Laptop Only
FreQQ, headphones and your music. Nothing else required.
The all-in-one live dubbing station. Play your music through a four-way frequency system, cut and reshape it live, throw sounds into echo and reverb, sweep the dub filter, fire samples and sirens, all in one standalone app.
No DAW. No plugin host. No subscription.
It’s almost like making a remix in real time.
Amp FreQQ turns reggae and bass music into something you can actively play with, cutting frequencies, bringing bass in and out, using filters, sirens and samples, and shaping the tune live. Its unique effects system lets you blend echo and reverb into individual frequency bands, giving you the feel of a traditional reggae preamp with a uniquely FreQQ workflow.
Amp FreQQ is software for playing with reggae and bass music while it is playing. Instead of just pressing play, you can control the bass, mids and tops, add effects, use filters, sirens and samples, and change the feel of the music live.
It plays your music, but that isn’t really the point. FreQQ lets you perform with the music rather than just listen to it.
Not really. FreQQ is based around the way a traditional reggae sound-system preamp works. It is about shaping and manipulating the sound, not mixing one song into another.
No. FreQQ is not designed as a conventional two-deck DJ mixer. Its focus is the sound itself, frequencies, cuts, filters, effects and dub-style control.
You can drop the bass out, bring it back in, cut the mids or tops, sweep the filter, add echo or reverb, trigger sirens and samples and completely change the way a tune feels while it is playing.
The big difference is how FreQQ works with the different parts of the sound. Its unique FX system allows you to blend effects with individual frequency bands in ways that normal music players and mixers simply aren’t designed to do.
Think of the music as being split into different parts, deep bass, lower sounds, higher sounds and tops. FreQQ lets you control those parts separately.
No. Move something and listen to what happens. You very quickly learn what each control does.
No. That’s one of the main reasons FreQQ exists. It gives you that style of hands-on reggae preamp control in software.
No. You can use FreQQ with your mouse. But adding a controller, any class-compliant MIDI controller, gives you physical knobs and faders and makes it much more hands-on.
No. The important dub tools are already built into FreQQ and designed to work together.
No. You bring the music. FreQQ gives you the controls to mess with it.
No. It works particularly well with reggae, dub and bass-heavy music, but there’s nothing stopping you experimenting with other music.
Absolutely not. If you enjoy reggae or bass music and like the idea of doing more than simply pressing play, you can use FreQQ.
Because listening becomes interactive. Drop the bass. Throw an echo on the mids. Sweep the filter. Fire a siren. Bring everything back in. You’re no longer just listening to the tune, you’re playing with it.
No. FreQQ is designed around the way a reggae preamp is actually played.
The four frequency bands are intended to be worked independently and dynamically, cutting, bringing back, filtering and applying effects as part of the performance rather than simply correcting the sound.
The incoming signal is divided into four controllable frequency ranges.
Each band can then be shaped independently, allowing you to remove or emphasise parts of the spectrum and rebuild the tune in real time.
That is what gives FreQQ its preamp-style workflow rather than behaving like a conventional DJ EQ.
Yes.
Echo and reverb can be worked with individual frequency sections, allowing you to send selected parts of the tune into the effects rather than processing the entire mix every time.
This is a major part of FreQQ’s sound.
The DubFilter is designed as a performance control rather than a traditional studio filter.
It allows you to sweep and reshape the sound quickly while mixing and works alongside the four-band section rather than replacing it.
Yes.
The frequency layout, controls and workflow were developed around reggae preamp and sound-system mixing rather than adapted from a conventional DJ mixer.
That is why the way FreQQ responds and the way you interact with it feels different from a standard EQ or effects plug-in.
A large part of the system can be controlled through MIDI.
Amp FreQQ is designed to be played physically, with controls mapped to knobs, faders and buttons rather than requiring constant mouse use.
The Akai Midimix is simply the one we chose to build a dedicated layout and LED feedback around, any class-compliant MIDI controller will work.
It gives direct physical control over the main FreQQ functions in a compact controller, and its layout matches FreQQ’s sections closely enough that we could build a dedicated overlay and mapping for it.
Instead of clicking around the screen, you can work frequency bands, effects and other controls with both hands in much the same way you would operate hardware.
It was our pick, not a requirement, any MIDI controller you already own will run FreQQ.
Yes. Any class-compliant MIDI controller works with FreQQ, the Midimix isn’t a requirement.
