates terrific
effects in combination with the sound from the oscillator. At these high peak values, the filter produces deep, ringing bass
tones if you set the Frequency knob around position 3 or 4.
We've carefully tuned the filter to avoid the whistles and other digital artefacts that are common with other digital filters
when you change the cut-off frequency at maximum resonance. Our filter sounds crazy but never over the top!
You can modulate filter cut-off frequency with the modulation generator (the MG knob), the envelope generator (the EG
knob), and with keyboard velocity. Read the modulation basics section to learn more about the modulation features of the
FabFilter One.
Next: Envelope generator
See Also
Modulation basics
Overview

9
Envelope generator
The envelope generator changes the volume of the sound dynamically when you press and release keys. It shapes your
sounds, adjusting the timbre and release. It's also frequently used to modulate the filter for dynamically changing sounds.

Hold
Sets the extra time that a key appears to be held down after you have released it. After releasing a key, the
envelope generator pretends it is still down for the duration of the hold time. This enables you to press new keys
while the previous note is still playing.
Attack
Sets the attack time, which controls how long it takes for the volume to increase when you press a key. The volume
always increases from zero to the maximum value. Set this to 0 for staccato instruments and drums. Use larger
values for more natural sounds, such as flutes and pads.
Decay
Sets the decay time, which controls how long it takes for the volume to decrease after the maximum value has been
reached at the end of the attack stage. The volume always decreases from the maximum value to the sustain level.
The effect of the decay setting depends on the sustain level. With a low sustain level and short attack and decay
times, the envelope generator produces a sharp tick whenever you press a key. With the sustain level at its
maximum, the volume does not decrease at all, so the decay setting has no effect.
Sustain
Sets the sustain level: the volume that is produced when both the attack and decay stages are over, but the key is
still held down. If you want a sharp attack (especially when you also use the envelope generator to modulate the
filter), you have to use a low sustain level. If you set the sustain level to 0, the sound will be inaudible after the
attack and decay stages, which is often useful for drums and percussion.
Release
Sets the release time, which controls how long it takes for the volume to decrease from the current level to zero
when you release a key and the hold time has elapsed. When playing the synthesizer live, it's often nice to have a
little longer release time because this gives you time to play a new note while the current note still fades away.
This diagram illustrates the stages that the envelope generator goes through when you press and release a key:

Tips
When you work with short attack, decay, and release times, it's often easier to adjust the knobs using the rotational
drag mode. To do this, drag the knob arrow around, and move the mouse cursor further away from the knob for
more precise adjustments.

10
 If you use a short decay time, a low sustain level, and a long release time and a key is released when the envelope
generator is not yet in the sustain stage, it enters the release stage immediately which can cause the sound to last
much longer. Although this can be a nice effect, you can avoid it by choosing a larger hold time.
Next: Modulation basics
See Also
Overview

11
Modulation basics
So far, we've discussed how to use the oscillator, the filter, and the envelope generator to create basic sounds. To make
things more interesting, you can also let the synthesizer adjust the oscillator frequency and the filter cut-off frequency
dynamically while playing a sound. This is called modulation.

