Shopping Cart

Copyright and Trademarks

Amp FreQQ is a trademark of Slawter Studios. Copyright 2022 by Slawter Studios with all rights reserved. Other trademarks are property of their respective owners and used for illustrative purposes only.

This manual and software are copyrighted with all rights reserved. Under the copyright laws, this manual or the software may not be copied, in whole or part, without written consent of Slawter Studios, except in the normal use of the software by licensed users or to make a backup copy. The same proprietary and copyright notices must be affixed to any permitted copies as were affixed to the original.

You may use the software on any computer system. Each single user license grants the right to use the software for one computer only and may not be transferred.


Slawter Studios makes no warranty or representation, either expressed or implied, with respect to this software, its quality, performance, merchantability, or fitness for a particular purpose. As a result, this software is sold “as is”, and you, the purchaser, are assuming the entire risk as to its quality and performance.

In no event will Slawter Studios be liable for direct, indirect, special, incidental or consequential damages resulting from any defect in the software or its documentation, even if advised of the possibility of such damages. In particular, Slawter Studios shall have no liability for any programs or data stored in or used with the Amp FreQQ family of products, including the cost of recovering such programs or data. The warranty and remedies set forth above are exclusive and in lieu of all others, oral or written, expressed or implied. No Amp FreQQ dealer, agent or employee is authorised to make any modifications, extension, or addition to this warranty.

1. It’s a Frequency Affair

1.1 What is Amp FreQQ? (Pronounced "Amp – Freak")

Amp FreQQAmp FreQQ is an audio performance toolkit, a set of tools in a custom-built program, which allows the user to interact with their music in a unique and creative way, similar to how mixing engineers mix. It is based on the principles used by reggae sound system culture, whereby their “DJs” (also known as selectors) play their DJ sets through a specialist mixer known as a preamp. They often perform with a variety of other attached equipment, such as echo, reverb and sirens, etc. This entire rack of equipment is known as a control tower.

Amp FreQQ emulates this concept and strips down its operation to a simplified and intuitive process. There is more dynamic integration than the hardware counterpart, making it a wonderfully addictive experience.

We have even taken it one step further with our special FX delivery. In music production, during mixing, it is often known as dubbing when FX are applied momentarily on the fly to a single track on a music production mixing desk. Multitracks consist of all the individual elements of an audio production, each with their own dedicated track on a mixing desk or DAW. Stems are (usually!) stereo recordings sourced from mixes of multiple individual tracks, such as drums, vocals, and bass.

Some producers, DJs and hobbyists like to use these stems to create their own versions of the song, especially in reggae when a sound likes to play a SLIGHTLY different mix of a song. However, they need to use a DAW (music production software) and a lot of preparation.

With Amp FreQQ, stems are not required. By “bandpass filtering” using only the finished song, (more info later), we can apply FX to isolated frequencies within the music, and as such, you can “dub” any song or composition recorded in the history of music

That’s the starting point to understand Amp FreQQ and therefore harnessing its potential. It’s all about timing, frequency selection and drops . . .

1.2 What is Frequency?

To master the art of dubbing on the FreQQ, first, it is essential to understand the basics of frequency.

When a sound is produced in a medium such as air, sound waves are created by causing the air molecules to “compress and refract” (squeeze together, and then stretch out). When such vibrations reach our ears, they are converted into electrical signals that our brain, via our ears, interprets as sound. The more frequent the waves, the higher the pitch you perceive.

Frequency and Wave Shape

Frequency is measured in “cycles per second”, or Hertz (the time for the wave to complete a total waveform). The audible frequency range that humans can hear spans from 20 Hz to 20,000 Hz (20 kHz) and can be broken down into several bands. In the graph below, we have separated the audio into four main bands:

Sub-Bass, Bass, Mids, Tops.

1.3 Audio Spectrums

An audio spectrum is a representation of sounds present in a sample measured in Hertz (frequency).

On a standard spectrum analyser, the lower end of the audio spectrum is represented on the left side (Down to 20 Hz), while the higherend frequencies are on the farright side (up to 20 kHz). Every component of Amp FreQQ that deals with frequencies follows this visual representation, with the subbass on the left, followed to the right by the bass, the mids, and finally the tops on the farright side

What most adult humans can actually hear

All instruments, including the human voice, operate at a certain frequency range, as shown in the illustration above. Amp FreQQ’ s powerful isolator/kills combined with our unique FX system, allow you to not only select and kill or drop in a range of frequencies but to also lay down layer over layer of additional sounds, picked up on the fly using reverb and echo.

What do we mean by this?

Each FX of ours has its own filter system, and both work in the same way. By adjusting the frequency of the FX filter, you can “catch” your desired sound and add reverb and/or echo to just THAT part of the music arrangement.

Furthermore, you can do this while all other frequencies are killed or heavily filtered by the Dub filter. This is because the FX operate independent of the main 4-band kills or Dub filter, allowing you to add FX to a sound whilst it is not present in the main mix (which can be changed in the options).

The frequency range of an instrument may vary depending on several factors, from the musician’s technique to the music genre. Most instruments will have prominent frequencies and often appear independently throughout a composition. Amp FreQQ uses momentary sends to route the audio through the FX, and its filter is used to funnel in the most prominent frequency of your chosen instrument/sound, thereby seamlessly blending it into the playing audio. Adjust your FX gain accordingly.

The lower end of the audio spectrum is represented on the far-left side, while the higher-end frequencies are on the far-right side. The graph above might help you identify and locate instruments across the audio spectrum.

2. Features


  • Full-screen mode and fully resizable user interface.
  • Global presets – save and load global configurations, including all your FX, EQ, and crossover settings.
  • Use of ESC key to close floating windows such as dub siren and setup windows.
  • Balanced gain levels – default set to 0dB for improved gain staging and overall sound delivery.
  • Automatic gain system control that helps to balance the audio level on the music inputs.

