The PUNCH combines the efficient design and cohesive sound of analog channel strips, with
the diverse sonic color and flexible sound-shaping possibilities available only in digital.
Save time and avoid tedious manual workarounds with PUNCH plug-in designed from the
ground up for fast, efficient work on mid/side, stereo and the objects, the beds (fixed
channels) of immersive mixing environments.
This module allows you to select a channel strip from four available. The channel strips are arranged in series, this allows you to process channels with different channel strips.
For example: the first channel strip is only the mid channel, the second channel strip is only the side channel, the third channel strip is the left and right channel. For multi-channel modes: the first channel strip is only the left and right channels, the second channel strip is the center channel, the third channel strip is the LFE, etc.
You can rename Fx Buttons for ease of use. To rename the selected Fx button, right-click on the button.
In order to turn on the solo (listen) of the channel strip, double-click on the selected Fx number. The channel strip in solo mode glows yellow, to exit solo mode, double-click again. For two-channel modes, only one channel strip can be solo mode. For multi-channel modes, one or more channel strip can be soloed.
To bypass channel strip processing, press the selected compressor number one click + shift.
You can also copy all channel strip settings to another channel strip. To do this, select the compressor from which you want to copy the settings, then click on the copy button, then select the compressor to which you want to copy the settings.
Input Routing lets you choose between 44 common channel setups, starting from Stereo up to 7.1.4 and 9.1.6. Simply select in the input routing module the channel setup that fits your track.
You can also create your own input routing profiles. 16 independent channels are available.
Click on the edit button next to the input routing selection display. Hold down the shift button and select the desired number of channels. Name selected channels in order. Then click save and name the profile.
In this module, you can select (activate) the channels that the channel strip will process.
Line drive is increased as the knob is rotated counter-clockwise.
Range: -20 to +10;
To increase the mic drive, rotate the knob clockwise.
Range: -20 to -80.
PreAmp will not increase gain, just harmonic distortion. The distortion is mild and adds
The High Shelf knob offers approximately ±15 dB of smooth fixed frequency shelving
equalization at 12 kHz. Rotate the control clockwise to add the famous high-end
sheen, or counter-clockwise to reduce the treble response;
The midrange band is controlled by two knobs, delivering smooth semi-parametric
midrange equalization. The right knob controls the band gain, and the left knob
selects the band frequency or band disable. The response for this band has a
dependence on the bandwidth as the gain is adjusted. At higher center frequencies,
the Q goes up for a more focused peak;
The low band delivers smooth low frequency shelving equalization, controlled by two
knobs. The right knob controls the band gain, and the left knob selects the shelf
frequency or band disable.
The available range is approximately ±15 dB.
The band gain is zero when the knob position indicator is pointing straight down;
This knob specifies the fixed frequency of the low cut (high pass) filter.
This filter has an 18 dB per octave slope.
The available frequencies are 50 Hz, 80 Hz, 160 Hz, 300 Hz and OFF.
SC Filter (Sidechain filter)
This knob controls continuously variable shelving filter circuit in the compressor input.
The sidechain filter allows removal of low-frequency content from the control
sidechain, reducing excessive gain reduction and/or “pumping” on bass-heavy audio
signals without reducing bass content of the audio signal itself.
Note: The sidechain filter only acts on the sidechain signal. While it can produce an
audible change in dynamics behavior, it does not act directly on the signal that is
output from the plug-in.
At the fully counterclockwise position, the filter is defeated, and does not affect
compressor behavior. As the SC Filter knob is rotated clockwise, the filter is engaged
and its frequency sweeps between 40-260 Hz, allowing for a wide range of
relationships between bass level and gain reduction.
Threshold determines how much compression will occur. When the input signal
exceeds the threshold level, the compressor engages. A smaller value results in more
The available range is from -22 dBu to +14 dBu.
Makeup control increases the signal level out of the compressor to compensate for
reduced levels as a result of compression.
The available range is -12 dB to +20 dB.