You can modulate the oscillator frequency and filter cut-off frequency with the modulation generator and the envelope
generator. The filter cut-off frequency can also be modulated by velocity.
The modulation generator generates a low-frequency square or triangle wave. Use this to adjust the oscillator frequency
and the filter cut-off frequency periodically. The amount of modulation is controlled with the MG knobs. The modulation
generator contains the following settings:
Wave form
Adjusts the balance between rising and falling ramps in the wave form. To reset the balance, hold down the Ctrl key
and click the knob once.
Sync mode
Chooses between arbitrary frequency settings and synchronizing with the tempo and song position of the plug-in
host.
Frequency / Sync type
Sets the speed of the wave form that is produced by the modulation generator. When synchronized to the host's
tempo and position (the closed lock symbol), you can choose a 'frequency' in bars, between 16 bars and 1/64 bar.
Otherwise, you can set an arbitrary frequency. When set to 0, very slow ramps are produced that can for example be
used with white noise to imitate ocean waves rolling in.
You can also switch between square waves and triangle waves. Triangle waves are good to slowly change the filter cut-off
frequency or to simulate a car siren. The square wave form is very useful to repeatedly switch between two different
tones. With the frequency modulation MG knob, you can tune the two tones to be exactly one octave apart, for example.
The envelope generator enables you to modulate the sound dynamically while you press and release keys. The amount
of modulation is controlled with the EG knobs. Modulating the filter cut-off frequency with the envelope generator is
essential for creating percussive attack effects and simulating real instruments.
When the envelope generator is in its sustain stage, it has no effect as a modulator. In the attack or decay stage, it
increases the oscillator or cut-off frequency; in the release stage, it decreases the frequency. It depends on the EG knobs
how much the frequency is changed.
Tips
Set the modulation generator to a moderate frequency and turn the frequency modulation MG knob up slightly to
create a tremolo effect. The modulation wheel on your keyboard will also have this effect.
Set the modulation generator to a low frequency and turn up filter modulation MG knob to make sounds livelier by
changing the timbre dynamically.
In the envelope generator, set short attack and decay times and use a low sustain level. In the filter, set the cut-off
frequency to about 5 and then turn up the filter modulation EG knob while pressing different keys. Also try
increasing the peak value for more pronounced attack effects.
In the filter, set the cut-off frequency to 3 and the peak to 10. In the envelope generator, set attack to 0, decay and
release to 1, and sustain to 8. Now turn up the filter modulation EG knob to about 6. This will create a solid bass
drum (it's best with white noise). Experiment with different sustain levels and cut-off frequency values. See also
Creating drums.
12
Next: Modulation: I can't stop
See Also
Envelope generator
Filter
Oscillator
Overview

13
Modulation: I can't stop

We just can't get enough of those modulation tricks, so we've added a few extra gadgets.
The Pulse Width Modulation switch is only effective if the oscillator wave form is set to square, so be sure to do that
first. It changes the meaning of the PW/PWM knob in the oscillator section. You've probably noticed that it sounds funny
to turn that knob quickly, so why not modulate it? We've come up with the following options:
Off
This is the default setting. In this case, the PW/PWM knob just sets the pulse width of the square wave form.
MG
With this setting, the PW/PWM knob adjusts the amount of pulse width modulation by the modulation generator. If
you set the modulation generator to triangle waves, this creates a quite nasty sound. With square wave modulation,
the oscillator periodically switches between two different pulse width values.
EG Normal
With this setting, the PW/PWM knob sets the amount of pulse width modulation by the envelope generator. Because
the envelope generator increases the pulse width setting during the attack phase, the sound actually gets thinner
during attack, and thicker during release. This may or may not be what you're after.
EG Inverted
In this case, the PW/PWM knob sets the amount of pulse width modulation by the inverted envelope generator
signal. This creates thicker sounds during attack/decay, and thinner sound during release, which sounds more
natural. Our favorite choice.

When modulating the pulse width, it's often better not to turn the PW/PWM knob all the way to the right, because that will
mute the square wave at some point. Just leave it at 8 or 9 (unless you like that, of course).
The Frequency Mod EG switch at the bottom of the oscillator section and Filter Mod EG switch at the bottom of the filter
section invert the envelope generator signal before it is used to modulate the oscillator frequency or the filter cut-off
frequency. You can sometimes use this to create unusual effects.
The Keyboard Velocity settings change the amount with which the keyboard velocity modulates the volume and the filter
cut-off frequency. If the volume knob is set to 0, a tone will always sound at maximum volume.
Next: MIDI Learn
See Also
Modulation basics
Envelope generator
Overview

14
MIDI Learn
Controlling FabFilter One'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:
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.
Load Factory Settings
Loads a default MIDI mapping that may be useful.
Next: Undo and redo
See Also
Overview

15
Undo and redo
The Undo and Redo buttons at the top of the FabFilter One interface enable you to easily undo changes you made to 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.
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: Creating sounds
See Also
Overview

16
Creating Sounds
The FabFilter One comes with a solid library of great sounds, but the real fun starts with creating your own presets.
However, just randomly turning some knobs won't help you to get closer to the sounds you have in mind.
The topics in this chapter will help you start creating your own sounds, explaining the best settings step by step. They're
divided into the following categories:
Bass sounds
Lead sounds
Drum sounds
Sound effects
Next: Creating bass sounds
See Also
Quick Start
Using FabFilter One