Keyboard control

  • The most important controls are pre-mapped for precise and instant operation. A keyboard layout image is available in the setup menu.
  • Browse through playlists, load and play songs.
  • Trackpad and mouse are not mandatory. Amp Freqq can be fully controlled by keyboard. Perfectly usable without MIDI controller.

Play from any music source

  • Two digital deck players (MP3, M4A (Mac only), WAV, AIFF, FLAC).
  • Playlist save and load, play bar browse and cue (MIDI mappable).
  • Assignable inputs for any source, e.g., turntable, CD player, cassette tape, mobile phone, streaming services, DAW, and DJ software.
  • Additional audio inputs for sources such as microphone, dub siren, synth drum, instruments, with independent FX send.


  • Dedicated adjustable limiters for master, reverb, and echo – designed to protect the output.

4 Way isolator (aka kill switches)

  • Fully adjustable frequency cutoff, Q factor, gain (+12 dB in advanced mode) and VU meters for each band.
  • FX, dub siren, microphone, and sample player bypass the kill switches and are routed directly to the master out.
  • Pure sub-bass. Option in settings to remove mid-range artefacts, only operate when the sub-bass band kill switch is on, and all the others are off.
  • Flat sound. Custom-built isolator/crossover section to achieve the highest degree of transparency and fidelity from the original music. Simple and intuitive operation, provides a flat frequency, as opposed to the normal preamp sound (where the bass and tops are given slightly more prominence).

Echo & Reverb FX

  • The “Tape echo” feature is modelled on the classic HH Slider tape echo. You have full control over feedback, time, and tape saturation. Custom bandpass filter with sweep and Q factor control.
  • Type 1 echo is normal semi low pass, while Type 2 echo produces high pass feedback.
  • Tap tempo and time display.
  • Custom bandpass filter with sweep and Q factor control.
  • Reverb processor has featured extended control over room size, high-frequency damping and gain levels.
  • Unique punch in FX operation, based on momentary triggers, allows for accurate timing and delivery.
  • Custom bandpass filter with sweep and Q factor control.

Dub filter

  • Switchable HP/LP (high pass/low pass) filtering,  with one-knob style resonant filter with three different routing options:
    A) Only on music source,
    B) On master output,
    C) On samples only.
    D) Off.
    One of a kind dubwise implementation.
  • Q Factor control for extended resonant sound-shaping.


  • Adjustable length.
  • Auto-repeat (rewind, then play from start) or “rewind to stop” options. Changed in setup menu.


  • 4-Band parametric EQ with +/-18 dB, with added functionality for performing resonant filter sweeps.
    Adjustable Q factor on all parametric bands.
  • 10-Band graphic EQ with +/-12 dB.
  • EQ routing selector allows for any combination of the above.

Dub siren

  • Pitch control.
  • Dual LFO (sine and square waveform) with dedicated rate and depth controls.
  • Echo send level.
  • 12-Slot preset selector with save and load your own presets.
  • Bitcrusher and sample rate.
  • “Default siren presets” reset switch.

Session recorder

  • WAV/AIFF master output recording.

Sampler player

  • 12-Slot (momentary and one-shot play).
  • Effects send level.
  • High pass filter.
  • View current sample and name.
  • Save and load sample sets.
  • Clear all samples buttons.

User modes

  • Safe mode: (kill frequencies and gains are restricted to suggested ranges, as are FX and dub filter). Simplified interface.
  • Advanced mode: unrestricted and displays full interface and further audio options.


  • Fully mappable. Almost every parameter on the screen can be assigned to one or several controls to one or more MIDI controllers. One or more parameters on the FreQQ can be mapped to any single control.
  • Custom integration with Akai MIDIMix, including LED feedback.
  • Compatible with any class-compliant MIDI controller.
  • Save and load MIDI configuration and mappings.
  • Rescan function.
  • MIDI pickup feature.
  • Controller list display.

Spectrum analyser, VU, and customisation

  • Spectrum analyser.
  • FFT (Fast Fourier Transform) spectrum analyser displays master signal.
  • Linear or logarithmic options.
  • 3-Way selector to choose from Spectrum display, EQs or static image.
  • LOGO/custom image – use your own logo or image to overlay the Spectrum window – adjustable transparency.
  • Choose a background colour for the entire UI, using the colour picker in setup, with slider to set darkness.
  • Large master VU meter in panel, available with several overlay skins/styles.


3. Keyboard Shortcuts

Keyboard Shortcuts 1 Keyboard Shortcuts 2

4. The FreQQs User Interface

The FreQQs User Interface

4.1 Amp FreQQ Readings

Amp FreQQ Graphs

This is the background graph you will see on both the FX and kills sections.

The measurements are displayed below for your reference . .

Amp FreQQ Graphs

VU Meters



VU Meters

The dB reading in yellow displays the amount of gain or cut that is applied to the audio signal via the gain fader.

The VU display is the actual signal level displayed in five colours.

NOTE: Red is 0 dB (so you CAN run into a red light as long as it’s not permanently lit). The dB measurements are displayed here for your reference

4.2 The FreQQs Audio Flow Schema

Below is a diagram which shows how all the different audio inputs are routed. It is a good idea to comprehend this in order to understand how Amp FreQQ works.

  • The 4-band and 10-band EQs only apply to the music inputs.
  • Music, mic/aux, siren, and samples channels all have SEPARATE FX sends.
  • FX output is always routed straight to master and does not pass through kills section or the DubFilter.
  • Mic/Aux, siren and samples* route direct to the master and do not pass through kills section.
  • The DubFilter processes audio from just music inputs, samples, or master channel.

*This is optional, can be via kills or direct to master using bypass switch.

The FreQQs Audio Flow Schema

4.3 Music Inputs

Music Inputs

4.4 Full Screen & Resize

Full screen

Full screen

NOTE: Always use FreQQ Exit (the “X” button next to “full screen”) to quit the app as this will ensure all settings on the screen are saved automatically.

  • In addition to the above built-in function (recommended), we have also included the OS controls to operate full-screen size (which also includes minimize).


