Table of contents

Table of Contents
Introduction
. .About
. . . . .FabFilter
. . . . . . Twin
. . . .3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
. .Quick
. . . . start
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

Using FabFilter Twin 3

. .Overview
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
. .Knobs
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
. .Oscillators
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
. .Filters
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
.
. .FX
. . Section
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
.
. .Modulation
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
.
. .Drag-and-drop
. . . . . . . . . . .modulation
. . . . . . . . slots
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
.
. .Modulation
. . . . . . . . visualization
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
.
. .XLFO
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
.
. .Envelope
. . . . . . .generator
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
.
. .Envelope
. . . . . . .follower
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
.
. .MIDI
. . . .source
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
.
. .XY
. . Controller
. . . . . . . ./ .slider
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
.
. .Arpeggiator
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
.
. .Polyphony,
. . . . . . . . unison
. . . . . and
. . . microtuning
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
.
. .Full
. . .Screen
. . . . . mode,
. . . . . resizing
. . . . . .and
. . . scaling
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
.
. .Output
. . . . . controls
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
.
. .MIDI
. . . .Learn
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33
.
. .Undo,
. . . . .redo,
. . . .A/B
. . .switch
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34
.
. .Using
. . . . on
. . .iOS
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
.

Presets
. .Loading
. . . . . .presets
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
.
. .Saving
. . . . . presets
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
.
. .Section
. . . . . .presets
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39
.
. .How
. . . presets
. . . . . . are
. . .stored
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
.

Purchasing FabFilter Twin 3

. .Purchasing
. . . . . . . .FabFilter
. . . . . . .Twin
. . .3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
.
. .Entering
. . . . . . your
. . . .license
. . . . . key
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42
.

Support
. .Support
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
.
. .Upgrading
. . . . . . . .to. Twin
. . . . 3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
.
. .Manual
. . . . . installation
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
.
. .VST
. . . plug-in
. . . . . .versions
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46
.
. .Using
. . . . the
. . .side
. . . chain
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
.
. .MIDI
. . . .CC
. . table
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49
.
. .License
. . . . . .agreement
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50
.
. .Acknowledgements
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52
.
. .About
. . . . .FabFilter
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
.
About FabFilter Twin 3
We launched FabFilter as a company in 2004 with a small blue synthesizer: FabFilter One. It soon became famous for its
filter quality, which proved to be a firm base for many plug-ins to follow. Since that time, a lot has happened, and
although FabFilter established itself with professional mixing tools like Pro-Q and Pro-L, our love for synthesizers never
faded.
With FabFilter Twin 3, we've reinvented Twin and its workflow, while still staying true to what it has always been: an
awesome sounding virtual analog, subtractive synthesizer. With a fully redesigned interface and new full-featured preset
browser, Twin has become much easier to use and program. And the new FX section, filter options, arpeggiator and sound
improvements open up a whole new world of possibilities. Let's dive in!

New in Twin 3
The first thing you will notice when you open Twin 3 is the brand-new look. The completely redesigned interface makes
Twin 3 more pleasant and much more intuitive to work with. All the goodness is still here of course, together with many
new features:
Fully redesigned, highly simplified interface, with an easier workflow, including a new design of modulation sources
and floating slot panel and FX panels.
Improved the oscillator and filter sound quality, with built-in, analog-modelled drift.
Added an extra fourth oscillator.
Increased the maximum number of voices from 32 to 64.
Added a Per Oscillator polyphony mode, where every note triggers a different oscillator.
Added two extra filters, so four available in total.
Added new, vintage-sounding EQ-type filter shapes (bell, shelf, notch) for every included filter style. With the
internal drive and non-linearities, this results in truly unique filtering behavior, with lots of character, incomparable
to usual, clean EQ filters. Filters can be created and deleted in the display, just like in Pro-Q or Volcano 3.
Added 6 dB/oct filter slope option.
Introduced large Cutoff/Peak offset knobs, which adjust all filters at once. Of course, these can be modulated as
well.
Introduced an FX section with 6 different effects:
Reverb: a lush, vintage reverb with time, brightness and pre-delay settings
Delay: Extensive delay effect, with tempo sync, filter section and more
Chorus: Smooth chorus with basic rate, depth and delay settings
Phaser: Classic phaser/flanger with rate, depth, feedback and shift options
Drive: Ranges from subtle saturation to over the top amp-like distortion
Compressor: Customizable compression, from smooth to aggressive
Introducing a full-featured preset browser, with support for tags, favorites and easy searching and filtering.
Added an Arpeggiator, with host tempo sync, groove/legato controls and transpose, note order and latch options.
Added optional High Quality mode, which turns on 4x oversampling.
3
 Introduced Source Level (-200% .. 200%) control for XLFOs, EGs, EFs and MIDI Sources, which scales the output of
the source. Of course, this can also be modulated.
Lowered minimum Envelope generator attack/decay and release times. Also, EGs now have a curve slope setting for
the different stages, opening up a much wider range of possible shapes, from very snappy and aggressive to gentle
and smooth.
The EG Threshold parameters are now modulation targets. In addition, the incoming signal level is displayed in a
meter around the Threshold knob, and it's now possible to audition the external side chain input.
Added Transient mode for envelope followers, which turns them into transient detectors.
Introducing Slider mode and a range setting for XY controllers. In Slider mode, the XY controller only works in
vertical direction, taking up much less space. The range setting toggles between bipolar (-1 to 1) and unipolar (0 to
1) behavior.
Increased the number of XY controllers/sliders to 6.
Modulation sources can now be renamed to make their use easier to understand.
Increased the maximum number of modulation slots to 100.
The XLFO Balance and Frequency Offset parameters are now modulation targets.
XLFO MIDI triggering now offers a new Legato mode.
MIDI Sources now offer a Range option (available for Velocity and KB Track input), which lets you choose between
Negative (-1..0), Centered (-1..1) or Positive (0..1).
Added the ability to hide modulation sources except for XY controllers and Sliders. This is often useful, since most
presets use XLFOs, EFs, EGs and MIDI sources to create certain effects, which in turn can be controlled by XY
controllers and sliders.
Native sustain pedal support.
The interface now supports resizing and Full Screen mode.
The resize button in the bottom right corner of the interface now offers a Scaling submenu, with options to increase
or decrease the scale of the entire interface, e.g. 125%, 150%, etc.
New factory presets, smartly organized and carefully designed.
Support for loading Twin 2 and Twin 1 presets.
Introduced support for Pro Tools hardware control surfaces.
FabFilter Twin 3 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: Quick start

See Also
Using FabFilter Twin 3
Upgrading to Twin 3

4
Quick start
The installer will copy the FabFilter Twin 3 plug-in into the common VST, VST 3, AU (macOS only) and Pro Tools plug-in
folders on your computer. On macOS, the global plug-in folders in /Library/Audio/Plug-Ins are used.
In most cases, your host will then recognize the plugin automatically. However, if the instructions below do not work, see
Manual installation instead.
Pro Tools
Create a new stereo instrument track and add FabFilter Twin 3 as the first insert.
Studio One
Click the '+' button next to the Inserts tab of an audio track, instrument track or bus and select 'FabFilter Twin 3'
from the drop-down menu.
Logic Pro
Create an Audio Instrument track in the arrange window and select FabFilter Twin 3 as the input and choose a
preferred output. You will find FabFilter Twin 3 in the Audio Units -> FabFilter section.
Ableton Live
In Session view, select the MIDI track you would like to place FabFilter Twin 3 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 Twin 3, or drag it onto the track.
Cubase
Open the VST Instruments panel, click on an empty slot and select FabFilter Twin from the menu that appears.
Right-click in the list of tracks and choose Add MIDI Track to create a new MIDI track and assign it to the new
FabFilter Twin 3 instrument.