This control does not affect the amount of compression.
This control determines the compressor ratio.
The available values are 1.1:1; 2:1; 3:1; 4:1; 5:1; 6:1; 7:1; 8:1; 9:1; and Max;
selectable in discrete increments.
This control determines the compressor knee.
The available range is from Soft to Hard.
Attack determines how fast compression will engage when the signal exceeds the
The available range is from 1 ms to 80 ms.
Recovery is the time it takes for the compressor to stop processing after the signal
drops below the threshold value.
The available range is from 50 ms to 3 sec.
The output balance between the signal processed by selected compressor and the
original dry source signal can be adjusted with Dry/Wet control. Dry/Wet facilitates
parallel compression techniques without having to create additional routings in the
Gain Reduction Meter
The Gain Reduction Meters indicate the amount of gain reduction that is occurring in
Input adjusts the signal level at the input of the selected EQ without effecting the sonic
character of the signal.
The available range is ±24 dB;
The PHASE button inverts the polarity of the signal. When the switch is engaged, the
phase is inverted. Leave the switch in the disengaged for normal phase;
The PreAmp is engaged when the PreAmp switch is engaged. To disable the PreAmp,
disengage the switch.
The equalizer is engaged when the EQ switch is engaged. To disable the EQ,
disengage the switch. In the EQ173 the audio is still colored even when the EQ switch
is disengaged and the EQ settings are in their «flat» positions.
The Compressor is engaged when the Compressor switch is engaged. To disable the
Compressor, disengage the switch.
P-AMP EQ COMP / P-AMP COMP EQ
Switches the order of processing effects in the chain.
Output adjusts the signal level at the output of the selected EQ without effecting the
sonic character of the signal.
The available range is ±24 dB.
Global Input Gain
Main Input Gain controls the overall input level of the plug-in input, before all fx modules.
In the studio, when working with hardware devices, they often turn knobs with both hands; on
a computer with one mouse, this is difficult to do, so we tried to implement something similar
using the Combo knob.
For convenience and speed up work, you can bind several parameters to one macro
For example: Link the Hi Gain parameter from all 4 «Fx selection" (The Fx selection is
located in the upper right corner of the plugin) to one
macro controller and control them all at the same time. Or bind two different parameters to
one controller, invert one of them and boost the lows and lower the highs using only one
macro controller. There are many possible uses, just try this.
To bind parameters to a macro controller, click on the Macro button.
Note: To rename a Macro button, right-click on the button and enter a
When the Macro button is active, additional parameters appear for
those controllers that can be controlled.
Select the parameter you want to control, it has 4 controllers, they correspond to the «Fx
selection" numbers (The Fx selection is located in the upper right corner of the plugin.), select the one you need.
Adjust the parameter control sensitivity, right is positive
value (blue color), left is inverted (red color), To return
the knob to position 0, click twice. To return the knob to
position 0, double-click with the left mouse button.
AGC (Auto Gain Control)
To activate the Auto Gain Control mode, click on the AGC switch.
Below is located Compensate display that after a while will show you the level difference.
Click on it to compensate for the difference.
Click on the "AUTO" switch to turn it on. If the gain difference is bigger than the "gain
tolerance" then the AUTO LED becomes yellow and the plugin actively adjusts the gain (you'll
see the knob slowly rotating).
Note: For more detailed settings of the AGC mode, go to "Global Preferences".
Global Output Gain
Main Output Gain Main Output Gain controls the overall output level of the plug-in output,
after all fx modules.
Undo and Redo functions allow undo and redo of changes made to the plug-in parameters.
A/B buttons allows you to load two independent settings and compare them quickly.
Factory presets are included in the plug-in installation, installed in the following locations:
Mac: Users\[user name]\Music\Red Rock Sound\RRS PUNCH\Patches
Windows: C:\Users\[user name]\Documents\Red Rock Sound\RRS PUNCH
You can save the current settings as the Default preset. - Full Reset – is the default
Load button allows loading of presets not stored in the locations described above.