The Midimix is simply the one FreQQ has a dedicated layout and mapping file built for. With another controller, you map the controls yourself in Setup, which takes a little longer the first time but works the same once it’s done.
Yes.
Some users actually run FreQQ as part of a larger hardware system.
For example, FreQQ can provide its digital workflow and effects while the signal is then passed through other hardware in the chain.
Exactly how you route it depends on your audio interface and system.
It can, but it does not have to.
FreQQ can operate as the main preamp environment, or it can become one part of a hybrid digital and analogue setup.
The point is to give you the workflow and control without forcing you into one particular way of building your system.
Yes.
FreQQ is used on everything from headphones and studio monitors through to full sound systems.
For larger systems, the quality of the audio interface, gain structure and the rest of the signal chain become increasingly important.
Any suitable low-latency interface with the inputs and outputs required for your setup can work.
For live use, we recommend a reliable interface with good drivers and a sensible buffer size.
The interface can make a noticeable difference to latency and overall system stability.
Latency normally comes from the audio interface, driver settings and buffer size rather than FreQQ itself.
A smaller audio buffer reduces delay but places more load on the computer.
For live microphone or instrument monitoring, direct monitoring through the interface may also be useful depending on your setup.
Not directly.
A faster computer mainly gives you more processing headroom and can make lower buffer settings easier to run reliably.
Your audio interface, gain structure and source material have a much greater influence on the actual audio quality.
Yes.
FreQQ can be incorporated into a wider setup containing mixers, interfaces, preamps, effects and other equipment.
You simply need to plan the signal path correctly to avoid unnecessary gain stages or feedback loops.
If the source is correctly brought into the computer through your audio interface, FreQQ can form part of that signal chain.
A turntable will normally require the appropriate phono-level amplification before reaching a standard line input unless your equipment already provides it.
Yes, provided the microphone is routed correctly through an audio interface.
For live vocals, latency becomes particularly important, so interface choice, buffer settings and monitoring configuration should be considered carefully.
Yes.
The processed signal can be routed into a recording workflow, allowing performances, mixes and dub sessions to be captured.
The exact method depends on your computer, audio interface and recording software.
Yes, although it is fundamentally designed as a live performance instrument.
Producers often use it because working a tune through FreQQ can produce movements, drops and effects that would take much longer to automate conventionally inside a DAW.
Yes.
Depending on your routing, FreQQ can sit alongside a DAW or another audio application.
More complex configurations may require a multi-channel audio interface or virtual audio routing.
Because FreQQ encourages aggressive frequency movement and effects.
If every stage of the system is already running close to maximum level, boosting frequencies or feeding effects can create unwanted clipping.
Leave sensible headroom at the input, through FreQQ and at the output.
No.
More level does not mean better sound.
A properly gain-staged system gives you room to push the bass, work effects and make dramatic changes without immediately overloading the signal path.
Because it is not trying to behave like one.
The frequency structure and workflow are based on reggae preamp operation, where bands are treated as creative controls rather than simply low, mid and high EQ adjustments.
FreQQ is designed as a performance tool, so the behaviour of its frequency controls, filters and effects is part of its character.
The intention is not simply transparent correction, it is to let you actively reshape the tune.
With a properly configured MIDI setup, most of the performance can be carried out from the controller.
That is the preferred way to use FreQQ once you are familiar with it.
The screen becomes a visual reference rather than the instrument itself.
Do not treat it like a conventional mixer.
Start with one tune and learn what happens when you remove individual bands, bring them back, work the DubFilter and introduce effects selectively.
The real depth of FreQQ comes from combining those controls rather than using any one feature in isolation.
Technically, many individual processes can be reproduced separately.
What FreQQ provides is the complete workflow, frequency control, effects and performance controls arranged as one instrument and designed specifically around reggae and sound-system mixing.
That workflow is the important part.
Traditional reggae sound-system preamps split the music into frequency bands so the operator can shape the tune in real time. FreQQ takes that fundamental way of playing and expands it into a complete software environment, Sub-Bass, Bass, Mids, Tops.
Kill a band completely, pull it back gradually, push another forward, or change where the frequencies divide. Take away everything except the bass, let the vocal disappear, bring the tops crashing back in, this is where a tune stops being fixed and starts becoming something you play.
Seven short clips. No commentary, just the thing being played.
Sub · Bass · Mids · Tops
The heart of FreQQ. Kill or reshape complete areas of the music in an instant, with independent gain and adjustable crossover on every band.
Throw a sound and let it run.