  • Click the lower right corner of the user interface and drag to any size.
  • Resizing always opens the panel by default and cannot be closed.
  • You can resize to any size, larger or smaller. NOTE: A black box will infill, depending on how it’s set, and all you need to do is find the size you want and then adjust with the bottom or side handles.
  • Clicking the full-screen button will set it to full or restore the screen to default position (no panel).
  • Shift C on the keyboard also sets to default position (no panel).

4.5 Loading Digital Files (Deck A & B)

There are three different ways to load digital files into the players:

1. Load Button (single files only) select file and open

A – Select the load button for Deck A or B in the transport controls area

B – Press these keys on your keyboard (T, Y on English keyboards)

C – Press these buttons on your MIDIMIX controller or any other MIDI controller you have preassigned.

Load Button

2. Drag and Drop (single files only)

  1. Open your File Explorer/Finder
  2. Click and drag a selected track to over the VU section of Deck A or B of music inputs (the area will highlight in blue as shown)

In both methods above, the track title is automatically loaded onto the players and the track length is displayed

Drag and Drop

Once a track is successfully loaded, the Playbar will display

Time left

Track title will appear here (This can also display the currently selected track in the playlist)

Once a track is successfully loaded, the Playbar will display

3. Playlist (Play from preselected tracks saved to playlists)

NOTE: Amp FreQQ uses two play systems. The LOAD and PLAY (1 & 4) buttons are for playlists only and normal play buttons on the main interface are for tracks loaded one at a time in methods 1 and 2 above.         

  • Once a track is playing and completes, the next track in the playlist will load and play automatically unless you press stop and select your next track manually.


How to save and load playlists

Select the Save button, pick a file location, and choose a playlist name.

Select the Load button to open file explorer and load a playlist that you have previously created.

When the playlist is successfully loaded, its name will appear in the title area.

NOTE: In order for the app to remember the last playlist loaded, you must load the playlist immediately after saving.

Scrolling playlists from Playbar

Normal view

Normal view above, playlist view below.

playlist view

AMP FREQQ’s special playlists system allows you to scroll through to select and play your songs directly from the playbar on the main interface, even if your playlist window is closed.

  • A special display that appears on top of your playbars can be toggled on or off, the colour inverts, and its background turns light grey. (As shown above, top image.)
  • Each playbar can display the currently selected (“highlighted”) track in its playlist.
  • You can then scroll through one at a time and leave the chosen track on the screen while the currently loaded track is still playing. The red position marker of any track still playing will still be visible, so you will know when the track is ending.
  • When ready, you can stop the currently playing track or just press the corresponding playlist load and play button, which will automatically load and begin playing the preselected track.
  • With this method, you can have up to two tracks queued and ready to play.

(Since Amp FreQQ is designed to be a one track at a time player (no beat mixing or matching is possible on Freqq), a single playlist and deck would be sufficient for most users. We added deck B so you could, in theory, have two types of playlists to choose from, or be able to add a track (a request or last-minute addition without changing the normal play order.)

*You can use keyboard shortcuts, MIDI controls or on-screen controls to scroll through tracks.

4.6 External Inputs


In3 and In4In1 & In2 = Music Inputs

Audio interface, Turntable, CD, DJ mixer. DJ

Apps, DJ controllers DAW, etc. Any source.

(For turntables without line out, make sure your sound 

card has a built-in “phono preamp”, or you use an external one, or the signal will be insufficient volume.)



In3 & In4 = Mic/Aux Inputs

Microphones, dub sirens, instruments, etc.

In3 & In4 = Mic or Aux Inputs

4.7  I/O Mappings (Audio routing)

IO Mappings 1Click on AUDIO, then Open I/O Mappings. It will open a window displaying input Mappings and Output channels. The outputs should always be set as the image on the right, and Inputs In1, In2, In3 and In4 are where external audio sources arrive to Amp FreQQ. Click on the triangular icon to reveal a drop-down menu which will display all the channels available, which are dependent on your audio interface and chosen driver.

The Mic/Aux inputs have their own independent Reverb and Echo sends (5) and (6). By clicking with the mouse, these can be activated toggle on or off, otherwise, they are momentary control. MIC/AUX input channel. It also has an HP Filter (3) to cut out those low grumbly undesirable frequencies.

Input Mapping: There are a total of 4 external inputs. 1 & 2 are assignable, for connecting stereo audio sources, like a turntable, CD player, DJ mixer, DJ software or even a stream from the internet. This will route the audio directly into Music inputs In1 & In2 on FreQQ.
In3 & In4 are used to connect two extra mono inputs (microphones, dub sirens, etc.).
(NOTE: These do not run through the isolator kills section and go directly to the master channel output.)

Output Mapping: By default, the master output is mapped to outputs 1 & 2 (sometimes called L&R). This should be left as is.
You can map 3 and 4 if you wish, so you have two sets of stereo out from your audio interface.

(NOTE: If you find that you have sound, but the kills do not appear to work, but you can hear the siren, your external audio interface may be the issue. The input may be playing the input signal directly to its outputs. This means the audio is playing twice, one through FreQQ and one directly via the interface. There may be some settings with your driver or the interface itself that allow you to adjust this and a good first place to check regarding audio issues. Otherwise, the solution is to set FreQQs output to another audio interface or your computer’s own built-in interface.)

NOTE: Ensure that “sample rate” on Amp FreQQ is set to the same rate as in your audio driver (e.g., 44,100, 48,000 Hz, etc.)

Microphone/Aux Inputs Using External Audio Interface

Plug your source into your chosen channel on your interface.

Click Audio to open the Audio Status window.

  • For the Driver, you will need to select your audio interface driver or ad_mme or ad_directsound for PC or core audio for Mac.
  • Set the input and output to your audio interface.
  • At the bottom of the Setup menu, open the I/O Mappings.
  • Set Input mapping 3 or 4 to your audio interfaces channels, that the mic/dub siren/etc is connected to.
    Note: Your audio card must have a dedicated mic input to be able to get a loud enough signal (unless you are using a USB mic setup).
  • Unmute the Mic/Aux channel and set the gain with the fader. There is +6 dB available gain.