Next: FabFilter Twin 3 overview

See Also
Upgrading to Twin 3
Overview
Loading presets

5
Overview
FabFilter Twin 3's interface is divided into multiple sections:

Oscillators
Twin 3 lets you add up to four oscillators on the fly. The oscillator settings can be easily customized directly and the
produced wave form is visualized in the background.
Filter display
The filter display lets you create up to four different classic, non-linear, self-oscillating filters, which can be either
low/high pass, band pass, bell, low/high shelf or notch. See Filters.
Main EG
Centered in the interface, the large ADSR envelope generator lets you easily customize the main envelope of the
produced sound.
FX section
Twin 3 offers six out-of-the-box effects, which can be easily enabled and controlled via the FX section at the right of
the interace. Clicking on the Amount knob will open up a panel of options for each effect except Drive. See FX
section.
Modulation section
The modulation section at the bottom shows all modulation sources, visualizing the signal flow and making it easy to
set up modulation and create new sources. FabFilter Twin 3 offers XLFO, envelope generator (EG), envelope follower
(EF), MIDI and XY controller or slider sources. See Modulation to get started.
Piano keyboard
The Piano Keyboard button shows or hides the piano keyboard underneath the modulation section. It visualizes
incoming MIDI notes and you can click keys to play notes manually.
Arpeggiator
The arpeggiator button opens a panel with option to enable and customize the internal arpeggiator.
High Quality
The High Quality button controls the oversampling of the internal algorithms. See Output controls.
Polyphony / unison
The Polyphony button gives access to polyphony, unison settings and microtuning. See Polyphony, unison and
microtuning.
Output options
On the far right of the bottom bar, the output button gives access to stereo width, output level and panning controls.
See Output controls.
Full Screen mode, resizing and scaling
The Resize button at the far right of the bottom bar lets you change the interface size and scaling. In addition, click
the Full Screen button in the top-right corner of the interface to let Twin 3 fill the entire screen. See Full Screen
mode, resizing and scaling.
6
 MIDI learn
MIDI Learn lets you easily associate any MIDI controller with any plug-in parameter. See MIDI Learn.
Presets, undo, A/B, help
With the preset buttons, you can easily browse through the factory presets or save your own settings so you can re-
use them in other songs. The Undo, Redo, A/B and Copy buttons at the top of the plug-in interface enable you to
undo your changes and switch between different states of the plug-in. Finally, the Help menu provides access to help
and version information. See Loading presets and Undo, redo, A/B switch.

Next: Knobs
See Also
About FabFilter Twin 3
Support

7
Knobs
It is easy to control FabFilter Twin 3'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.

Most 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. Some knobs show their position using a colored arc instead of an
arrow: these do not support rotate mode.
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, Twin 3 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, Twin 3 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: Oscillators
See Also
Using on iOS
Support

8
Oscillators

In Twin 3, you can use up to four full-featured oscillators. Combined with our award-winning filters and the new FX
section, this gives you an exceptional broad palette of sounds. The oscillators are vintage-sounding, and have built-in
analog drift: there is a very subtle randomness in various parts of the synthesizer, like the oscillator tuning and phase.
To add an oscillator, click the + button at the bottom of the oscillators. To delete one, hover over the oscillator and click
the small x button in the top-right corner.
Every oscillator can be easily customized and shows the produced waveform in the background. The following parameters
are available:
Waveform
The Waveform button selects the waveform that the oscillator produces:
Sawtooth: a sharp bright tone that is ideal for filtering
Square: a more metallic but still vintage and 'round' sound, adjustable with the pulse width setting
Square Pure: a more pure, digital square wave, also adjustable with pulse width setting
Triangle: a soft, warm tone
Triangle Pure: a pure triangle wave with more harmonics
Sine: a simple, pure sine wave, the most basic waveform without harmonics
White noise: has a flat frequency response, meaning all frequencies at equal power
Pink noise: like white noise but with less power in the higher frequencies
Enable
This will turn an oscillator on or off, so you can easily check the contribution of an oscillator to the overall sound.
Pulse Width
The Pulse Width knob adjusts the pulse width of the square waveform, from an even square to an infinitely thin
pulse (which is actually inaudible). Pulse width is a modulation target and is only available when the Square or
Square Pure wave form is selected.
Detune
The Detune knob sets the detune for each oscillator. It has a range of +/- one octave, and is extra sensitive around
the 0 position. It is a modulation target as well. Like any other knob, you can double-click it to enter a value directly
using the keyboard. For example, try '0.5 octaves' or '1 semitone' or '50 cents'. See Knobs for more information.
Scale
Each oscillator can be transposed up to 3 octaves above and one octave below the master tune.
Sync
The Sync knob adjusts the level of hard sync for its oscillator. When set to 1, the oscillator works normally without
hard sync. When set to a higher value, the oscillator will 'squeeze' more phases into one actual audible phase, which
drastically changes the harmonics in the sound with a metallic-sounding effect. Sync is a modulation target.
Phase Sync
Below the Sync knob, the Phase Sync button (with a MIDI icon) toggles oscillator phase sync on and off. When
oscillator phase sync is on, the oscillator resets its phase to halfway the waveform on each note-on event. With
short, percussive sounds, this works really well to create a sharp and aggressive attack with every note. However,
normally you should turn it off because it sometimes introduces unwanted clicks.
Level/Pan
The volume and pan of each oscillator can be adjusted using the combined Level/Pan knobs. The inner knob set the
9
 overall level and outer ring sets the panning. Both are modulation targets.

Ring modulation
You can enable ring modulation between two oscillators with the small * button between the sections for oscillator 1 and 2
or oscillator 3 and 4. Ring modulation multiplies two waveforms, and outputs the sum and difference of the frequencies
present in each waveform. This produces a signal rich in overtones, suitable for producing bell-like or otherwise metallic
sounds.

Master Tune/Scale and Portamento

The Master Tune knob determines the global frequency offset of all oscillators. The Scale menu above the knob
transposes the frequency by full octaves. The Master Tune knob is a modulation target so you can modulate the frequency
of all oscillators at once.
The Portamento knob adjusts the amount of portamento or glide, which makes the oscillators slide from one note to
another. A little portamento is great for smooth keyboard solos, or when playing large bass intervals. Good portamento is
one of those things that give your play just that little bit extra: it's magic. So we have fine-tuned it until it was just
perfect! The best thing is: we have created a unique portamento because it also works in polyphonic mode, so you can
play sliding chords. Normally, portamento is always applied, but when the Portamento Legato button below the knob is
active, gliding will not be applied for the first key pressed, only for the keys after that. Portamento is also a modulation
target.
Tips
Modulate the Pulse Width knob with an XLFO for the classic pulse width modulation sound.
Using less oscillators reduces CPU usage. Also, the oscillators operate more efficiently when the Sync knob is set to 1
and is not modulated (disabling hard sync).
When you want to change any oscillator parameter for all oscillators at the same time, just hold down the Alt key
(Shift key in Pro Tools) while turning a knob.

Next: Filters
See Also
Overview

10
Filters
The interactive filter display at the center of the interface lets you add up to four high-quality, analog-like, self-oscillating
filters, full of character and with internal saturation. The thick yellow curve shows the overall frequency response of the
filters. All filter parameters can be easily controlled via the display, either by clicking and dragging, or via the parameter
value display. Here's how it works.

Creating filters
To add a new filter, simply click on the yellow overall curve and drag it up or down.
Alternatively, double-click or Ctrl-click (Command-click on macOS) on the display background.
The shape of newly created curves is determined automatically depending on where you click or drag, and once you get
used to this, it's a real time-saver! Do you need a notch? Just double-click in the far low area of the display. Want a high-
or a low-pass filter? Just drag the curve in the left or right part of the display. Of course, you can also set the shape via
the parameter value display. The available shapes are: Low/High Pass, Band Pass, Bell, Low/High Shelf and Notch. The
slope can be set to 6dB, 12 dB, 24dB or 48 dB/oct.

Selecting filters
Click the filter's dot or the colored area near it to select it.
Click and drag on the display background to select adjacent filters by dragging a rectangle around them.
Hold down Ctrl (Command on macOS) and click another dot to select multiple filters. Hold down Shift and click a
dot to select a consecutive range of filters.

Adjusting and editing filters

Once you have selected one or more filters, the display highlights the shapes of the selected curves. You can easily make
adjustments by simply dragging them around:
Click and drag a selected dot to adjust the frequency and peak of all selected filters. If you have multiple bell or
shelf filters selected, the peak of all selected filters will be scaled relative to each other.
Move the mouse wheel to adjust the slope of filters, making the selected filters narrower or wider. This works while
dragging or when the mouse pointer is above a curve. Alternatively, adjust the slope of all selected filters by holding
down Ctrl (Cmd on macOS) while dragging vertically.
Move the mouse wheel while holding down Ctrl (Cmd on macOS) to adjust the peak.
Hold down Ctrl (Cmd on macOS) and drag horizontally to adjust frequency panning of the selected filters. Filter
panning lets you filter the left and right channels differently. It works as a stereo balance setting for the center
frequency of the filter. For example, when you set panning to a negative value, the left channel will be filtered with a
lower center frequency, and the right channel will be filtered with a higher center frequency. You can use this to
create various stereo filtering effects, especially in combination with modulation.
Hold down Shift while dragging (or while using the mouse wheel) to fine-tune the settings of the selected filters.
Hold down Alt while dragging to constrain to horizontal adjustments (frequency) or vertical adjustments (gain).
Hold down Alt and click the dot on a filter once to toggle its bypass state (enabling or disabling the filter).
Hold down Ctrl+Alt (Cmd+Alt on macOS) and click the dot on a filter once to change its shape.
Hold down Alt+Shift and click the dot on a filter once to change its slope.
Double-click a dot to enter values in the parameter display (using the Tab key to step through Frequency, Peak
and Pan) or double-click the values in the parameter value display directly. Note that you can enter frequencies in
various ways, like "100", "2k", "A4" or "C#2+13".
If you right-click on the dot for a filter, a pop-up menu appears with various filter settings. This is a quick way to
modify the filter while you're working in the display.