17
Creating Bass Sounds
1. The Oscillator
For bass sounds, you can use any of the first three wave forms. Using triangle waves will result in deep, sine-like
sounds, great for R&B and soul. Sawtooth waves will get you a more solid, defined sound, good for funk, techno
and dance sounds as well as for emulating original bass guitar sounds. If you're trying to create an electro-like
bass sound, the square wave form is just what you need.
2. The Envelope Generator
A good start for bass sounds as well as lead sounds is setting the attack, decay and release fairly low, the sustain
value quite high and the hold time off, resulting in a 'snappy' envelope. When your sound needs to have a
sharper attack, lower the sustain value.
3. The Cut-off Filter
Using the cut-off filter really is essential when creating bass sounds. To get warm and deep sounds, start with the
frequency and peak values around position 5. For techno and dance sounds, turn the peak value up to get those
freaky filter effects.
4. Modulation
One thing that definitely works great with bass sounds, is modulating the cut-off frequency using the envelope
generator (the EG knob in the filter section). Slightly modulating it with the modulation generator (the MG knob)
works quite well for moody, deep sounds.
5. The Finishing Touch
Adding a bit of portamento often works great for funky and analog-like sounds. Also adding just a little bit of pink
or white noise can give good results in combination with the cut-off filter. It can be very worthwhile to experiment
with the filter modulation EG value and with keyboard velocity modulation.
Next: Creating Lead Sounds
See Also
Creating sounds
Using FabFilter One

18
Creating Lead Sounds
One of the things that FabFilter One excels at is producing great lead synth sounds of any type. You can create anything
from the smoothest seventies analog sounds to the hardest techno sounds.
1. The Oscillator
Especially the sawtooth and the square wave forms are suitable for lead synthesizer sounds. With the sawtooth
wave form as a starting point, you can create smooth and soft lead sounds as well as more techno-oriented
sounds. The square waveform is great for electro stuff.
2. The Envelope Generator
Most lead sounds use a fairly short attack, a short decay, a high sustain and a noticable release. This will give
your sound just that little bit of attack at the start and a good full sound while holding down a key.
3. The Cut-off Filter
Adjust the frequency and peak values to get the timbre that you're after. Modulating the cut-off filter is not
essential when creating lead sounds. However, it can give your sounds that extra rawness and body they need,
especially when modulating the cut-off frequency.
4. Modulation
Use the modulation generator to achieve great vibrato or tremolo effects by modulating the oscillator's frequency
or the filter's cut-off frequency. It also works really well to use a bit of cut-off frequency modulation by the EG.
When using the oscillator's square wave form, you can also modulate the pulse width using the patching features.
Modulating it with the EG or with the MG can both get you awesome results.
5. The Finishing Touch
One thing that will definitely give wonderful results with almost all your lead sounds, is FabFilter One's great and
smooth portamento. Even using it just a little bit really brings your sounds alive. Experiment with it!
To get those awesome raw seventies synth sounds, push your filter to the limit, using high peak values and
combining different types of cut-off frequency modulation. Try changing the cut-off frequency while playing, to
really adapt it to your play. (See MIDI controller messages to change the cut-off frequency with the slider on your
keyboard.)
Next: Creating Drum Sounds
See Also
Creating sounds
Using FabFilter One

19
Creating Drum Sounds
FabFilter One can create a whole range of different percussive sounds, like bass drums, snares, toms and hihats. The keys
to success are extreme peak values and modulating the cut-off frequency of the filter.
1. The Oscillator
The wave form you need really depends on the type of drum sound you would like to create. For instance, tom
sounds or snare sounds could use any of the first three waveforms (triangle, sawtooth or square). To get a good
hihat or brush sound, the noise type would do the trick.
Creating bass drums works differently. Because great bass drum sounds heavily depend on the self-oscillation of
the filter, you can experiment using any of the four wave forms. But the noise wave form usually gives the most
solid results.
2. The Envelope Generator
Most drum sounds, like bass drums and snares, are short and have a really strong attack. To get this effect, you
can set the attack (almost) to 0, use fairly short decay and low sustain values and use a short release. Especially
with bass drum sounds, the sustain level can have a huge effect on the sound. Just experiment with this value in
combination with the filter modulation to get the results you're after.
3. The Cut-off Filter
The cut-off filter really is the key component in the process of creating drum sounds, especially for bass drums.
To create the fattest kick sounds, use the self-oscillation that occurs with the highest peak values, in combination
with extreme cut-off frequency modulation by the envelope generator (turn up the EG knob in the filter section).
4. Modulation
As mentioned before, modulating the cut-off frequency with the EG is what you want to do here. For a good bass
drum, start with maximum EG filter modulation and fine-tune if needed, adjusting the sustain value as well. For
other percussive sounds, most of the time just a bit of EG modulation is enough.
5. The Finishing Touch
A great trick for giving snare drums that little extra kick, is adding some white or pink noise to the signal (using
the oscillator's noise knob and noise type switch). Also inverting the EG cut-off frequency modulation can give
great effects.
Try to experiment with the envelope generator, expecially when creating bass drum sounds. For example, using
higher release values and slightly higher sustain values will give you great results.
Next: Creating Sound Effects
See Also
Creating sounds
Using FabFilter One