Input Mappings from audio interface:IO Mappings 1

  • Receives audio to FreQQs Music inputs In1
  • Receives audio to FreQQs Music inputs In2
  • Receives audio to FreQQs Mic/Aux inputs In3
  • Receives audio to FreQQs Mic/Aux inputs In4

NOTE: Even if you only have a 2-channel audio interface, you can still route a microphone to FreQQs mic input. Ensure you set I/O mappings Ch group 3 or 4 to the channel your mic is plugged into (i.e., input 3 on Freqq can be set to any input on your sound card.)

Audio StatusUSB Microphone

  • Navigate to Audio.
  • For the Input Device, you will need to select your USB Mic.
  • Set the Output Device to your audio interface that is connected to your amp/speakers (internal or external).
  • Unmute the Mic/Aux channel.

USB Turntable

  • Navigate to Audio.
  • For the Input, you will need to select your USB turntable.
  • Set the Output to your audio interface that is connected to your amp/speakers.
  • Unmute the In1 & In2 channels.

4.8 Autogain

This little dial packs a powerful system that effectively increases gain on tracks with a lower-than-normal recording level or older “vintage” recordings (especially apt in reggae.) It also slightly reduces the signal if used on full and the audio volume is high. Think of it like the trim setting on a DJ mixer.

You set the dial depending on the amount of difference between the different tracks. The greater the difference, the further you should dial in. If you play a lot of mixed music, it is a good idea to map this control to a MIDI controller for ease of operation.

Clockwise – engages the system. Further clockwise will result in more gain added.

Anticlockwise – must be fully turned to disengage the system.

4.9 Selectable Display

Selectable Display

Display selector switch1. Display selector switch

Spectrum Analyser (with or without logo/image).

Static Image (with or without logo).

Full EQ – Displays both 10-band and 4-band equalizers.

2. Spectrum type switch

Logarithmic FFT Spectrum

Logarithmic FFT Spectrum

Linear FFT Spectrum

Linear FFT Spectrum

Displaying Your LOGO/Custom Image

  • We recommend an image size of 700 x 200 pixels or 18.52 cm x 5.29 cm (a blank template is supplied).
  • Ensure it has a transparent background or some elements of transparency (otherwise, you can use our transparency slider in Setup to adjust the whole image).
  • Save as .png image.
  • To load, find the image in your File Explorer/Finder.
  • Click and drag the file over the spectrum display and drop (the area will highlight in blue)

Displaying Your LOGO or Custom Image

4.10 The FreQQs EQ System

Kills only simply means that there is NO EQ engaged.

10B EQ routes Music inputs to 10-band graphic equalizer first before the isolator.

4B EQ routes Music inputs to 4-band parametric equalizer first before the isolator.

ALL EQs route Music inputs to 10-band, then the 4-band equalisers before the isolator.

The FreQQs EQ System

10-Band Graphic EQ 

No matter what your Source, regain control of your tone with this incredible EQ. This 10-Band Graphic EQ gives subtle amounts of tone shaping and level control. +/- 12 dB with fixed Q. With ten carefully chosen frequencies, the 10 band will let you tune your track correctly in seconds; create earth-shaking low end; restore punch, level, and treble response and much more. Cut those harsh frequencies or just adjust to taste.

Find whichever EQ point is closest to the frequency you want to boost or reduce, and then simply move it to the exact spot you’d like for the desired effect. Turning the boost or gain slider up or down determines how much you are boosting (or reducing) your chosen frequency in decibels

4-Band Fully Parametric EQ

There are three main controls for each of the four bands.

Gain – This is the amount of cut or boost applied to the signal. Q and Frequency do not function unless there is gain or cut.

Q Factor – How wide the range of the frequency spectrum you’ll be affecting is. A wider Q affects a wider range of frequencies, a narrower one offers more focused equalization.

Frequency – Sets centre frequency.

The EQ will not perform until the gain is boosted or cut. By raising the gain, the currently set frequency will increase and decrease when cut.

The default setting has a fairly narrow set Q; therefore, when increasing gain, there will be some resonance. Set the gain to around +15 dB and then sweep the frequency left and right for filter sweep effects on mids and bass.

For a wider frequency range (and therefore less resonance), set the Q further anticlockwise.

4.11 Dub Filter 

Dub Filter

By default, the filter is set to process only from Music inputs (A), thereby unaffecting all the other features, such as FX delivery, siren, mic, samples, etc. The other options are:

A – Music inputs only
B – Master output
C – Sample input
D – Off

  • HP selects the High pass filter while LP selects the Low pass filter. You can switch between them at any time for a special effect. Both simply cut off frequencies below the level set by the dial. With the Q set, resonance is added while you sweep the frequency (caused by the peak).
  • To engage filter, simply turn dial clockwise and fully anticlockwise to disengage. This controls the frequency cutoff.
  • Q factor is the peak of the wave, the amount of resonance on the filter. A narrow Q has a higher amount of resonance created by the peak and adds a sharper filtered sound to the audio. Think of Q factor like a shaper, producing either a wide, flatter waveform to effect or a narrower, taller one . . .

4.12 Reverb Processor

Reverb Processor

NOTE: Advanced mode is shown above. Normal mode only contains RTN, ROOM and D/W controls. (The same applies to Tape Echo below, where normal mode shows only Saturation, Feedback and D/W controls too.)