Frequency Offset and Peak Offset knobs

At the right of the filter display, two large knobs let you offset the frequency and peak of all filters at once, which quickly
11
adjusts the sound for any preset you load. And of course, these can be modulated as well.

Filter parameter display

Next to each filter's dot in the display, the parameter display shows the exact parameter values for the filter. By default, it
only shows the frequency (to save space and make it easier to select multiple filters) but when you hover above it, it
extends and lets you control all the filter parameters. You can easily bypass or delete filters or change the shape, slope
or style. You can double-click the values in the display directly to edit them.
Most of the filter parameters (frequency, peak, panning), can be modulated. Just drag a source to a line in the parameter
value display or to the filter dot directly (to modulate the frequency). If multiple filters are selected, a slot will be added for
each filter, so you can easily setup modulation for multiple filters at once.

Filter Styles
FabFilter Twin 3 lets you choose between 11 different filter styles:
FabFilter One, the original filter characteristic taken from our award-winning FabFilter One synthesizer
Smooth, like the cream in your coffee
Raw, a filter with lots of overdrive and exhibits a character of its own
Hard, moderately distorting filter, with a nice clean whistle
Hollow, juicy moderate distortion with fairly much low-end self-oscillation
Extreme, for more wild sonic ideas
Gentle, a more smooth and clean general purpose characteristic
Tube, with a warmer sound and nice overdrive, great for synth sounds
Metal, with a rough, sharper sound and distortion
Easy Going, a softer version of the Tube filter
Clean, linear behavior with no clipping or distortion at all

Filter Routing
Use the Filter Routing button at the right, above the frequency/peak offset knobs, to change the routing of the filters.
There are three different setups:
Serial: the sound passes through both filters serially. So the sound of all oscillators are led through filter 1 and then
through filter 2
Parallel: the sound is led through both filters in parallel and the result is then mixed together after the filters
Per Oscillator: the output of oscillator 1 goes through filter 1, the output of oscillator 2 goes through filter 2, etc

Tips
When filter modulation is taking place, the display will show the modulated result curve as a thin yellow curve that
gets fuzzy for quick modulation.
If filter panning is in effect, additional result curves will show the overall filtering curve for each channel (white for
left, red for right).

Next: FX Section
See Also
Oscillators
Modulation
Overview

12
FX section
At the top right of the interface, Twin 3 features six high-quality, ready-to-use effect units, from lush, vintage reverb to
heavy amp distortion. All effects have a distinct set of controls, and of course, everything can be modulated.

For each effect, you'll see a large Amount knob, and an Enable/Disable button. The menu button to the right of an
effect label gives access to presets per effect. Clicking in the center of the knobs will open a panel with options per
effect. While dragging to create modulation connections, you can hover above the knobs to open the panels.

Reverb
The vintage-sounding reverb unit has just a few controls, yet produces a wide palette of sounds. Using the Time knob you
can set the decay time of the reverb between 200 milliseconds (very small room) and 20 seconds (cathedral). The
Brightness knob changes the character from very dark, to shimmering bright. The Predelay slider sets the initial delay of
the reverb, which can enhance the sense of space. Modulating Predelay will introduce analog-style tape pitch modulation,
which can be used to make the reverb more chorus-like.

Delay
The delay unit offers a stereo delay line with delay time panning and feedback, combined with up to four multimode
filters. These have the same specs as the synth's main filter, and can be added on the fly via the delay's filter display. See
Filters for more information on the filter display. Of course, the delay time can be synched to host tempo, and ping
pong modes are also available.

13
Chorus
The Chorus unit can be used to add subtle stereo widening, implemented using slowly modulated delay lines. When
Chorus Mode is set to Single, only one tap per channel is used, while Double uses two taps per channel, for a slightly
richer sound. The modulation rate, depth and total delay range can of course be customized.

Phaser / Flanger
The classic phaser unit adds swirling phase modulation using a series of allpass filters with customizable modulation rate,
depth and feedback. Higher rate or depth will make the effect more obvious while adding feedback will make it more
pronounced.
When set to flanger mode, modulation is applied to a short delay line instead of allpass filtering, similar to a chorus but
using much shorter delays and including feedback, which makes the effect more like a phaser: both create notch effects in
your audio, but achieve this in a different way.
Using the shift slider, you can offset the phase of applied modulation in the left and right channels, which makes the effect
sound wider.

Drive
The one-knob Drive effect applies subtle to modest saturation in the lower half of the knob range, to obvious drive and
screaming amp distortion in the upper half. Using the routing button at the right bottom of the knob, you can choose to
route the drive before all other effects, or after all effects (and just before the final compression effect).

Compressor
The compressor is the final effect unit in the chain. With customizable threshold and attack and release ranging from
very fast to subtly slow, it can be either used to keep the output level under control, or to apply creative compression
effects like pumping, etc.
When auto gain is enabled, automatic make-up gain is applied to the processed signal, depending on current settings for
Threshold and Attack. Auto Gain helps you to keep the audible audio level the same while adjusting the controls.
The output and gain change level meters, as well as the input meter around the threshold knob, will help you to dial in
the right values.

14
Tips
Most of the FX controls can be modulated. Try it!

Next: Modulation
See Also
Filters
Overview

15
Modulation
When you open the plug-in with its default settings, the interface looks simple and clean. But the real fun with FabFilter
Twin 3 starts with the incredible modulation options. Almost any parameter can be modulated. These are called
modulation targets. They can be modulated by any of the following available modulation sources:
The XLFO can generate almost any waveform you can imagine and can be synchronized to the host tempo.
The Envelope generator is of the usual ADSR kind and triggered by audio or MIDI.
The Envelope follower will follow the loudness or transients of the audio signal it triggers on.
The MIDI source transforms any incoming MIDI data into a modulation signal.
Finally, the XY controller or slider lets you modulate targets using horizontal and/and vertical mouse movements.
To add a modulation source, just click the '+' button in the modulation section at the bottom of the interface and
choose one of the available options. Now, a source component button becomes visible, showing a graphical
representation of the source's current settings.
To delete a source, move the mouse over the source component button and click the remove icon in the right-top
corner.
Using the show/hide modulation button at the right of the + button, you can show or hide all modulation sources
except for sliders and XY controllers. This makes it easier to interpret and work with the various factory presets, which
often use quite a few XLFOs, EGs and EFs to achieve certain effects, and offer sliders or XY controllers to control the
amount of these effects.
A modulation source drag button is located at the top of the source (two for XY controllers). Drag-and-drop this button
to any modulation target in the interface to make a new modulation connection. The modulation signal always flows via a
modulation slot that allows you to vary the extent of modulation. Click the source drag button once to pop up the
modulation slot panel, containing all slots that are affected (either directly or indirectly) by this source.
A source level control, around the source drag buttons, is available for XLFOs, EGs, EFs and MIDI Sources. This scales
the output level of the source. By default, this is set to 1, but it can be anything between -2 and 2. And of course, the
source level can also be modulated.
Every source has its own associated color scheme, which is also used for modulation visualization and modulation
indicators in the interface, making it easy to see which types of sources are modulating a target.

Click a source component button once to expand the full source interface. Click and drag a button to directly adjust the
main parameters for the source, as shown in the value displays when you hover above the button. For example, with an
XLFO you can directly change the frequency.
You can customize any source's name by double-clicking the label below the source. Source names are stored in
presets, A/B and undo states and will be saved with your session.
Right next to the source name label, the preset button provides access to the source's section presets. You can
customize the default settings for a newly added source by overwriting the predefined Default section preset using the
Save As Default item in the preset menu.

