Reference
Parameters#
Use this page to look up any control: its range, its default, and what it does in a sentence. The names match the labels in End Game, and Mid and Side controls are grouped after each stage’s main controls. Enhance, Clip, and Limit explains how to use them.
Enhance#
| Control | Range or options | Default | What it does |
|---|---|---|---|
| Threshold | -60 to 0 dB | -24 dB | Sets the level where enhancement begins. Signals below it are lifted, with more lift the further they fall below it, so higher settings enhance more of the signal. |
| Style | Bloom, Detail, Inflate | Bloom | Chooses the enhancer voice: Bloom is a broad full-band lift, Detail lifts each frequency band on its own, and Inflate adds harmonic density as well as lift. Detail and Inflate add a small latency; Bloom adds none. |
| Amount (Bloom) | 0 to 24 dB | 4 dB | Sets the maximum Bloom lift. Increase it when you want more density and presence without pushing the peaks harder. |
| Amount (Detail) | 0 to 12 dB | 3 dB | Sets the maximum Detail lift before Focus redistributes that lift across the four bands. |
| Knee (Bloom) | 0 to 12 dB | 3 dB | Softens how Bloom fades in around the threshold. Higher settings feel gentler and less grabby. |
| Focus (Detail) | -100 to 100 | 0 | Controls how strongly Detail follows its tuned band balance. Negative settings flatten the weighting for a more even response, while positive settings exaggerate it for a more voiced sound. |
| Intensity (Inflate) | 0 to 100% | 40% | Controls how hard Inflate leans into its compression-and-harmonics path. Higher settings add more density, lift, and saturation. |
| Character (Inflate) | -100 to 100 | -50 | Shifts Inflate's harmonic balance. Negative settings stay rounder and weightier, while positive settings sound brighter and more forward. |
| Attack | 0.1 to 100 ms | 2 ms | Controls how quickly Enhance steps aside when the signal gets louder. Faster attack keeps transients clean; slower lets the lift lean into them. |
| Release | 10 to 500 ms | 200 ms | Controls how quickly the lift returns after the signal drops. Slower release lets each sound's decay finish before the detail comes forward. |
| Floor | -96 to -20 dB | -60 dB | Protects the very bottom of the signal so Enhance does not pull up noise, room tone, or other unwanted low-level content. |
| Output Gain (Bloom) | -24 to 24 dB | 0 dB | Rebalances the stage after Bloom so you can level-match the voicing change fairly. |
| Output Gain (Detail) | -24 to 24 dB | 0 dB | Rebalances the stage after Detail so you can judge the band voicing rather than the level change. |
| Output Gain (Inflate) | -24 to 24 dB | 0 dB | Rebalances the stage after Inflate so you can compare density and harmonic weight at a matched level. |
| Auto-Gain | On or Off | Off | The circled A button on the Output knob. Click it to match the stage's output level to its input, so you judge the tone change rather than the level change. |
| Bypass | On or Off | Off | Turns the Enhance stage off so you can compare the processed and unprocessed signal. The latency stays the same, so the comparison stays in time. |
| M/S Link | On or Off | Off | Links the Mid and Side lanes in Mid/Side mode. When on, moving a Mid or Side knob applies the same change to the matching knob on the other lane, and the existing Mid/Side offset is preserved. It follows your knob moves only; host automation on one lane never copies to the other. |
| Link | 0 to 100% | 100% | Controls how tightly the left and right channels track together. Higher settings keep the stereo image more locked together. |
| Control | Range or options | Default | What it does |
|---|---|---|---|
| Channel Mode | Stereo, Mid-Side | Stereo | Chooses between Stereo and Mid-Side operation so you can enhance the center and sides together or separately. |
| Threshold (Mid) | -60 to 0 dB | -24 dB | Sets the level where enhancement begins in the mid channel. Higher settings bring more center detail forward. |
| Threshold (Side) | -60 to 0 dB | -24 dB | Sets the level where enhancement begins in the side channel. Higher settings bring more ambience and width detail forward. |
| Amount (Bloom) (Mid) | 0 to 24 dB | 4 dB | Sets the maximum Bloom lift for the Mid lane so you can push the center without changing the sides. |
| Amount (Bloom) (Side) | 0 to 24 dB | 4 dB | Sets the maximum Bloom lift for the Side lane so you can add width energy without thickening the center. |
| Amount (Detail) (Mid) | 0 to 12 dB | 3 dB | Sets the maximum Detail lift for the Mid lane before Focus shapes the band balance. |
| Amount (Detail) (Side) | 0 to 12 dB | 3 dB | Sets the maximum Detail lift for the Side lane before Focus shapes the band balance. |
| Knee (Bloom) (Mid) | 0 to 12 dB | 3 dB | Softens how Bloom fades in on the Mid lane around the threshold. |
| Knee (Bloom) (Side) | 0 to 12 dB | 3 dB | Softens how Bloom fades in on the Side lane around the threshold. |