  1. Send – This is the amount of signal that is received by the reverb system. This can also be used to control the volume instead of the filter gain as it has smoother control.
  2. Out – This is the overall output of the reverb processor, including the filters.
  3. HFD – Use this to remove high frequencies if needed.
  4. Return – This is the amount of signal being sent out of the reverb itself.
  5. Room – This controls the length of the reverb tail. With this, it’s possible to create shorter reverbs, and on full, the tail is almost infinite, so it can produce a great effect when combined with sweeping the frequency.
  6. Dry/Wet – The “mix” between a dry (NO fx) signal and “wet” (FULL fx) signal.
    In default, this is set more “wet”, because we feel it blends in the reverb effect better. However, you can adjust to your own preference.
  7. BP Filter – This will allow the whole signal to pass through the reverb without the filters.
  8. Band Filter – Set the Q, frequency, and gain by clicking on the graph directly. Detailed instructions below.

4.13 Tape Echo Processor

Tape Echo Processor

  1. Type 1 passes the audio through a low pass filter; this will gradually remove higher end frequencies.
    Type 2 passes the audio through a high pass filter; this will gradually remove lower end frequencies.
  2. BP Filter – This will allow the whole signal to pass through the echo without the filters. (Although we added one extra one to filter out 200 Hz and below.)
  3. Send – This is the amount of signal that is received by the echo system. This can also be used to control the volume instead of the filter gain as it has smoother control.
  4. Saturation – This is the amount of type 1 or 2 filter applied.
  5. Feedback – The echo feedback on fully clockwise is around “110%”, so the signal will gradually get louder, depending on the time value. (So be careful! Seriously! :D)
  6. Return – This is the amount of signal being sent out of the echo itself.
  7. Slide – This is how quickly the system reacts when changing the value on time control.
  8. Dry/Wet – As with the reverb, a mix between “no fx” signal and full “fx signal”. In default, this is set more wet, because we feel it blends in the reverb effect better, but again you can adjust to your own preference.
  9. Time Slider – This sets how far apart each repeat of the echo is. Further left is faster (shorter gaps), and right is slower (longer gaps). Give this a wiggle to create some seriously funky feedback patterns
  10. Time Display/Tap Tempo – This displays the time between each repeat of the echo. This is also the tap tempo button, so you can set time by clicking it in time with the music or with your keyboard (9)/MIDI controller.
  11. Band Filter – Set the Q, frequency, and gain by clicking on the graph directly. Detailed instructions below.

4.14 Echo & Reverb FX Tips

The built-in bandpass filters on the FX open up many creative possibilities. By adjusting the bandwidth of the filter (the range of frequency you are “effecting”), you will permit more or fewer frequencies to pass through to the FX.

  • A narrower bandwidth will create a peak and increase the amount or resonance. With extreme settings, you can create an alien-like sound akin to a dub siren.
  • A wider bandwidth will produce a sound that covers more of the audio spectrum.

Use the frequency control to sweep the range while momentarily triggering to create amazing sounds.

Press the trigger send on any of the sources at the right moments, and musically interact with your track to create your own special version.

Please NOTE that the spectrum analyser only displays the FX sound created, that then routes to master.

The filter graph will display frequency width and gain control when any of its parameters are adjusted.

Echo & Reverb FX Tips

Clicking anywhere else: drag anywhere on the graph horizontally to select the centre & frequency group which you want to affect and vertically to cut or boost (gain).

(NOTE: Amp FreQQ FX delivery was not designed to work in a way you may be used to. The send and return controls were designed to be set up once and left alone. Use the send triggers from the audio sources to deliver sound to the FX Processors. Manually set the band filter gain to a point that is slightly above your ideal level. Then use fader to set the exact level (per track)  to blend into your source audio.
However, it CAN be used another way too, if you prefer. Now this is the dub mixing engineers way (With a midi controller of course)

  • Set both  music send triggers to toggle on, either by clicking with mouse or Shift Q and Shift W.
  • Midi Map your Reverb and Echo faders to the Send dial on each of the FX processors (Advanced mode)
  • Now use the fader to send FX by momentarily raising and lowering quickly

Sound system special…

To echo out a track, simply set the BP Filter on, on the echo and send. Switch back off to engage the band filters again

4.15 Dub Siren

Dub Siren

4.16 Sample Player

Play any audio clips such as jingles, adverts, dub siren clips or any other sounds. The 12-slot sample player has its own independent reverb and echo sends that can be momentarily triggered via the keyboard or MIDI control.

Use the HP filter to remove unwanted low grumble bass frequencies and a bypass* button.

Sampler will play any sample in a format accepted by the audio players.

Sample Player

Method 1: Loading into Sampler

  • Create a folder with your 12 samples and open in File Explorer or Finder.
  • Highlight all 12 and drag and drop the files onto the dial in the Sample Section.
  • Test by pressing the Sampler trigger for sound (number 4 on keyboard) R to select next sample.

Method 2: Loading into Sample Slots (Recommended)

  • Open the Panel.
  • Open your File Explorer or Finder and locate your samples.
  • Click and drag single samples directly onto the individual slots in the order you would like.
  • When a sample slot is loaded, you will see the sample name displayed.
  • When a sample is engaged and playing, the number to the left will highlight.

Sample Set Save and Load

Once you have all your samples loaded . . .

  • Click on save sample set. Choose your location and give the file a suitable name.
  • We recommend putting all samples folders in one location and then creating and storing these types of files in another separate folder.
  • To recall a sample set, click load sample set and locate the file you want and open.
  • The sample names will appear in the sample slots section.

Sample General Notes

  • You can use almost any size. You may even load whole tracks.
  • BP switch (Bypass kills) so you can play samples irrespective of the positions of the kills.
  • Click “clear” to immediately remove the samples from the sample slots.
  • The hold button is used to play in momentary control or a whole sample in full with hold disengaged.
  • There is a High pass filter to remove unwanted bass frequencies. Adjust to the right to engage.
  • Use the echo send slider to control how much signal is sent to the echo processor and the sample echo trigger to actually send the audio. There is also a reverb trigger.
  • By setting DubFilter routing to C, you can use it on samples.

4.17 Kill Switches (Isolator) (Where the REAL FUN STARTS!)

Kill Switches

“Weight and Treble”

This is the term that used to be used for the full range of sound when, previously, you would only have a two-way system, the “weight” (bass) and “treble” (top).