16
Tip
When the plug-in first starts up, the modulation sources are hidden, except for the XY controller or slider sources, to
keep the interface as uncluttered as possible. Simply click on the >> button in the modulation section to show all
sources, and click on the << button to hide them again.
If a modulation source drag button shows a filled dot inside, this means the source is actually in use at the moment.
By default, if you expand a source to see its full interface, all other sources are collapsed to save space. If you would
like to keep them expanded, click the large + button in the modulation section, and uncheck the Auto-Collapse
Sources option at the end. You can always collapse a source by clicking its << button, or click on the background
between the sources to collapse all sources.

Next: Drag-and-drop modulation slots

See Also
Overview
Modulation visualization

17
Drag-and-drop modulation slots
One of the best features in FabFilter Twin 3 is the way you set up modulation connections with drag-and-drop. There is no
need to search through long drop-down menus containing dozens of sources and targets or to find your way in cluttered
and obscure matrix views. This simple method of making modulation connections makes sound design fun, easy and,
above all: fast. So how does it work?

Grab a source... ... drag it to a target... ... and drop it.

First, grab the source drag The moment you start dragging, Now drop the icon on the
button that you would like to use you will see a line from the source highlighted target of the
as a modulation signal, for example drag button to the icon that you are parameter that you would like to
XLFO 1. The moment you click on dragging. If you hover the mouse modulate, for example the Filter
the source drag button, the over the bands in the display or Frequency knob. That's all there is
interface dims and all modulation source selection buttons they will to it!
targets are highlighted. automatically be activated. The line
will snap to any available
modulation target.

After you have connected a modulation source to a target, the modulation slot panel will popup near the target control.
It contains all slots that affect the modulation target. Slots that modulate other slot levels, are shown indented and
connected to the slot they are modulating.

When a control is modulated, a small modulation indicator dot appears near the control. The color matches the source
that modules the control. If multiple types of sources modulation a control, the modulation indicator consists of multiple
colored dots.
You can view the slots for a specific source or target, simply by clicking any of the modulation source drag buttons or
clicking any target control or modulation indicator in the interface. In the modulation slot panel that pops up, slots can be
adjusted in the following way:
Use the level slider to adjust the amount of modulation. Like with knobs, hold down Shift for fine-tuning; hold down
Alt to adjust all slot levels for the same source; Ctrl-click (Windows) or Command-click (macOS) to reset the level to
the default value. (In Pro Tools, the default Pro Tools shortcuts are used instead.)
To the left of the Level slider, you can invert the modulation signal with the +/- button.
When you hover over the slider on the left an on/off button appears. Use this to temporarily disable the slot.

18
 On the right, a drop-down menu is accessible that lets you change the slot's source or target.
To delete the slot, click the Remove button to the right of the Level slider.
To delete/bypass/invert all slots, use the drop down menu at the right top of the slot panel.

Tips
When a modulation indicator appears next to the filter display or e.g. in an envelope generator, this means one or
more parameters of that filter or EG are modulated. When you click the indicator, the modulation slot panel that
pops up shows all slots that modulate the filter or envelope generator.
To hide the modulation slot panel, simply click on a background area in the display or interface.

Next: Modulation visualization

See Also
Modulation

19
Modulation visualization
FabFilter Twin 3 contains advanced modulation visualization features which greatly help you to understand the effect of the modulation that is
going on. In the plug-in interface, modulation is visualized in three different ways: the effect of applied modulation to controls is shown by real-
time target level indicators, the global amount and direction of modulation generated by sources is visualized in the source flow area, and
finally, current connections by different types of sources are made clear by the modulation indicators next to target controls.

Target level indicators

All modulation that is applied to a control in the interface is shown in real-time via target level indicators around knobs, sliders and other controls.
The level indicator originates from the current knob/slider position, and shows the range of modulation: it visualizes how the knob is dynamically
changing due to the current modulation signal.
The color of the target level visualization matches the type of source that modulates it. Note that if a target is modulated by multiple types of
sources, a generic yellow color is used instead.

The source flow area

In the area right above the modulation sources, the signal being produced by the sources is visualized in real-time by a diffuse flow, directed
towards the targets it is currently modulating. This visualization gives you a global idea of the current activity and effect of sources. It is not
intended to show all connections exactly, as this would highly clutter the interface and would probably be more confusing than helpful.

Modulation indicators
When a control is modulated, a small modulation indicator dot appears near the control. The color matches the source that modules the control. If
multiple types of sources modulation a control, the modulation indicator consists of multiple colored dots.
When a modulation indicator appears in the filter display or in an envelope generator, this means one or more parameters are modulated. When
you click the indicator, the modulation slot panel that pops up shows all slots that modulate one of these targets.

Tips
Click on a modulation indicator next to a target control or on a control itself, to pop up the modulation slot panel, showing all associated
modulation slots. Click the control again, or click on the interface background, to hide the modulation slot panel.
Are you seeing yellow colored target level visualization? This means that the target is modulated by multiple types of sources at the same
time.
In case you find the source flow visualization distracting, click the large + button in the modulation section, and uncheck the Show Source
Flow option at the end to turn it off.

Next: XLFO
See Also
Overview

20
XLFO
The XLFO is like a classic LFO (Low Frequency Oscillator) on steroids: it can do so much more! It can be a regular LFO, but
it can also turn into a 16-step sequencer with an individual glide setting for every step. The display shows the waveform
that is used by the XLFO. Steps can be freely added or deleted to shape the funkiest of waveforms.
To add an XLFO as a modulation source, click the + button in the modulation section and click New XLFO.

Initially the XLFO is shown as a source component button in the interface, showing a graphical representation of the
current settings. For more information on working with source component buttons, see Modulation.
Click the source component button once to expand the full XLFO interface:

At the left, you will find the global parameters that affect the entire waveform:
Frequency
The frequency knob sets the time it takes for one cycle of the waveform to complete. This knob is a modulation
target, so you could let one XLFO modulate the frequency of another XLFO. The XLFO can be synchronized to the
tempo of the plug-in host or set to run free. With the options at the top-right corner of the frequency button you can
choose the different settings:
Free running mode will allow values from 0.02 to 500 Hz, so the minimum cycle length is 0.002 seconds.
When using any of the synchronized cycle lengths (16 to 1/64, measured in bars) the frequency knob changes
into the Offset knob. It now acts like a cycle length multiplier and therefore is capable of changing the cycle
length relative to the host tempo, from half to two times the host tempo. Click the dots around the knob to
jump to certain predefined offsets for dotted and triplet synchronization. Note that the Offset knob is also a
modulation target.
Balance
The outer ring of the frequency knob adjusts the time balance of the first and last halves of the step sequence. For
example, when turned to the left, the first half of the wave form is generated more quickly than the last half. The
balance ring is also a modulation target so you can modulate the balance for creative effects.
MIDI sync
The XLFO can be restarted at any point using MIDI if one of the MIDI sync options is enabled at the top-right corner
of the frequency knob. In the Retrigger mode, any note-on MIDI message (e.g. pressing a key) will restart the cycle
of the waveform (to the point set by the Phase offset slider). If set to Legato mode, the XLFO will only be triggered
by the first note-on MIDI message, and won't retrigger on successive notes while notes are still being held down.
Snap
This function makes it possible to use the XLFO as an arpeggiator. When you enable Snap, a small piano keyboard
appears, the range of the XLFO turns into 2 octaves, and steps "snap" to notes on the piano keyboard. Now when
you modulate a frequency parameter, turn the slot level to maximum, and the total amount of modulation will
exactly correspond to 2 octaves.
Glide
The global Glide knob acts like an overall glide offset. The amount of glide determines the point within a step at
which the XLFO starts to interpolate to the value of the next step. The global Glide value is added to the glide value
for individual steps to arrive at the final glide value for each step. The final glide value is limited between 0 (no
interpolation) and 1 (full interpolation). Because the global Glide value can range from -1 to 1 it can completely
overrule the individual step glide values at the extreme settings. It is also a modulation target which allows for very
cool effects.
Phase offset
In the step editor you can see a triangular shape. The vertical line of the shape indicates the beginning of each cycle.
21
 You can move this triangular shape, and thus change the beginning of a XLFO cycle. This phase offset is a
modulation target, so when the XLFO frequency is set to 0, you can use another modulator to cycle through the
different steps. Tip: Like with knobs, you can Ctrl/Command-click on the phase offset slider to reset it.
To delete an XLFO, move the mouse over it and click the remove button in the top right corner. Below the source, next
to the source name, the Presets button provides access to the XLFO section presets. By default, the XLFO starts with two
steps that make a sine wave. You can customize this by overwriting the predefined Default section preset using the Save
As Default command from the preset menu.