Inspired by the classic sound-system tape echo, with feedback, timing, filtering and two different echo characters.
Space, texture and movement.
Punch individual moments into reverb, or use the frequency controls for sweeping, Tubby-style effects.
Sweep the whole thing.
Resonant high-pass and low-pass filtering with controllable Q and flexible routing.
Built in and ready.
Two LFOs, presets, bit crushing, echo send, and twelve recallable snapshots per set.
Correct the room. Or wreck the tune.
Graphic EQ for overall system adjustment, and a four-band parametric EQ that doubles as a creative sweep tool.
Drop your own sounds into the session.
Twelve slots, saved sets, filtering, echo send, and momentary or one-shot operation.
FreQQ works on its own or alongside your existing DJ and sound system setup. Headphones are enough to start. A sound system gives you somewhere to end up.
FreQQ, headphones and your music. Nothing else required.
The setup most people know: physical control over the FreQQ interface.
Put your existing mixer, decks or DJ software through FreQQ.
Run FreQQ as the dubbing centre of a proper sound-system setup.
Run a finished production through FreQQ and perform the dub live, rather than automating every move.
One of the things that surprises us is how often experienced operators become attached to the FreQQ flow. Some love working with it so much that even with a complete hardware preamp rack in front of them, they still plug in the laptop and run FreQQ as part of the system, keeping the cuts, frequency movement and effects exactly where they expect them, while feeding it into the physical rig.
FreQQ works with any MIDI controller, but the Akai Midimix became our natural partner. We’ve built dedicated mappings, two-way communication and LED feedback around it.
Load our mapping and the controls are ready.
Every function marked where you expect it.
Better visibility and feel for live use.
Want something completely different? Map FreQQ to your own controller, or several controllers at once.
Online activation, available immediately after purchase.
Use FreQQ’s own player.
The important controls are already mapped.
Midimix, another MIDI controller, an audio interface or a complete sound system can come later.
Headphones are enough to start. A sound system gives you somewhere to end up.
Calls it the perfect tool for selecting and operating two-track music dubwise style, all the fun of the preamp, in the laptop.
Got his, and rates it as a cool piece of kit.
Described as ground-breaking, and a pure joy to use, the dub machine.
Thousands of FreQQ users worldwide
Home · Radio · Studio · Clubs · Sound systems
One payment, no subscription. The software on its own, or everything at once, neither is the “lesser” option.
The whole dubbing station, standalone. Use your keyboard or your own controller.
Everything included, ready to plug in and play, matched and ready.
For people who already have, or will source, an Akai Midimix, just the overlay and knobs, software included.
Everything FreQQ V3 can do, unit by unit. Nothing here is hidden behind an upgrade. For the complete walkthrough of every control, see the full User manual.
1 m4a files play on Mac only.
2 External audio sources need an audio interface with inputs. Some turntables also need a phono stage to correct and amplify the signal, a USB turntable outputs line level and avoids both. Internal routing between apps needs free third-party software, or an interface that routes internally, such as the Audient EVO 8.
No. It’s a standalone application. It runs on its own, with no DAW or plugin host needed.
No. The important controls are already mapped to the keyboard. A controller adds hands-on control when you want it, but it can wait.
No, not to get started, your computer’s built-in sound card is enough for headphones. You’ll want one to bring in a turntable, mixer or other external source.
Yes. Four mono inputs, with 1 and 2 mappable together as a single stereo channel. See Turntable configuration for every wiring method.
Yes, and the same goes for any other external source, such as sirens or digital percussion.
Yes. Route the audio from your DJ app into FreQQ’s input channels, either with a free virtual audio interface or, on some Serato controllers, by selecting the controller directly as the input device. Full detail in Audio interface & routing.
Yes, plenty of experienced operators keep running FreQQ alongside a full hardware rack, using it as the front end and feeding the output into the physical preamp.
Both. Mac: Intel i5 from 2014 or later, or Apple M1 and up. Windows: Intel i5 4th generation or later, 64-bit. Both want 4 GB of RAM and an SSD. Full detail in Getting started.
Each licence covers one computer at a time, movable whenever you like. A second licence for a studio-plus-gig-laptop setup is available at a discount. See Licence & activation for how transfers work.
Watch it running on real tunes in the feature videos above, or browse more on our demo videos page.
Thirty days, money back, no questions asked.
Stop playing tracks. Start playing the music.
30-day money-back guarantee · One-off payment · Mac & Windows