The music would pass through an isolator system that effectively separated the music into two distinct frequency bands. Nowadays, most commonly using a preamp, the audio is split into three filter bands: bass, mids and treble,

This is the core design of Amp FreQQ’s kills system but with 4 bands, also separating the bass into “sub” and “kick”.

Amp FreQQ’s Kills

In advanced mode our uniquely designed kill switches have special bandwidth, frequency and gain control that will enable the user to set cutoff frequencies to match both the track being played and the speaker set up in use. The user can then use gain accordingly for each band to get a particular sound.

The default frequency ranges for each band have been carefully chosen to provide as flat a sound as is possible, while being set around about the general frequency crossovers of MOST box configurations. The safe mode default settings should work for most users,

Default set bandwidth 

Safe & advance mode fixed frequencies

Each of the four filter band gains comes set at 0 db in safe mode. This is the maximum default. However, there is additional gain available of up to 12 dB in Advanced mode. NOTE: Be careful when changing over. First, set the kill faders on screen or on your controller in the centre 0 dB in Advanced mode.

If you hover over the graph, you will see three different figures. The one on the far left and the middle is the range of that particular frequency band and on the right is gain.

NOTE: Sub-bass and tops only have a single control to adjust the frequency, whilst mids and bass have two.


How to Use Kill Switches

Adjusting parameters (Advanced mode only)

We do not recommend adjusting these drastically. However, if you do (e.g., playing on a sound system or large PA system, and you feel you have sufficient experience with the software), ensure that the adjacent band/s are adjusted to meet the frequencies you just changed to avoid dips and make sure you implement some form of external limiters or sound management.

(Unless you are REALLY familiar with your Amp FreQQ setup and the sound!!!! This is an open system and there are no rules, so feel free to adjust and experiment with caution! This is why we feel “safe mode” is the all-round best for MOST users.)


A   Bandwidth      Click the vertical rectangle bands and drag to adjust frequency.

B   Gain                  Fader on right side of graph (the overall loudness).

The gains of kills should always be at 0 dB to start with. That is full fader in safe mode and halfway in advanced mode. Before adjusting any kill gain faders, please ensure that there is sufficient headroom for the signal. It is easier (and in most cases, more pleasing to the ear) to turn up an amp, and amplify a lower signal, than amplifying a louder (and possibly more compressed “clipped” signal) by a lesser degree.

Adjustment notes:

  • The VU meters display the amount of signal being sent out to the master from each of the kills.
  • The spectrum analyser displays the actual real-time raw sound being played (displaying the peaks of the whole frequency spectrum) from Master out. So you can see the spectrum for each band one by one by killing the other 3 bands.
  • The default settings cover most users’ needs. You can adjust according to the track you are playing and your speaker setup. Some speakers do not handle the real low sub frequencies. You will need to set Amp FreQQ sub-bass band a bit higher up, so it will maximise the bass available from your speaker setup. Remember to move the adjacent band along so it meets with the adjusted amount.
  • We HIGHLY recommend a LOW PASS FILTER on your hardware crossover/LMS, etc., of 25–30, though, as a vast proportion of drivers may be damaged by any frequency lower than that.

Dubbing with Kills

The general purpose of the kills, other than to adjust the audio settings, is to build up momentum and drops by interacting with the music.

For example, start with all kills on except for the sub-bass. Then when you think the moment is right, you can (optionally) build up the intensity and excitement with a siren or other FX before dropping it in.

Or (as a certain London sound system/”warrior” does), you can run three minutes of JUST earth shuddering, tribal, warrior king SUB-BASS before you drop the other three frequency bands back in.

But you can drop in and out in any order . . . 😀
It’s YOUR FreQQ . . .

4.18 Limiters & Recorder


The limiters are in place to protect your speakers and equipment. By limiting the amount of dB gain, you are ensuring the levels do not exceed a limit that may damage your gear (or ears).

However, they can also be used creatively by setting a level of the reverb and echo to a threshold that you feel blends in the FX correctly, without oversaturating.

By default, the master limiter is off, and the FX limiters are on.

The dial sets the threshold at which the limiter will engage.

  1. Toggle on/off limiter. (On when highlighted red.)
  2. Dial to control at what dB level the limiter kicks in.

RecorderHow to Use Recorder

There is no need for you to download or install any other software to record your FreQQ mixes because we have built in that option for you.

To make a recording of audio from the master output:

Open up the panel and locate the recorder at the bottom.

  1. Select the File button and choose folder and a name for the file AND ensure you select “.WAV” on PC or “.AIFF” on Mac (The file extension selects which format the recording is recorded in).Manually enter the suffix WAV or AIFF
  2. Press Start when you are ready, and the LED (4.) will turn red as indication that it is recording.
  3. When you are finished, press the Stop button.

Voila! Your recording is saved in your chosen folder.

4.19 Advanced Mode

Advanced Mode

The advanced mode button unlocks restricted ranges and settings that are not available in normal safe mode.

We would advise you to only use the advanced mode if you have some technical knowledge and understanding of audio, and a comprehension of the effect on the audio signal, and have used Amp FreQQ for a reasonable amount of time.

We recommend fully experimenting with safe mode settings before coming here, as we set the default at levels that can be used creatively by most users. Only come here if you feel you need more range in general.

If you are not sure what to set certain settings to, do not hesitate to message us. We will happily advise you on how to set it best.

Ranges unlocked in advanced mode:

  • +12 dB additional filter band Gain in kills and +8 dB for FX.
  • The additional echo/reverb FX controls are displayed.
  • Dub filter has an extended range.
  • Frequencies on kill bands and FX bands are no longer limited or locked.
  • Q Factor on FX filter bands is now fully open and adjustable.

5. Setup Window

Setup Window

1. Pure Sub-Bass

This feature is designed for use in one scenario. Only when the bass, mids and tops kill switches are off and the sub-bass kill is on and playing audio. With Pure Sub switch on, mid-range frequency artefacts are removed leaving a cleaner and purer sub-bass sound. This will not function if you use the kill band faders.