20
Creating Sound Effects
For creating sound effects you can really exploit every option that FabFilter One offers you. Especially the modulation
features can help you create the coolest sounds. Because sound effects can be very diverse, ranging from a storm sound
to a raindrop, there is not one ideal initial setting that will help you on the way. To be able to create a sound effect that
you have in mind from scratch, you should be comfortable with the various options that FabFilter One provides. To give
you an idea how different effect sounds are created, we will discuss two basic factory preset sounds.
In the explanations, the knob settings leading to the sound will be discussed. Knobs that are not mentioned are assumed
to be set to their default value. You can quickly set all knobs to the default values by loading the Sawtooth preset from
the Basic category.

Rain Drop
The first thing that comes to mind when you think of a rain drop, is that it sounds quite warm and 'round', somewhat like
the sound of a sine wave. This indicates that a triangle is the best wave form to use. A rain drop sound is quite high, so a
4' scale setting would be good to start with.
Set the oscillator wave form to triangle.
Set the oscillator scale to 4'.
The second important thing that characterizes the sound is the fast rising frequency, starting low and ending very high. To
obtain this effect, we need frequency modulation by the inverted envelope generator signal (the EG knob in the oscillator's
frequency modulation section and the invert switch below it) in combination with a short envelope. A rain drop sound
starts right away, so an attack value close to 0 should be used. To get the correct frequency modulation effect, short
decay and release values are required.
Set the EG knob in the frequency modulation section around value 9.
Set the invert switch below the EG know to 'inverted' (at the right-hand position).
Set the attack almost to 0, the decay to 2, the sustain to 6 and the release to 2.5.
We now have that characteristic fast rising sound. However, it still needs some tweaking. To give the sound a little bit
more body, we use the cut-off filter and some cut-off frequency modulation by the envelope generator (the EG knob in the
filter section).
Set the cut-off frequency to 4.
Set the EG knob in the filter section to 10.

Storm
Many effect sounds use the oscillator's noise wave form. A storm sound is of course one of the best examples of such a
noise-based sound. The oscillator produces white noise. This type of noise is a quite high, hissing sound. FabFilter One also
offers the possibility to add white or pink noise to its signal (using the noise knob and the noise type switch below it). Pink
noise has a more dark and rumbling feel. White noise mixed with a bit of pink noise would be just fine for our storm
sound.
Set the oscillator's wave form to noise.
Set the noise knob to 3 and the noise type to pink.
A storm sound is characterized by slowly swelling and fading winds. This swelling effect can easily be achieved using the
modulation generator at a low frequency to modulate the filter's cut-off frequency (the MG knob in the filter modulation
section).
Set the cut-off frequency to 6.5 and the peak to 5.5.
Set the modulation generator's wave form type to triangle and frequency to 0 and wave form to its center position (a
perfect triangle).
Set the MG knob in the filter section to 4.
To get proper fade in and fade out effects for the storm sound, we use high attack and release values.
Set the attack to 5 and the release to 6.
Next: Loading presets

See Also
Creating sounds
Using FabFilter One

21
Loading presets
The included presets give a great overview of what you can do with FabFilter One. You can either use the presets as they
are, or tweak them further to create your own unique sounds.
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 One 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: (0/65) My Preset). This means that you can
load that preset by first sending a Bank Select message to select bank 0 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! We recommend to create a dedicated folder in your presets folder for your program changes, and name it with
two leading underscores (e.g. "__Programs") to ensure it's the first folder in your preset collection and the presets in this
folder start with bank 0 and program 0.

Next: Saving presets

See Also
Using FabFilter One
Creating sounds

22
Saving presets
You can easily extend the included presets with new settings to build your own library of presets for FabFilter One that you
can reuse in various projects. This is also a good way to copy settings across multiple instances of FabFilter One 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.)