| Focus (Detail) (Mid) | -100 to 100 | 0 | Controls how strongly the Mid lane Detail path follows its tuned band balance. |
| Focus (Detail) (Side) | -100 to 100 | 0 | Controls how strongly the Side lane Detail path follows its tuned band balance. |
| Intensity (Inflate) (Mid) | 0 to 100% | 40% | Controls how hard the Mid Inflate path leans into its compression-and-harmonics path. |
| Intensity (Inflate) (Side) | 0 to 100% | 40% | Controls how hard the Side Inflate path leans into its compression-and-harmonics path. |
| Character (Inflate) (Mid) | -100 to 100 | -50 | Shifts the Mid Inflate lane from rounder and heavier toward brighter and more forward. |
| Character (Inflate) (Side) | -100 to 100 | -50 | Shifts the Side Inflate lane from rounder and heavier toward brighter and more forward. |
| Attack (Mid) | 0.1 to 100 ms | 2 ms | Controls how quickly the mid channel enhancement steps aside when the signal gets louder. |
| Attack (Side) | 0.1 to 100 ms | 2 ms | Controls how quickly the side-channel enhancement steps aside when the signal gets louder. Slower settings let width cues ride through loud moments. |
| Release (Mid) | 10 to 500 ms | 200 ms | Controls how quickly the mid channel lift returns after the signal drops. |
| Release (Side) | 10 to 500 ms | 200 ms | Controls how quickly the side-channel lift returns after the signal drops. Slower settings let ambience bloom in more gradually at the edges. |
| Floor (Mid) | -96 to -20 dB | -60 dB | Protects the lowest mid-channel material so Enhance does not pull up unwanted low-level noise in the center. |
| Floor (Side) | -96 to -20 dB | -60 dB | Protects the lowest side-channel material so Enhance does not pull up unwanted ambience or noise at the edges. |
| Output Gain (Bloom) (Mid) | -24 to 24 dB | 0 dB | Rebalances the Mid lane after Bloom so you can level-match the center against the sides. |
| Output Gain (Bloom) (Side) | -24 to 24 dB | 0 dB | Rebalances the Side lane after Bloom so you can control how much width remains after the lift. |
| Output Gain (Detail) (Mid) | -24 to 24 dB | 0 dB | Rebalances the Mid lane after Detail so you can judge the center voicing without a level bias. |
| Output Gain (Detail) (Side) | -24 to 24 dB | 0 dB | Rebalances the Side lane after Detail so you can judge the width voicing without a level bias. |
| Output Gain (Inflate) (Mid) | -24 to 24 dB | 0 dB | Rebalances the Mid lane after Inflate so you can judge density and harmonic weight at a matched level. |
| Output Gain (Inflate) (Side) | -24 to 24 dB | 0 dB | Rebalances the Side lane after Inflate so you can hear the width change without a level bias. |
Clip#
| Control | Range or options | Default | What it does |
|---|---|---|---|
| In | -24 to 24 dB | 0 dB | Pushes more or less signal into the clipper before it reaches the ceiling, so you can decide how hard the whole stage is being driven. |
| Style | Hard, Punch, Smooth, Loudness | Punch | Chooses the clipper voice: Hard is the firmest ceiling, Punch keeps more bite, Smooth rounds peaks more gently, and Loudness pushes level further while keeping the top end smooth. Softness has no effect on Hard and Loudness. Loudness is the only style that adds latency. |
| Threshold | -24 to 0 dB | 0 dB | Sets the ceiling where peaks start to flatten. Lower settings make the clipper work earlier and more often. |
| Drive | 0 to 24 dB | 0 dB | Adds warm harmonic saturation on every clip style. At 0 dB the clip curve is unchanged; turn it up to thicken the body and soften hard edges while Threshold still sets the ceiling. |
| Softness | 0 to 1% | 0% | Controls how abruptly the clipper bends into limiting. Lower settings feel firmer and more obvious, while higher settings feel rounder and less abrupt. |
| Out | -24 to 24 dB | 0 dB | Trims the stage after clipping so you can compare the result at a fair level. |
| Link | 0 to 100% | 100% | Controls how tightly the left and right channels share clipping in Stereo mode. Higher settings keep the image steadier, while lower settings let each side react more independently. |
| M/S Link | On or Off | Off | Links the Mid and Side clipper lanes in Mid/Side mode. When on, moving a knob on one lane applies the same change to the other lane while preserving any offset you already set. It follows your knob moves only; host automation on one lane never copies to the other. |
| Low Protect | On or Off | Off | Keeps the low bass out of the clip curve so it cannot muddy the mids when you drive the clipper. Input, Output, and the limiter still act on the full signal. Turning it on adds latency, which End Game reports to your DAW. |
| Bypass | On or Off | Off | Turns the Clip stage off so you can compare the processed and unprocessed signal. The latency stays the same unless a Loudness lane is active. |
| Control | Range or options | Default | What it does |
|---|---|---|---|