2. Rewind Stop/Play 

This controls the operation of the rewind buttons on the built-in players Deck A and Deck B. Choose rewind and stop if you are a DJ or radio host. That way you can speak in the break before hitting play. “Rewind play” will rewind the track before restarting.

3. Flat Mode

This is a special function to be used with the following understanding:

  • This mode is designed to ensure a perfect flat sound. Identical to the audio from inputs.. Use this mode for radio, remixes or to play into a hardware dub preamp, just like any other DJ app.
  • When all four kill bands are on and playing, the audio will bypass the filters and plays directly to master. If any of the kill bands are turned off, then the flat mode is automatically disengaged. Note: Changing any frequency on the kill bands will have no affect.
  • In flat mode, the kill bands gain is controlled by their own semi-parametric EQ, which has a gain range of -24 dB to 0 dB or -24 dB to +12 dB in Advanced mode. NOTE: This means that the gain faders for the kills cannot be used to completely “kill” the audio in the same way as non-flat mode, which has a range that goes down to -70 dB.

4. Preset Management

Restore to default.

This button will reset the console to default settings. This cannot be undone.

Save preset.

You may want to create your own unique global preset; whatever is set on the user interface can be saved and recalled.
After saving your preset, please load it, so when you come back to Amp FreQQ, your settings will be as you left them.

Load Preset.

After you saved your presets, (see above), you can load by finding the saved preset file in your designated preset folder and opening it.

5. Default Colour

This will reset the user interface colour back to the factory default colour.

6. Hue

Click and drag the marker left or right and select the colour of the background

7. Darkness

Click and drag the left or right to control the level of light/dark of the background.

8. Logo Transparency

This is used to set the level of transparency of the custom image you may have loaded onto the Spectrum analyser display. This will allow the spectrum signal to be partially viewed through the image, depending on the level set.

9. Load and Save MIDI Mappings

You can create your own mapping files for any MIDI controller or controllers.
Additionally, you can save a mapping file for controls you have mapped spread over several MIDI controllers. After you have assigned all your controls, simply click save and place in a folder on your computer.

Save Mapping – This function will save your current mapping in your designated save folder.

Load Mapping – This function allows you to open any previously saved MIDI map. The “Loaded Mappings” section will display your loaded mappings.

NOTE: In order for the FreQQ to recall the last used mapping, you should immediate load any newly saved mapping file every time you restart the program.

10. Mappings Reset

This will clear the currently loaded mapping or recently mapped parameters on the FreQQ.

11. MIDI Rescan

Click this button to rescan in case your MIDI controller is not listed under the controllers section.

12. MIDI Learn

Click this button once your MIDI controller is listed under the controllers heading. Once activated, the user interface will change slightly, and it will be ready to begin assigning. Once you have completed assigning all your controls, click off and test if they all work as expected before saving. See Next chapter on MIDI controllers for more information.

13. MIDI Normal/Pickup

When engaged the following controls use this function. The selected MIDI controller control (fader or dial) will not sync with the on-screen control until it meets the exact point the on-screen parameter is set at.

Master gain

Siren gain

Sample gain

4 x kill band gains

Reverb and echo gains

Echo time slider

Controllers – This list displays the currently connected MIDI controllers. Click MIDI rescan if your controller is not listed here.

5.1 Assigning MIDI Controllers

Amp FreQQ works perfectly with our MIDI mapping for the Akai MIDIMIX controller. Combined with our custom overlay, this creates a complete portable dub station with immense creative possibilities. See our website www.reggaepreamp.com for more information.

The MIDI implementation is simple and should work on all MIDI controllers, but we cannot guarantee functionality with dedicated units built specifically for other software applications. However, so long as it is class compliant and recognised by the operating system, it should be available to use and map on Amp FreQQ.

MIDI mapping on the FreQQ is a very simple process.

Simply highlight the function you want to assign, then push, turn, or press the control on your MIDI controller, and the highlight will turn off to indicate it has been assigned.

  • There are almost 150 different MIDI controls that may be mapped.

MIDI Learn Mode

MIDI Learn Mode

  • Red highlight of a function indicates ready to aassign.
  • Green highlight of a function indicates that one or more MIDI controls are already assigned.
  • Assign one or more functions on screen to operate from a single control on your MIDI controller. For example, you could create a sub solo button by clicking and highlighting the bass, mids, and tops kill switches, then hit a single button on the controller. The highlights will switch off to indicate it’s done.
  • Assign a single function multiple times. Simply select it and then turn your dial, push your fader, or press the button on your controller.
  • Assign more than one controller, i.e., one for the main dubbing controls, and one for EQ and FX control. Any combination is possible.
  • To delete a control that is already mapped, select it so it displays the green highlight. Then press shift on keyboard, and click with mouse to clear. Select again, and it will be red, ready to assign.

How to Assign your MIDI controller

  1. First, check to see if your connected controller/s is displayed under the controllers heading. If it is not, please click “MIDI Rescan,” and your controller/device should be recognised by the program. Once your controller is displayed, you can begin the mapping process.
  2. Before you do this, open all the user interface windows, panel, playlist A and playlist B, advanced mode, dub siren setup and place them and the setup window to the sides. This way, they are all open and ready to be mapped. Click the “MIDI Learn” switch. This may take a few seconds to engage and disengage. The user interface will change and you can select any of the parameters as shown in the image above.
  3. Now you can click on any function or parameter on the app, and it will highlight in a reddish colour, and that indicates ready to assign. Be cautious and take your time with this whole process.
  4. Click, push, or turn your chosen control on your MIDI controller and on screen it will clear the highlight to indicate it is assigned. If you click that parameter on screen again, the highlight will be green, and this confirms it.
  5. You may also add multiple functions just by following the same procedure; for example, you can set several kill switches to be controlled by one button on the controller (highlight your selected kills on the app, then push a single button on the controller), or you can add two or more buttons, faders or dials to any single function on the app. All functions are available for MIDI control on the app, including the twelve sample slots. Be careful to assign everything carefully one at a time.
  6. Once you have completed your assignments, click off MIDI learn, then please do the following right away.
  7. Test that all the controls are working correctly, and if not, enter MIDI learn mode again and delete all the assignments that are incorrect and reassign carefully.
  8. Click Save MIDI config and name your mapping file*, then click save.
  9. Click Load MIDI config and open the same file from where you saved it (otherwise, the app will not recall this next time).