Editing Steps
You can shape the waveform of the XLFO in almost any way you want by editing the individual steps.
Drag a step up or down to change the value for the step.
Click a step to select it.
Hold down Ctrl (Command on Mac) and click a step to select multiple steps. Hold down Shift and click a step to
select a consecutive range of steps.
Click next to a step to deselect all steps.
Click the + button at the end of all steps to add a new step. The new step is added to the right of the selected step,
or at the end of all steps.
Click the - button at the end of all steps to remove the selected steps. If no steps are selected, the last step is
removed.
If one or more steps are selected, the XLFO expands to show the step interface where the parameters for the selected
steps can be edited:
Random
The Random button enables random values for this step. If enabled, the XLFO will use a new random value for the
step each time it encounters it. The display also changes to show that the value is chosen at random (see step 3 in
the screen shot above).
Value
The Value knob adjusts the value of step. This is the same as dragging the step up and down, except that with
multiple selected steps, the value of all steps is set to the same value. In contrast, when you drag multiple selected
steps, the relative distance is kept the same.
Curve
The Curve button selects the curve that is used to interpolate to the next step when the final glide value is higher
than 0: Linear, Sqr, Sqrt and Sine.
Glide
The Glide knob sets the per-step glide value. This is combined with the global glide value to determine at which point
the XLFO starts to interpolate towards the next step.
To start exploring the many sound-shaping possibilities, start with an XLFO that modulates the Filter Frequency knob to
make the sound change over time. You'll be amazed by the many possibilities. Have a look at the presets to see the XLFO
in many different setups to get an idea of what it can do for you and start creating your own sequences!

Next: Envelope generator

See Also
Modulation
Drag-and-drop modulation slots

22
Envelope generator
The envelope generator (EG) generates a traditional ADSR envelope. The envelope defines how the level changes with
time and is controlled by the Attack, Decay, Sustain and Release parameters. Its function is to modulate a parameter over
time, based on MIDI input or the amplitude of an audio signal that triggers it.
To add an envelope generator as a modulation source, click the + button in the modulation section and click New
Envelope Generator.

Initially the EG is shown as a source component button in the interface, showing a graphical representation of the
current settings. For more information on working with source component buttons, see Modulation.
Click the source component button once to expand the full EG interface:

The expanded interface contains a large graphical envelope controller with triggering controls on the left.
The trigger input button opens a menu to select which signal is used for triggering the EG: the signal from the
external side-chain input, or MIDI note on events. See also External side chaining.
An audition button becomes visible when triggering on the external side-chain. Click and hold it to temporarily listen
to the signal this EG is triggering on.
The threshold knob sets the level of the incoming signal that the EG will trigger on. You should adjust the threshold
depending on the type and amplitude of the incoming signal. The circular level meter around the threshold knob
gives a good indication of what threshold level to use. Note: the threshold knob is hidden when MIDI input triggering
is used.
The range button selects whether the EG produces a signal in the default range between 0 and 1, or with a range
such that the EG outputs 0 while in its sustain phase. In the latter case, the EG will attack from a negative value to a
positive value, and finally release to a negative value. This "centers" the output value around 0, which can be useful
for modulation.
In the envelope controller you can click and drag the dots to customize the envelope shape. The following parameters
are available:
Delay
The time it takes for the attack to start after the key is pressed (or triggered when the input signal exceeds the
threshold).
Attack
The Attack portion of the envelope is the time taken for the amplitude to reach maximum value. Slow attack is
commonly part of sounds called pads. But for percussive sounds the attack time should be as short as possible.
Decay
After the sound has reached its maximum level, it starts to decay until it reaches a level known as the Sustain level
at a rate set by the Decay time setting.
Sustain
This is the level reached after the decay time. The EG will hold this level as long as a key is pressed (or as long as
the trigger input level is above the threshold). Note that this parameter specifies a volume level rather than a time
period.
Hold
Once the key is released (or the input level drops below the threshold), the value will remain at the sustain level for
a time set by the hold parameter.
23
 Release
After the hold time the sound resumes its decay, this time at a new rate determined by the Release setting.
Attack, Decay and Release Slope
The attack, decay, and release curves each have a slope dot in the middle that you can drag up and down to vary
the curve shape between linear, logarithmic and exponential behavior. This lets you customize each of these curves
to change its feel and snappiness and makes the EG much more versatile.

Tips
When adjusting the EG control points, you can hold down the Shift key to fine-tune a setting, just like with regular
knobs.
To let a sustain pedal control the EG, you can hook it up to the Hold setting. The recommended way to do this is via
a MIDI source.

Next: Envelope follower

See Also
Modulation
Drag-and-drop modulation slots

24
Envelope follower
The envelope follower modulation source outputs an envelope or transient signal based on the side-chain input audio level.
Unlike the envelope generator, which produces its own envelope, the EF tracks the envelope of the trigger signal and
smoothes it out to produce a modulation signal.
To add an envelope follower as a modulation source, click the + button in the modulation section and click New Envelope
Follower.

Initially the EF is shown as a source component button in the interface, showing a graphical representation of the
current settings. For more information on working with source component buttons, see Modulation.
Click the source component button once to expand the full EF interface:

In the graphical envelope controller you can click and drag the dots to customize the attack and release times of the EF,
which controls how the signal is smoothed.
Click and hold the audition button to temporarily listen to the external side chain signal the EF is triggering on.
The mode button toggles between the default Envelope setting and a Transient mode, where the envelope follower will
work as a transient detector, only producing output for short-term bursts of energy in the signal (e.g. drum hits).

Next: MIDI source

See Also
Modulation
Drag-and-drop modulation slots

25
MIDI source
The MIDI source is a powerful modulation source if you want more control over FabFilter Twin 3 using a MIDI keyboard or
MIDI controller. Note that you first need to route data from a MIDI track to Twin 3 in your host.
To add a MIDI source as a modulation source, click the + button in the modulation section and click New MIDI Source.

Initially the MIDI source is shown as a source component button in the interface, showing a graphical representation of
the current settings. For more information on working with source component buttons, see Modulation.
Click the source component button once to expand the full interface:

The expanded MIDI source interface contains the following controls:

MIDI Input
Normally the MIDI source lets you use MIDI input such as velocity, pitch bend and modulation wheel to influence any
parameter that can be modulated.
Range
... and when you select Velocity or KB Track, you can set the range of the produced modulation signal. You can
choose between Negative (-1 ... 0), Centered (-1 ... 1) or Positive (0 ... 1). Other input types use a predefined
range: Pitch Bend always goes from -1 to 1, while Aftertouch, Controller and Mod Wheel produce a signal from 0 to
1.
Controller number
... but when you set the input selection to Controller, it lets you use any MIDI controller as a modulation source.
Response curve
The response curve can be adjusted to get the desired control over the MIDI source output. For example, when used
with velocity as MIDI source the linear, exponential, logarithmic, square, square root or sine curves make great
dynamic differences.
Using a MIDI source is different from MIDI Learn because there is no direct control of a knob via MIDI but it uses a
modulation slot instead. This way you can add modulation to an already modulated destination. Or you can use the full
rotation of a knob while actually modulating a smaller range. This can be a good way to control say, an EG attack for which
you sometimes want to make small changes with great precision.

Tips
The sustain pedal (CC 64) is applied automatically, so you don't have to route it manually via a MIDI source.
The VST3 version of FabFilter Twin 3 doesn't support per-note aftertouch modulation.

Next: XY controller
See Also
Modulation
Drag-and-drop modulation slots
MIDI learn

26
XY controller
The XY controller makes for more tweaking fun. It's a classic, and we didn't dare to leave it out! It can control two
parameters with one mouse movement. When browsing presets don't forget to listen to the sound mangling possibilities
provided by these controllers. The XY controller can also be set to a one-dimensional Slider mode.
To add an XY controller or slider as a modulation source, click the + button in the modulation section and click New XY
Controller or New Slider.
The new XY controller or slider is now added to the modulation sources in the interface. Note that every source has its own
associated color scheme, which is also used for modulation visualization and indicators in the interface.

