Two macros, one gesture
Distortion is a continuous morph rather than a mode switch. Destruction is staged so a small move adds drive and a big move takes the signal apart.
RFX05 / Effects
Destruction Unit 2
A little friction. A whole new character.
Move from subtle saturation to fractured textures with morphing distortion, multiband control and dynamic movement.
Launch offer35% off
Launch price: £25£39after launch
Save £14 at launchTry the demo in your DAW. Downloads & compatibility.
Own v1? Your upgrade is free.
RFX05 / PLUGIN INTERFACE
Find the beautiful breaking point.
Add weight, grit and movement without losing sight of the source. Destruction Unit combines a responsive distortion engine with the control to make its extremes useful.
Shape the intensity
Morph the gain stages, blend the wet signal and use oversampling when you want a smoother result.
Distort with intention
Use three-band and mid/side processing to focus the effect. Keep the low end grounded while the upper frequencies break apart.
Let the source push back
Envelope-driven movement, bias, sag and texture bring changes that follow the performance.
RFX05 / HEAR IT
Before and after.
One take. Flip between the untouched recording and the processed version while it plays. Loudness is matched; nothing else changes.
SOURCE / FINGERED ELECTRIC BASSREADY
00:00.0 / 00:11.5
INSERT / RFX05 DESTRUCTION UNIT 2 / SUB SAFE GRIT
- MULTIBAND 120 Hz · 1.5 kHz
- LOW CLEAN · MID 120% · HIGH 140%
- DISTORTION 50%
- ANALOG · BIAS 30%
- MIX 90%
Both versions matched to −16 LUFS with static gain, no limiting. Keys: space play · A dry · B wet · arrows seek.
THE IDEA
Two macros: Distortion morphs the shape, Destruction takes the signal apart in stages.
Where it earns its place.
- 01
Give a drum bus a rougher edge.
- 02
Bring a quiet synth forward.
- 03
Design textures that move with the performance.
The instrument, in detail.
HOW IT WORKS
From insert to result.
- STEP 01
Start at Init
At Init the audio passes unchanged apart from five samples of reported latency, so you always know where the sound was before you broke it.
- STEP 02
Turn up the two macros
Distortion morphs from overdrive through distortion to fuzz. Destruction adds drive, then bit-depth reduction, sample-rate reduction and clipping as it rises.
- STEP 03
Aim it
Band-limit the input before the drive. Engage the three-band split and dial each band. Process the whole image, only the centre, or only the sides.
- STEP 04
Make it move
Dynamics concentrates destruction on loud or quiet passages. Analog adds sag. Texture adds hiss, crackle or hum that follows the input. Finish with Tone, the compressor and Mix.
What is under the hood.
Bias and Analog
Bias adds asymmetry and even harmonics to the distortion. Analog adds supply sag and slow bias drift, so louder signals compress more, the way hardware does.
Dynamics that follow the performance
Positive Dynamics concentrates destruction on louder passages, negative on quieter ones. The gate expands quiet material downward from the input envelope.
Three bands, or just the middle
Split the wet signal into low, mid and high with draggable crossovers, per-band amount and level, solo and mute. Or process Mid or Side while the other lane stays clean.
Texture before the drive
Hiss, crackle or 50 Hz hum enters before the drive stages and follows the input envelope, so the noise is part of the sound rather than laid on top.
Level you can trust
Auto Gain measures the drive and compensates within ±12 dB while keeping your band, gate, compressor and tone decisions. The wet compressor is stereo-linked with visible gain reduction.
The facts.
| FORMATS | VST3 |
|---|---|
| LATENCY | 5 samples, in both oversampling modes |
| OVERSAMPLING | Eco 2× · HQ 4× around the nonlinear drive |
| BANDS | 3 with draggable crossovers, solo and mute |
| ROUTING | Stereo · Mid · Side |
| AUTOMATION | 37 parameters |
| PRESETS | Factory banks and user presets · A/B with copy |
| INTERFACE | Real-audio visualiser · light and dark · resizable |
| VERSION 1 | Separate plugin identity; installs alongside |
- Engine rebuilt: clean at zero, oversampled shapers, reported latency with an aligned dry path
- Measured auto-gain instead of a guess
- Dynamics, Bias and Analog sag
- Three-band multiband and Mid/Side routing
- Texture layer, gate and tilt tone
- Metered wet compressor
- New interface with a real-audio visualiser and 27 factory presets
RFX05 / READY WHEN YOU ARE
A little friction. A whole new character.
Try the demo with your own material first. Activation removes the interruptions and keeps the plugin yours.
Launch offer35% off
Launch price: £25£39after launch
Save £14 at launchQuestions people ask.
Is the aliasing a bug?
No. The digital degradation in Destruction aliases on purpose. The drive stages are oversampled at 2× or 4× so the analogue-style distortion stays clean.
How heavy is it on CPU?
HQ 4× uses more than Eco 2×. Both report the same five-sample latency, so you can switch without moving anything in your session.
What about my Destruction Unit v1 sessions?
They keep working. Version 2 has its own plugin identity and installs alongside v1. If you own v1, the upgrade is free from your library.
How does the demo behave?
The demo briefly mutes the output at intervals and shows a ten-day trial counter. Activation removes the interruptions.
A good fit for your setup.
Windows & Mac · VST3
Windows builds are 64-bit VST3. Mac builds are universal for Apple silicon and Intel, in VST3 format. Check the compatibility and installation guide before buying.
Windows requires Microsoft WebView2. Mac uses its built-in WebKit and needs no separate web runtime. Mac downloads currently use local signing and are not Apple-notarized; see the Mac installation notes.
Try it with your own session
Demo audio is briefly muted at intervals. Activation removes the interruptions.
Downloads & setup