Mapping has loaded correctly when two files appear in the black box below Loaded Mappings title, to confirm successful loading.

*There are always two files that make up the MIDI mapping. One is called xxxx.ctlst.json that is always the file that is stored in users/public/Amp FreQQ/(PC) or users/shared/Amp FreQQ (Mac). And the second is just called xxxx.json. This is the file that you are saving and loading. The xxxx.ctlst.json is automatically created in the users shared/public Amp FreQQ folder in the saving process. So, the process of loading xxxx.json automatically also loads xxxx.ctlst.json. xxxx is the name of the file

In MIDI learn mode, you will notice that some buttons have the numbers 1 and 2 beside them. These are provided in case your controller has no editing mode for toggle and momentary function. If a button on your controller requires two presses, try changing this setting. If your controller does have editing mode (with or without LED functionality), please set these parameters accordingly . . .

  • Kill Switches should be set to toggle.
  • HP/LP Switch should be toggle.

Most of the commonly used other controls will all be momentary.

5.2 LEDS & Momentary/Toggle Buttons on MIDI Controllers 

For the moment, only Akai MIDIMix has built-in LED functionality with Amp FreQQ V3, which works in conjunction with our supplied Mapping files. Please see our support page on the website for instructions on this controller. Note: The app operates the LED for the MIDImix so you may notice them light when using keyboard controls. If you reconfigure or use your own choice of mapping, the LEDs will still function as per our original mapping

Some MIDI controllers have their own LED functionality, and by configuring the buttons to toggle or momentary, all will automatically work as expected. You will need to use the controllers own software editor to do this or there may be some kind of relevant configuration options on the MIDI controller itself

6. Audio Status and Configuration


Audio Status and ConfigurationBefore changing any parameters, it is recommended that you turn off DSP first. Turn on when ready, and the CPU will begin to show readings to indicate all is functioning

A healthy CPU reading is below 55%.


Mac: Leave as Core Audio

Windows: Please install the latest driver for your audio interface. Then restart FreQQ. If the driver from your audio interface appears on the drop-down menu, select it. If the driver is not on the list, select one of the following:

  • ad_mme
  • ad_directsound

These are built-in audio drivers which provide input and output options based on the windows settings for audio. Input device will go straight to the assignable inputs 1 & 2 AND/OR 3 & 4 on Amp FreQQ, and the output selects the main outputs (L&R) 1 and 2 on your interface. Use these drivers only if nothing else works.

Input Device: In order to play audio from external audio sources, like a turntable or a mic, you will need an external (or internal) audio interface with 2 to 4 inputs. We recommend 4. However, if you are not planning on using external sources, you can set input device as none.

Output Device: This is which audio interface you want the audio output to be played. You can send audio directly to active speakers, your amplifier, external crossover/DSP LMS or mixer. This can be the same as any interface you are using for inputs or another separate audio interface. You can also just use your computer’s own built-in interface output via the headphone/line out jack.

Sampling Rate: This depends on your audio interface. NOTE: All audio devices, both input and output should be set to the same rate. Set the sample rate the same on both FreQQ and your operation system.

I/O Vector Size: Number of samples the application processes at once. Set this 512, otherwise lower for more powerful computers or higher for less powerful computers.

Signal Vector Size: Set this to 64, otherwise lower for more powerful computers or higher for less powerful computers.

Routing – IO MappingsRouting – I/O Mappings

Here you can set where audio is routed to and from Amp FreQQ. Click on Open I/O Mappings. It will open a window displaying input Mappings (left) and Output (right) channels (fig. X). Click on the triangular icon to reveal a drop-down menu with all the channels available; this is dependent on your audio interface.

IO Mappings 1Input Mapping: There are a total of 4 external inputs. 1 & 2 are for connecting stereo audio sources, like a turntable, CD player, DJ mixer, DJ software or even streaming from the internet. This will route the audio directly into Music inputs In1 & In2 on FreQQ. In3 & In4 are used to connect two extra mono inputs (microphones, dub sirens, etc.). NOTE: These do not run through the isolator kills section and go directly to the master channel output.

Output Mapping: By default, the master output is mapped to outputs 1 & 2 (sometimes called L&R). This should be left as is.

NOTE: If you find that you have sound, but the kills do not appear to work, your external audio interface may be the issue. The input may be automatically playing the input signal directly out. This means the audio is playing twice, one through FreQQ and one directly via the interface. There may be some settings with your driver or the interface itself that allow you to adjust this. Otherwise, the solution is to add another audio interface (or you can use the computer’s built-in interface) and set the FreQQs output to this one. You will need to plug in your speakers/amp, etc., here.

Scheduler in Overdrive and CPU Limit Should Be Left as Shown

Audio Driver Setup

Click this to open either the Operating systems or the audio interface’s own drivers sound properties. You should set all the gains

Up on all inputs and outputs, and please ensure the sample rate is set the same throughout.




User guide 3.1

Written by Juan J Ros, S Chouhan & K Chouhan


We are Slawter Studios, Ltd.

SLAWTER STUDIOS LTD is an active Private Limited Company, registered at Companies House under the number 11926466. SLAWTER STUDIOS LTD was incorporated on 4 April 2019


We are always looking for talent.

If you believe you might be the person we are looking for, please contact us

Media inquiries

Let’s make noise.

If you are a journalist or a content creator and you are curious about Amp FreQQ, please get in contact with us.


We want to hear from you.

Please send all correspondence to info@amp-freqq.com.