You can customize any source's name by double-clicking the label below its interface. Source names are stored in
presets, A/B and Undo states and will be saved with your session. This is particularly useful for XY controllers and sliders,
to indicate their purpose in a preset.
In bi-directional mode, the XY controller has two "outputs", so it also has two source drag buttons labeled X and Y. When
using it as a slider, only the Y source drag button is available.
The remove button at the right top deletes the source, including its associated modulation slots.
At the bottom right of the XY Controller, a drop-down menu gives access to the following options:
The mode switches between the traditional XY mode (two dimensions) or simpler Slider mode (offering only one
dimension).
The range of the XY controller can be set to bipolar (-1 to 1) domain, or to unipolar (0 to 1) behavior.
In slider mode, the current position value of the slider is displayed when you move the mouse over the slider. Double-click
the slider to type a new value directly.

Tips
To reset the XY Controller to its default position, hold down the Ctrl key (Windows) or Command key (macOS) and
click once.
When you want to adjust only one parameter on one axis, holding Shift will make it easier to do so while keeping the
other parameter constant.
With MIDI learn, you can set up a hardware MIDI controller to control the XY controller. So if your MIDI controller
has XY-functionality you can directly control FabFilter Twin 3 with it.

Next: Arpeggiator
See Also
Support

27
Arpeggiator
Twin 3 is equipped with a full-featured arpeggiator. The arpeggiator automatically triggers notes on a synchronized tempo,
according to the keys you are holding down.

The following controls are available:

Enable: The enable button, centered in the Rate knob, turns the arpeggiator on or off. When enabled, it will start
playing notes once it has been triggered by pressing down keys.
Lock: With the Lock button on, the arpeggiator settings won't change when loading presets.
Rate: The Rate knob sets the arpeggiator speed, ranging from 0.25 to 20 Hz.
Sync: You can also choose to sync the arpeggiator to host tempo at various different rates. When synched, the rate
knob will turn into an offset knob, to multiply the synched tempo with a factor from 0.5 to 2.
Retrigger: The Retrigger button (with the MIDI icon) sets how the arpeggiator phase is synced/started. When off,
the arpeggiator's pattern phase is based on the position on the DAW's timeline, but when active, the arpeggiator will
restart the cycle on the first note that is pressed.
Groove: Using the groove slider, you can offset every second note in the produced rhythm. Using this, you can
easily created dotted/tripplet like patterns. Simply drag the highlighted large middle note symbol to the left or right.
Legato: The legato slider (underneath the large note symbols) sets the note length, from very short to fully legato.
Transpose: By default, the arpeggiator will just play the notes for the keys you are holding down. But with
transpose settings of 1 or 2 octaves, the arpeggiator additionally plays the notes one or two octaves higher.
Note Order: The order of how the held notes are sequenced by the arpeggiator. With the Up and Down options,
notes will be played from lowest to highest or reversed. To have the notes played from lowest to highest and then
back again, use the Up/Down option. Otherwise, the arpeggiator can play the notes in the order As Played or in
Random order.
Latch: By default (the Off option), the arpeggiator will only play notes that are currently held down. By choosing the
Held latch option, the arpeggiator remembers all notes that have been pressed while any note was held down, e.g.
you can just hold down one note, and then add others to the pattern one by one. When set to Full latch, the
arpeggiator will remember any note that you play and will keep playing them even after you stop holding any notes.
At the top right of the Rate knob, the Presets drop down button provides access to the arpeggiator section presets.

Next: Polyphony, unison and microtuning

See Also
Modulation
Oscillators

28
Polyphony, unison and microtuning
FabFilter Twin 3's polyphony, unison and microtuning settings are located in a panel, available via a button in the bottom
bar:

Polyphony
As you would expect, you can use FabFilter Twin in both Mono or Poly mode. In Poly mode, the Voices setting
determines the number of voices that can be played simultaneously. Depending on the complexity of the current patch,
you should set this to a value that your computer can comfortably handle to avoid glitches while playing.
Twin 3 introduces a new, third polyphony mode: Per Oscillator. In this mode, every new key you press will use the next
available oscillator. This can lead to unexpected yet inspiring and creative effects, especially when using multiple wave
forms and scales for the oscillators: every chord will sound different! Of course this works best if you use all four
oscillators.

Unison
In all modes you can specify the number of unison voices. When using unison, multiple voices will be activated for each
key that you play. Those voices will be panned from left to right, and can be slightly detuned relative to each other using
the Spread knob. Using unison will make you patches sound much more stereo and fat. Try it!
The mono mode uses last-note priority, so the last key pressed determines the frequency that you hear. When you
release a key, the frequency slides back to the second-last key pressed, and so on.
The Voices setting always sets the maximum number of simultaneous voices. If Unison is higher than 1, more than
one voice will be used at a time from the maximum number. For example, if you have Voices set to 16, and Unison
to 4, you can play four different keys at a time. Of course, using a high number of voices, unison or not, will cause
high CPU usage.
The Unison Spread parameter is a modulation target. You could, for example, increase the spreading gradually while
a note is played by modulating it with an envelope generator.

Microtuning
Twin 3 has extensive support for microtuning, which enables you to use custom midi-note-to-frequency mappings. By
default, it uses the standard '12-tone equal temperament' tuning, but this can be customized in three ways:
MTS: First of all, Twin 3 will automatically react to MTS (MIDI Tuning Standard) information if this supplied by the
DAW. For example, In Logic Pro's project settings, you can choose a specific tuning or design your own; Twin 3 will
follow these settings automatically.
MTS-ESP: For DAWs that do not offer custom microtuning, Twin 3 supports the MTS-ESP standard from
Oddsound, which is a system for applying microtuning automatically for all plug-ins in your DAW that support this
framework. As soon as a master MTS-ESP tuning is active, Twin 3 will prefer this over a possible normal MTS tuning.
AnaMark tuning files (.tun): Of course, you can also load .tun tuning files to apply a specific tuning. Click the
tuning button to choose from a list of included tunings, or click Open Other Tuning to load a custom .tun file. You
can find free tuning file collections for download all over the internet. To clear the loaded tuning and revert back to
MTS or MTS-ESP, click Reset Tuning (only available if a non-standard tuning is loaded).
When a non-standard (i.e. not 12-Tone Equal temperament) tuning is currently active, the button in the bottom bar will
indicate this with a tuning fork icon.

Next: Full Screen, resizing and scaling

See Also
Overview

29
Full Screen mode, resizing and scaling
With just the click of a button, the Twin 3 interface will fill up the whole computer screen so you can make ultra-precise
adjustments and get the best view on the spectrum analyzer and filter display. To exit Full Screen mode, just press Escape
or click the Full Screen button again.

Resizing
In addition to Full Screen mode, you can also customize the normal interface size using the Resize button at the right of
the bottom bar. You can choose between Small, Medium (the default size), Large or Extra Large. Once you have selected a
size, it will automatically become the default size for new plug-in instances.

Scaling
At the bottom of the resize menu, the Scaling submenu lets you increase or decrease the interface scaling relative to the
system default, e.g. 150% (smaller) or 300% (larger) on Retina monitors (that have a 200% scaling by default).
When you enable Full Screen mode, the plug-in will automatically choose an appropriate scaling so that all controls
become a bit larger. The plug-in automatically remembers the chosen scalings for normal and Full screen mode, and also
per monitor type (Retina / High DPI or regular), so once you've customized the settings to your preference, you don't have
to worry about it anymore.

30
Tips
When using the VST3 plug-in, you can resize the plug-in interface by just dragging the window edges to any size you
like. Of course you can always go back to one of the predefined sizes with the resize button.
The large interface options will be greyed out in the Resize button menu if the current display is too small to support
them, and the same applies to the scaling options.

Next: Output controls

See Also
Overview

31
Output controls
The bottom bar contains various output options and settings.

The High Quality button enables oversampling of the internal processing. Non-linearities, oscillator sync or audio rate
modulation in digital audio can cause aliasing effects. Enabling High Quality mode can reduce these aliasing artifacts if
needed, at the cost of using more CPU power.

As soon as you hover the mouse over the output button, at the right end of the bottom bar, a panel with stereo width and
output/pan controls will pop up:
The Width setting sets the stereo spreading of the output signal. By default, it is at 100% or 'normal stereo', which
means that it does not alter the signal. By reducing the setting towards 0%, the signal will become more mono. By
increasing it towards 200%, the differences between the left and right channel are enlarged, which makes the sound
more stereo.
Output level/pan
The reading in the output button shows the current output gain and lets you adjust it from -INF dB to about +10 dB.
To change the gain, you simply drag the input reading in the output button in the bottom bar up and down. For
precise adjustments, or to change the panning, hover over the output button or click it once to access the input
gain/pan knob. The gain and pan knobs are also modulation targets.
Notes
Beware that making the signal more stereo can cause some undesirable phase cancellation.
Both the output level/pan and stereo settings are modulation targets. Volume is commonly modulated by the
velocity modulation source. The Stereo knob is a global modulation target, meaning that it affects all voices
simultaneously. When modulating a global target like Stereo with a per-voice modulation signal such as an envelope
generator, a combined envelope signal is used instead.