Right-click shortcut menu

You can also right-click on the preset button to open a small menu with shortcuts:
Save: Overwrite the currently loaded preset. You will be asked for confirmation before saving.
Save As: Just like choosing the 'Save As...' item from the main menu.
See How presets are stored to determine the preset folder location and learn more about factory presets.

Next: How presets are stored

See Also
Loading presets
Using FabFilter One

23
How presets are stored
Presets for FabFilter One 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 Documents/FabFilter/Presets/One on both Windows and macOS. To
change this location, first copy all presets to the desired new location. Click Options > Change Preset Folder in the
preset menu and select the new folder.
Note: previously on macOS, presets were stored in ~/Library/Audio/Presets/FabFilter/FabFilter One. To determine the
current location of the presets folder, click Options > Change Preset Folder in the preset menu.

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 One

See Also
Saving presets
Using FabFilter One

24
Purchasing FabFilter One
Once you have downloaded and installed the evaluation copy of FabFilter One, 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
One 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 One now
We accept a wide range of payment methods, like credit cards, PayPal, wire transfer and iDeal. 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. In addition, we will automatically create a FabFilter account for you (if you don't have one
already). Here, you can access all your license keys at any time.
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 [email protected] .
Next: Entering your license key
See Also
Support
License agreement

25
Entering your license key
After you have purchased FabFilter One 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 One 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 email.

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 One 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 One
Support
License agreement

26
Support
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 [email protected].

Reporting a bug
If you have encountered a bug in FabFilter One, 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 . You can easily check the version of FabFilter One 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
[email protected] and include as much technical information as 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

27
Manual installation
When installing FabFilter One, the installation program will try to copy the plug-in into the appropriate plug-ins folders, and
in most cases your host will recognize FabFilter One 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 One, 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 One.dll from C:\Program Files\FabFilter\One (or C:\Program
Files (x86)\FabFilter\One 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. The VST3, CLAP, and AAX plug-ins are installed in the standard plug-in
folders 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
CLAP: /Library/Audio/Plug-Ins/CLAP
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 as well:
/Users/<username>/Documents/FabFilter/Presets/One
/Users/<username>/Library/Audio/Presets/FabFilter/FabFilter One
/Users/<username>/Library/Application Support/FabFilter/One
/Users/<username>/Library/Preferences/com.fabfilter.One.3.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: MIDI CC table
See Also
Quick start
Support

28
MIDI controller messages
All of FabFilter One's parameters can easily be controlled using MIDI. Here is a list of the default MIDI controller numbers
that correspond to the parameters. You can use these controller numbers to control each parameter with the sliders on
your MIDI keyboard or MIDI controller. Using the MIDI Learn feature, you can change and add CC number associations
any way you like.
General
1 - modulation
7 - gain
Filter
74 - cutoff
71 - peak
26 - filter mod EG
88 - filter mod EG type
27 - filter mod MG
Oscillator
20 - scale
21 - waveform
22 - pitch/detune
23 - pulse width
85 - noise type
5 - portamento
24 - noise level
28 - frequency mod EG
87 - frequency mod EG type
29 - frequency mod MG
Envelope generator
69 - hold
73 - attack
75 - decay
79 - sustain
72 - release
Modulation generator
76 - modulation frequency
77 - modulation type
25 - modulation waveform
89 - sync mode
90 - sync type
Additional features
103 - polyphony
86 - pulse width modulation type
105 - filter keyboard track
104 - velocity volume
102 - velocity filter
Next: License agreement
See Also
Support
MIDI Learn

29
FabFilter Software License Agreement
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
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
30
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 B.V. SPECIFICALLY DISCLAIMS ALL WARRANTIES, EXPRESSED
OR IMPLIED, INCLUDING BUT NOT LIMITED TO IMPLIED WARRANTIES OF NON-INFRINGEMENT, MERCHANTABILITY AND
FITNESS FOR A PARTICULAR PURPOSE. FABFILTER B.V. DOES 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 B.V. 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 B.V. WILL BE LIABLE FOR AN AMOUNT IN EXCESS OF TWO HUNDRED FIFTY EUROS (€ 250,00).
Next: About FabFilter
See Also
Purchase FabFilter One
Support

31
About FabFilter
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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