Compare the Dry and Wet tracks. Use the buttons to switch instantly inbetween.
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Waveshaper
Amplitude fixed at 1.0, sample rate fixed at 48 kHz.
Original waveform
input
Waveshaped waveform
output
Spectrum (waveshaped)
magnitude ideal > Nyquist
Controls
1000 Hz
0.1×
0.20
0.80
-40 dB
Spectrum domain is fixed to 10 Hz → 200 kHz. Red dashed line marks Nyquist (24 kHz @ 48 kHz SR). Orange overlay shows ideal > Nyquist extension.
Aliasing
See how aliasing creates folding when the signal exceeds Nyquist.
Original (continuous) + sampled points
Reconstructed (ideal sinc) from sampled points
Magnitude Spectrum
Controls
—
Folded:
Tip: push the tone above Nyquist to watch it mirror. Use Square/Triangle to provoke dense aliasing from higher harmonics.
Basics
What a waveshaper does
A waveshaper bends the shape of your audio waveform to add character. Instead of turning the whole signal up or down (linear gain), it treats quiet parts and loud peaks differently (non-linear). That “bending” creates new harmonics — which your ear hears as saturation, grit, warmth, or outright distortion.
Basics
Why you’d use it
Make things bigger: Add harmonics so sounds cut through without just getting louder.
Control peaks: Soft-clip transients in drums or buses more musically than a limiter.
Change tone: Odd/even harmonics shift the color—edgier vs. warmer.
Basics
Key concepts
Transfer curve: Imagine a line that maps input level to output level. Straight line = clean. Curved line = saturation. Flat top = clipping.
Even vs. odd harmonics:
Symmetrical shapes (centered) → mainly odd harmonics (more “bite”).
Asymmetrical shapes (biased) → add even harmonics (more “warmth”).
Soft clip vs. hard clip:
Soft gently rounds peaks (smoother, more “analog”).
Hard chops peaks (aggressive, punchy, can sound crunchy).
Basics
Common controls
Drive / Input: How hard you hit the curve. More in = more harmonics.
Shape / Curve / Amount: How bent the curve is (character of the distortion).
Symmetry / Bias: Shifts the curve up or down to favor even vs. odd harmonics.
Pre / Post Tone (filters): Filter before shaping to decide what distorts; filter after to tame fizz or boom.
Mix / Dry–Wet: Quick parallel saturation; blend for subtlety.
Output / Makeup: Turn down after driving so loudness doesn’t fool you—level-match!
Oversampling: Processes at a higher rate to reduce aliasing (digital “sand” on highs). Use it when shaping bright material or on the mix bus.
Advanced
Quick start recipes
Drum bus punch (soft clip): HPF pre @ ~30–60 Hz → moderate Drive → soft curve → Mix 30–50% → Output down to match.
Result: tighter transients, louder feel.
Bass presence (asymmetry): Gentle Drive → add bias for even harmonics → LPF post to tame fizz. Result: fuller notes that read on small speakers.
Vocal warmth: Light Drive → soft curve → tiny bias → Mix 10–25% → de-ess after if needed.
Synth edge (harder): More Drive → harder clip or steeper curve → tone-shape post. Great for leads that need to cut.
Advanced
Listen for
Before/After level-match. If it only sounds “better” because it’s louder, trim Output.
Top-end hash. If highs get fizzy, enable oversampling or use post-LPF. br>
Low-end bloom. Use pre-HPF to avoid muddy, distorted sub.
Transient flattening. Soft clip = glue; too much = lifeless—back off Drive or Mix.
Last but not least
When to use it
On already-bright cymbals or mastered material, heavy shaping can add harshness or aliasing. Go gentle, filter wisely, and oversample on critical buses.
That’s it: a waveshaper is a controllable “non-linear tone curve” for audio—from tasteful saturation to intentional destruction—quick to dial, easy to parallel, and perfect for making parts speak in a mix.
Install the tools for mac and windows
software:saturation
Explore the plugins of klanghabitat: shape waves, hear harmonics, understand saturation—see the spectrum in real time.