Next: MIDI Learn

See Also
Polyphony, unison and microtuning
Overview

32
MIDI Learn
Controlling FabFilter Twin 3'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, redo, A/B switch

See Also
MIDI source
Overview

33
Undo, redo, A/B switch
The Undo and Redo buttons at the top of the FabFilter Twin 3 interface enable you to easily undo changes you made to the
plug-in. With the A/B feature, you can quickly switch between two different states of the plug-in.

The Undo button at the left will undo the last change. Every change to the plug-in (such as dragging a knob or
selecting a new preset) creates a new state in the undo history. The Undo button steps back through the history to
restore the previous states of the plug-in.
The Redo button cancels the last undo command. It steps forward through the history until you are back at the most
recent plug-in state.
The A/B button switches from A to B and back. Before switching, the current state of the plug-in is saved, so if you
click this button twice, you are back at the first state. The button highlights the currently selected state (A or B). In
the example above, the A state is active.
The Copy button copies the active state to the inactive state. This marks the current state of the plug-in and allows
you to go back to it easily with the A/B button. After clicking Copy, the button disables itself to show that both states
are equal, so there is nothing to copy anymore.

Notes
If the plug-in parameters are changed without using the plug-in interface, for example with MIDI or automation, no
new undo states are recorded.
The Undo and Redo buttons will disable themselves if there is nothing to undo or redo.

Next: Using on iOS

See Also
Overview

34
Using on iOS
FabFilter Twin 3 is available as an AUv3 plug-in for iPad in the App Store. Using Twin 3
on a touch screen is slightly different from using it with a mouse:
To adjust a knob, just touch it and drag up or down. There is no rotational drag
mode like with the mouse.
For fine adjustment, hold down a second finger while you're dragging a knob.
To reset a knob to its default position, simply double-tap it.
To type a new value directly, press and hold on a knob until the on-screen
keyboard appears. Note that the keyboard might obscure the parameter value
display — unfortunately we can't do anything about that because an AUv3 plug-in
cannot control its own position on the screen.
Unlike the regular plug-in, the AUv3 plug-in offers no resizing or full screen mode from
the plug-in interface itself: this must be provided by the host app.
To organize presets on iOS, open the preset browser and swipe to the left on any preset or subfolder to see options to
delete or edit it. When editing a preset or folder, you can rename it and move it to another folder.
The Twin 3 app that contains the AUv3 plug-in serves as a stand-alone host that lets you play the synth with the on-screen
keyboard via the speakers or headphone output. We do recommend to use an AUv3 host app like Auria, Cubasis, AUM or
GarageBand to take full advantage of Twin 3's features.
View FabFilter iOS plug-ins in the App Store

Next: Loading presets

See Also
Overview

35
Loading presets
The included factory presets give a great overview of what you can do with FabFilter Twin 3. You can either use the
presets as they are, or tweak them further to create your own unique sounds.

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.
Click the preset button to open the preset browser:

The preset browser shows all presets grouped in folders, with the current preset highlighted in blue.

Preset details
A preset can contain extra information: author, tags and a description, which is shown in the panel on the right. These
fields are present in all factory presets and can of course be edited as well: just double click the author or description. To
add a tag, click the + button. Double-click a tag to rename it, or hover over the tag and click the x button to remove it.

Browsing presets
You can browse and select presets in various ways:
Of course, you can simply browse using the mouse. Hover over folders to open them, and click on a preset to load
it. If you move the mouse outside the browser after selecting a preset, the browser will close. Otherwise, it will stay
open so you can look around and try multiple presets, or edit their information.
Within the preset browser, you can use the arrow keys to navigate, and the Enter key to load a preset and close
the browser. Use the right arrow key to load a preset without closing the browser. Press the Esc key to close the
browser without selecting anything.
You can also click the previous/next arrow buttons around the preset button to explore presets one by one without
opening the preset browser.
... and while the browser is open, use the [ and ] keys to load the next or previous preset directly.

Searching, filtering and favorites

In the preset browser, you can start typing to search through the presets, filtering on folder name, preset name or tag.
While typing, the preset browser automatically filter the current selection and update itself to show the resulting sub set. If
you've first started browsing by mouse, just click the Search field and type to start filtering again.
You can also mark presets as favorite, by clicking the star icon next to the preset name in the preset details panel. Click
the star icon next to the Search field to show only your favorites.

Preset browser options

Click the Options button at the left of the search field at the top to open a menu with extra options:

36
 When Type To Search is enabled, you can start typing to search, right after you've clicked the preset button.
Disabling this will always require a click in the Search field to start searching. This might be handy, for example if
you're working without a MIDI keyboard and use letters on your computer keyboard to play notes.
When Enable MIDI Program Changes is active, you can load presets via MIDI program change and bank select
messages. The corresponding bank/program numbers are then 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.
The Default Sound preset is loaded automatically when FabFilter Twin 3 is started. To change the default settings,
simply overwrite this preset by clicking Save As Default.
To open a preset outside the presets folder, click Open Other Preset. This might be useful if someone sends you a
preset by email, for example.
To change the location where the presets for Twin 3 are stored, choose Change Preset Folder and select the
desired folder.
If somehow the factory presets are lost or not installed properly, click Restore Factory Presets to restore them.
If needed, for example after you've manually removed or added files in the folder while Twin 3 is open, click
Refresh to rescan the preset folder.

Compatibility with Twin 1 an 2

All presets created with Twin 1 and 2 can be loaded in Twin 3. If Twin 1/2 is also installed on your computer, your Twin
1/2 presets will be accessible via the V1 Preset Folder submenu in the preset menu. The factory presets for Twin 1 are
also included in the Twin 3 factory presets, so you only need to use the V1 Preset Folder submenu to access presets you
might have created yourself.
You can read more about compatibility between Twin 1, 2 and Twin 3 in Upgrading to Twin 3. Please take some time to
read it if you are planning to replace Twin 1 or 2 instances with Twin 3 instances in your songs.

Next: Saving presets

See Also
Overview
Quick Start

37
Saving presets
You can easily extend the included presets with new settings to build your own library of presets for FabFilter Twin 3 that
you can reuse in various projects. This is also a good way to copy settings across multiple instances of FabFilter Twin 3 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:
Favorite: Mark the current preset as favorite.
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: Section presets

See Also
Loading presets
Using FabFilter Twin 3

38
Section presets
To make designing sounds for FabFilter Twin 3 easier, you can save section presets for different sections of the plug-in. In
this way you can, for example, easily re-use certain settings.

To load and save section presets, click the arrow button right next to the modulation source name, effect name or in the
arpeggiator interface. This will display a presets menu for that section. FabFilter Twin 3 comes with a selection of ready-
made section presets, but we encourage you to save your own presets to build a custom library of sound building blocks.
Supported sections are:
Effects (Reverb, Delay, Chorus, Phaser and Compressor)
XLFO
Envelope generator
Envelope follower
MIDI source
Arpeggiator
When you add a new modulation source, it loads its Default section preset. You can customize the initial settings just by
overwriting that preset using the Save dialog.
Section presets are stored in the Application Data folder (Windows) or Application Support folder (macOS) for the current
user. For example, the full path to the section presets on Windows 10 is C:\Users\
<User>\AppData\Roaming\FabFilter\Twin 3\Component Presets (note that this folder is hidden by default). You cannot
change the section preset paths.

Next: How presets are stored

See Also
Loading presets
Overview

39
How presets are stored
Presets for FabFilter Twin 3 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/Twin 3 on both Windows and macOS. To
change this location, first copy all presets to the desired new location. Click Options and Change Preset Folder in the
preset browser and select the new folder.
Note: previously on macOS, presets were stored in ~/Library/Audio/Presets/FabFilter/FabFilter Twin 3. To determine the
current location of the presets folder, click Options and Change Preset Folder in the preset browser.

Restoring factory presets

If you have accidentally lost the factory presets, you can easily restore them by clicking Options and Restore Factory
Presets in the preset browser. This will install all factory presets again.