Save button allows for save of user presets.
OS x_ activates 2x, 4x or 8x oversampling, 1x disables oversampling.
(note that when the HQ mode is on, CPU will be loaded more than usual).
HQ mode (HQ)
HQ mode is for oversampling, it adds a higher order antialiasing filter. It improves processing
quality, but also leads to an increase of the CPU load.
button opens Global Preferences menu.
By default, the RMS time (the averaging time for loudness calculation) is set to 2 sec.
You can change it from 0.6 sec to 10 sec when the time indicator is displayed.
This means that the signal is not processed (Flat) or filtered before measuring.
This means that the signal is filtered (K-Weighted) before measurement (it's used by
It is useful when you're in AUTO mode and your track has silent areas.
By default when "Suspend comparison" is enabled and the signal is very low, the
plugin will not perform any activity (will not compare levels, cause the signal is too low,
and will not adjust the gain in the AUTO mode).
By default the threshold for "suspend comparison" is set to -60 db.
Auto gain tolerance (the amount of gain difference that makes AUTO active).
The right value is the maximum value of gain that AUTO can apply.
Maximum Positive or Negative Gain Adjustment
Use separate limits for gain adjustment allows you to set negative and positive auto
limits independently. This way you can have AUTO adjustments ranging (for example)
from -20 to +10 dB, or from -18 dB to +4dB, etc.
D3D / OGL / CPU (Windows)
This switch allows you to choose between GUI rendering engine:
Normally, no need in switching rendering mode manually, plug-in try to initialize D3D9
then OGL (if D3D9 failed) and CPU (if OGL failed) automatically. But if you have
problems with the GUI, you can manually switch and test different rendering methods
This switch is available only in the Windows version of the plugin. For the Mac
version, this is not necessary.
Note: Drivers of some video cards (for example, Intel Arc A380) in D3D mode
adversely affect the plug-in (periodic noise or whistle), if you encounter a similar
phenomenon, use OGL or CPU.
This switch enables or disables SIMD optimization, it can be used by multichannel
processing with high oversampling. It is undesirable to use in mono and stereo
modes, SIMD only slows down the plug-in due to the overhead of splitting the data for
(Currently in beta testing)
- In the ARM version, you can enable or disable NEON;
- In the Intel version, you can enable or disable SSE2.
- In the Intel version, you can enable or disable AVX (if supported), or SSE2.
The Windows version has a limitation: if the CPU does not support FMA, then the
optimization will not work, even if AVX or SSE2 is supported.
Note: Enabling/disabling SIMD is saved in the project for each plugin individually. i.e. if
a specific instance of the plugin slows down, then you can enable SIMD for it, and
others, if they are in the project, will not be affected by this optimization.
All Red Rock Sound products require a computer with appropriate DAW host software (none of which are included).
Plug-in Activation requires Internet connection!
You can go offline as soon as plug-in is successfully activated.
Versions from 1.0.0 and newer of the Red Rock Sound plug-ins have the following minimum requirements:
Mac OS X 10.13 or higher for AU.
Mac OS X 10.13 or higher for VST.
Mac OS X 10.14.6 or higher for AAX. Latest version of iLok license manager.
Windows 7 or higher (Windows XP not tested).
Mac: Intel Core i3 / i5 / i7 / Xeon / Full Apple silicon support (M1 or higher).
Windows: Intel Core i3 / i5 / i7 / Xeon / AMD Quad-Core or newer.
In theory, any AAX, VST, VST3, AUv3 compatible host application should work. However, due to plug-in host differences between DAWs - and our own rigorous testing standards - we only officially test our plug-ins and instruments in the most recent versions of Logic Pro, Cubase, Ableton Live, Studio One, Reaper, and Bitwig. Red Rock Sound plugins are not tested in non-listed systems, but they most likely work as long as the system requirements are met. We cannot guarantee a solution for issues in unsupported systems.