| Channel Mode | Stereo, Mid-Side | Stereo | Chooses between Stereo and Mid-Side clipping so you can shape the center and sides together or separately. |
| In (Mid) | -24 to 24 dB | 0 dB | Pushes more or less of the mid channel into the clipper before threshold, drive, and softness take effect. |
| In (Side) | -24 to 24 dB | 0 dB | Pushes more or less of the side channel into the clipper. Use it to shave width peaks without changing the center as much. |
| Threshold (Mid) | -24 to 0 dB | 0 dB | Sets the clipping ceiling for the mid channel. Lower settings make the center hit the clipper sooner. |
| Threshold (Side) | -24 to 0 dB | 0 dB | Sets the clipping ceiling for the side channel. Lower settings catch more side peaks and edge energy. |
| Drive (Mid) | 0 to 24 dB | 0 dB | Adds warm harmonic saturation to the Mid lane on every style. At 0 dB the clip curve is unchanged. |
| Drive (Side) | 0 to 24 dB | 0 dB | Adds warm harmonic saturation to the Side lane, so the sides can carry a different amount of warmth than the center. |
| Softness (Mid) | 0 to 1% | 0% | Sets how gently the Mid lane bends into clipping. It has no effect on Hard and Loudness. |
| Softness (Side) | 0 to 1% | 0% | Sets how gently the Side lane bends into clipping. It has no effect on Hard and Loudness. |
| Out (Mid) | -24 to 24 dB | 0 dB | Rebalances the mid channel after clipping so you can level-match the result. |
| Out (Side) | -24 to 24 dB | 0 dB | Rebalances the side channel after clipping so you can level-match edge energy against the center. |
Limit#
| Control | Range or options | Default | What it does |
|---|---|---|---|
| In | -24 to 24 dB | 0 dB | Drives the signal into the limiter's fixed 0 dB ceiling. More Input means more limiting: a louder, denser master that distorts if you push it too far. |
| Output | -24 to 0 dB | -0.3 dB | Sets the final output level after the limiter, which is your delivery ceiling. It never goes above 0 dB, and reaches down to -24 dB so the Input/Output link can offset a large Input push. |
| Release | 0 to 200% | 100% | Scales the chosen style's release timing. Faster settings recover sooner, while slower settings hold on longer. |
| Transition | 0 to 200% | 100% | Changes the limiter's handoff from fast peak control to slower program control. Lower settings feel faster and punchier; higher settings feel smoother and less grabby. |
| Lookahead | 0 to 100% | 0% | Sets how early the limiter prepares for peaks, as a percentage of the chosen style's range. 0% is the most immediate setting and the least latency that style allows, which is not zero on every style. Higher settings feel smoother and more controlled, add latency, and give up a little loudness. |
| Style | Safe, Silk, Transparent, Glue, Punchy, Aggressive | Glue | Chooses the limiter voice, listed quietest to loudest: Safe, Silk, Transparent, Glue, Punchy, and Aggressive. Each has its own recovery after a loud passage and its own character when driven. Glue is the default. |
| True Peak | On or Off | Off | Adds a final inter-sample peak stage that holds the Output ceiling exactly, as read by an independent true-peak meter. It stays your choice on every style: leave it off while you work, and turn it on for final delivery. Its small fixed delay is part of the plugin's latency whether it is on or off, so toggling it never changes the timing your DAW compensates for. |
| Bypass | On or Off | Off | Turns the Limit stage off so you can compare the processed and unprocessed signal. The latency stays the same, so the comparison stays in time. Dither only runs while Limit is on. |
| In/Out Link | On or Off | Off | The chain-link button next to Input. When it is on, raising Input lowers Output by the same amount, so you can drive the limiter harder without the result simply getting louder. It follows your own knob moves only, not host automation, and Output never goes above 0 dB. |
Output#
| Control | Range or options | Default | What it does |
|---|---|---|---|
| Oversampling | 1x, 2x, 4x, 8x, 16x | 4x | Raises the internal sample rate to reduce aliasing as you push the stages harder. Higher values sound cleaner, but use more CPU and more latency. |
| Quality | Linear Phase, Minimum Phase | Linear Phase | Chooses the oversampling filter shape. Linear Phase is more neutral, while Minimum Phase trades phase shift for lower latency and a snappier feel. Both keep the full treble response. |
| Dither | Off, TPDF, Noise Shaping | Off | Chooses how End Game handles low-level quantization noise when you reduce bit depth. Dither only runs while Limit is on and never at 32-bit. Use it on the final export, not on repeated intermediate bounces. |
| Bit Depth | 16-bit, 20-bit, 24-bit, 32-bit | 24-bit | Sets the final output word length for export or auditioning. Use 24-bit for most high-resolution exports, 16-bit for final CD-style delivery, and 32-bit when you want to keep maximum resolution for further processing. |