Next: Purchasing FabFilter Twin 3

See Also
Saving presets
Overview

40
Purchasing FabFilter Twin 3
Once you have downloaded and installed the evaluation copy of FabFilter Twin 3, 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
Twin 3 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 Twin 3 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

41
Entering your license key
After you have purchased FabFilter Twin 3 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 Twin 3 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 Twin 3 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 Twin 3
Support
License agreement

42
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 Twin 3, 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 Twin 3 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: Upgrading to Twin 3

See Also
Overview
About FabFilter

43
Upgrading to Twin 3
Upgrading from Twin 1 or 2 to Twin 3 is safe and easy: installing Twin 3 will not replace or delete the previous versions of
the plug-in. All versions will co-exist and can be used at the same time. This ensures that you can open old songs that use
Twin 1 or 2 without problems.

Twin 1/2 presets

All presets created with Twin 1 or 2 can be loaded in Twin 3, although they may sound slightly different due to changes in
the new plug-in version. If you upgraded from version 1 or 2 to the new version, your original presets will be accessible via
the V1/V2 Preset Folders item in the preset browser. See also Loading presets.

Replacing a Twin 1 or 2 instance by Twin 3

If you are working on a song and want to replace a Twin version 1 or 2 instance with the new Twin 3, we advise you to do
the following:
First, save the current setting of the original Twin instance as a FabFilter preset in the Twin 1 or 2 preset folder.
Then, remove the original Twin instance and add Twin 3 in its place.
Finally, load the V1/V2 preset that you just created into Twin 3 via the V1/V2 Preset Folder submenu in the preset
browser.

Automation
Because the feature set of Twin 3 has changed fundamentally, any automation data that has been written by a Twin 1 or 2
instance cannot be read correctly by Twin 3.

Next: Manual installation

See Also
Overview
Support

44
Manual installation
When installing FabFilter Twin 3, 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 Twin 3 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 Twin 3, 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 Twin 3.dll from C:\Program Files\FabFilter\Twin 3 (or
C:\Program Files (x86)\FabFilter\Twin 3 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/Twin 3
/Users/<username>/Library/Audio/Presets/FabFilter/FabFilter Twin 3
/Users/<username>/Library/Application Support/FabFilter/Twin 3
/Users/<username>/Library/Preferences/com.fabfilter.Twin.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: VST plug-in versions

See Also
Quick start
Support

45
VST plug-in versions
FabFilter Twin 3 is available in both VST 2 and VST 3 formats. They can be installed and used both at the same time. The
VST 3 format offers easy side-chaining, free interface resizing, and is more CPU-friendly in some cases, but it can only be
used by hosts that support it, for example recent versions of Cubase, Studio One or FL Studio. The VST 2 format is
compatible with a larger variety of hosts.

Next: Using the side chain

See Also
Quick start
Manual installation

46
Using the side chain
FabFilter Twin 3 offers the possibility of feeding an external signal to its side chain, which can be used to trigger Envelope
Generators and is needed to trigger Envelope Followers. Feeding a signal to a plug-in's side-chain inputs works slightly
different in various hosts. This topic describes the procedure for some of the most popular hosts around: Pro Tools, Studio
One, Ableton Live, Logic Pro and Cubase.
To explain how it works, we use a scenario with two tracks. The first one contains Twin 3, which we'll call the main track
from now. The second track contains the audio that we want to route to Twin 3's external side-chain input and use as
trigger signal. We'll call this track the side chain track.
After setting up everything according to the instructions below for your host, any envelope generators or envelope
followers that are set to trigger on the external side chain, will now respond to the side chain signal. You can check
whether everything is routed correctly: play the audio, open an EG of EF interface and confirm it's set to trigger to the
external side-chain. Then use the Audition button to listen to the side-chain signal.

Pro Tools
Open Pro Tools and start a new empty session.
Create and intrument track and an audio track. Add and audio file to the audio track (the side chain track).
Open the Mix window to display the tracks with their Insert slots and Sends slots.
In the first 'Sends' slot of the side chain track, choose 'Bus 1'. The track view for Bus 1 will open: set its level slider
to 0.0 dB so the bus actually produces audio!
In the first 'Inserts' slot of the main track, choose Instrument > FabFilter Twin 3.
Open Twin 3's interface and set up an envelope generator or envelope follower, triggered by the external side chain
signal.
Now, in the 'Key Input' menu of the plug-in interface (just above the FabFilter logo), choose bus > Bus 1 instead of
the default 'no key input'. Now, the audio from the side chain track is routed to Twin 3's external side chain input via
Bus 1.

Studio One
Open Studio One and choose 'Create a new song'.
Create and intrument track and an audio track (via Track > Add Tracks...). Add and audio file to the audio track (the
side chain track).
Access the mix window via "Mix" in Studio One’s bottom right corner.
Insert FabFilter Twin 3 on your main track via the '+' button next to the Insert tab.
Open Twin 3's interface and set up an envelope generator or envelope follower, triggered by the external side chain
signal.
On the side chain track, select Sends > Sidechains > FabFilter Twin 3.

Ableton Live
Open Ableton Live and start with an empty arrangement. We'll use Track 1 as the side chain track and Track 2 (a
MIDI track) as the main track.
From the folder menu's on at the left top of Ableton Live's interface, drag an audio clip to the first empty slots of
Track 1.
From the VST (or Audio Units) plug-in menu, also at the left top of Ableton Live's interface, drag FabFilter Twin 3
onto Track 2, the main track.
In the small device interface for Twin 3 in the bottom Effects section, choose 'Track 1' from the 'Sidechain' drop
down menu.
Open Twin 3's interface and set up an envelope generator or envelope follower, triggered by the external side chain
signal.
Note: In earlier versions of Ableton Live (< 10.1), setting up sidechaining worked differently, which is described
here .

Logic Pro
Open Logic Pro and create a new empty project via File > New...
Create and intrument track and an audio track. Add and audio file to the audio track (the side chain track).
Select the main track and add Twin 3 in the instrument slot.
Open Twin 3's interface and set up an envelope generator or envelope follower, triggered by the external side chain
signal.
In the right top corner of the plug-in interface header, in the 'Side Chain' menu, choose the side chain track. Now,
the signal from the side chain track is sent to FabFilter Twin 3's external side-chain input.

Cubase
47
 Open Cubase and create a new empty project.
Create and intrument track and an audio track. Add and audio file to the audio track (the side chain track).
Open the Mixer. In the main track, click on an empty insert slot and select the VST 3 version of FabFilter Twin 3 in
the Instrument menu (note the VST 3 icon which looks like ///).
Open Twin 3's interface and set up an envelope generator or envelope follower, triggered by the external side chain
signal.
In the plug-in header, click on the Activate Side-Chain button (right of the R/W buttons) to enable the external side
chain in Cubase.
At the top of the Mixer, set the output for the side chain track to the side-chain input of FabFilter Twin 3.

Next: MIDI CC table

See Also
Quick start
Support

48
MIDI controller messages
All of FabFilter Twin 3'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.
Not all parameters are linked to a CC number by default. Using the MIDI Learn feature, you can change and add CC
number associations any way you like.
General
7 - volume
5 - portamento
103 - polyphony
Oscillators
22 - detune 1
20 - scale 1
21 - waveform 1
23 - pulse width 1
28 - detune 2
78 - scale 2
87 - waveform 2
29 - pulse width 2
Filters
74 - frequency 1
71 - peak 1
26 - frequency 2
27 - peak 2
Main EG
73 - attack
75 - decay
79 - sustain
72 - release
XLFO 1
76 - frequency
25 - balance
89 - glide
Notes
You can also consider using a MIDI source, which provides a different way to use controller change messages.
In Twin 3, CC 64 (sustain pedal) is handled automatically, so you don't have to use a MIDI source to connect this to
the EG Main Hold parameter like in Twin 2.

Next: License agreement

See Also
Support

49
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
50
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: Acknowledgements
See Also
Purchase FabFilter Twin 3
Support

51
Acknowledgements
We would like to thank all beta testers for their relentless testing and never-ending stream of feature requests, helping us
to make this plug-in as awesome (and bug-free) as possible.
A special thanks goes to bManic who helped shape Twin 3 by coming up with countless and extremely helpful feature
requests, remarks and complaints, and last but not least, curating the factory presets.
FabFilter Twin 3 comes with a library of carefully designed presets. These were created by the following sound designers:
bManic
Allert Aalders / Sonar Traffic
Dan Worrall
Roelof van Krimpen
Maarten de Boer
Visit the FabFilter sound designers page to read more about each sound designer.

Next: About FabFilter

See Also
Purchase FabFilter Twin 3
Support

52
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

53