KIKZILLA
LITE

One panel, read from left to right.

There are no tabs to open and no pages to find. The engine makes the rumble, the envelope gives it a shape, the filter gives it a tone, and the mix puts it under your kick.

1234

1. 1

   Engine

   Verb or noise, three characters each. The orb draws what the engine is doing.

2. 2

   Envelope

   Five controls give the rumble its shape, drawn live over your own kick.

3. 3

   Filter

   High cut with three models, drive before it, a low cut, and the envelope on the cut.

4. 4

   Mix

   Two faders, output and a clipper on the sum. Auto Gain holds the rumble to the kick.

Find the rumble beneath your kick.

A verb that rings out after the kick, or a noise bed that fills the bar. Six characters give you different foundations for the rumble, from a tight mass to broken texture.

Choose the source at the orb.

Verb

Rings out after the kick. Modal is a tight mass, Wall a flat plate that is there from the first hit, Bloom opens up after the kick instead of fading from it.

Noise

Fills the bar between the kicks. Classic is a bed of white, pink or brown noise, Grit is dirt in the mids, Rubble is loose chunks instead of a surface.

Two source types: Verb and Noise · Every kick restarts the source · The sub stays mono

The classic shape of the original.

A reverb decays. A rumble has a shape that answers the kick. Decide when it comes in, how long it holds and how it falls away, with the envelope the original Kikzilla was known for.

The shape

Wait, rise, hold, fall.

Start is the wait before the rumble comes in, so the kick keeps its place. Attack, Hold and Release set the rise, the plateau and the fall, Curve bends the slopes.

Start · Attack · Hold · Release · Curve

The timing

Locked to the tempo, set off by the kick.

Length sets the phrase in note values from 1/1 down to 1/16. The envelope triggers from the kick on the track, or from a sidechain when the kick comes from elsewhere.

Length 1/1 to 1/16 · Internal or sidechain · Threshold with a level meter

Give the rumble its tone.

The high cut decides how dark the rumble is, the model decides how it gets dark. Lite has the same filter as Kikzilla 2: three models, drive in front, a low cut with resonance and the envelope on the cut.

Three models

• Clean

  A plain slope. The high cut does its job and stays out of the way.

• Comb

  Ridges on the slope, the resonances of a comb filter. Metallic, tuned to the cut.

• Dirty

  Saturates on the way down. The darker the cut, the more it grinds.

• Drive before the cut. Saturation on the way into the filter, with the level made up after it.

• The envelope on the high cut. ENV DEPTH opens the cut with the kick, up to four octaves, and closes it as the rumble fades.

• A low cut with its own resonance. LOW CUT clears the space under the kick, LC RES puts a bump at the edge if you want one.

Two faders and one switch.

Set the kick and the rumble with two faders. Auto Gain measures the rumble every bar and holds it at a fixed distance to the kick, so the balance survives the drop. It is on by default, 6 dB under the kick.

Auto Gain

The rumble follows the kick

• Both faders reach +6 dB. Rumble and Kick carry a dB scale with the zero marked. With Auto Gain on, the Rumble fader sets the distance, not the level.

• Output from -12 to +12 dB. The last stage before the clipper, for matching the plugin to the rest of the chain.

• A clipper on the sum. Ceil clips kick and rumble together, with a ceiling you set and an LED that shows when it works. Up to 8× oversampling in the settings.

Built to be left open.

Save what works, step back when it does not, and switch the panel to Paper when the studio is bright.

Dark or Paper

The same panel, the same state

DarkPaper

• A preset bar that stays out of the way. Save, Save as, Init, Undo and Redo on one row, favourites in the browser. Every change you make is one step back.

• An init and eight starters. Enough to hear each character on your kick in a minute. They are starting points, not a library, and your own presets sit next to them.

• Twelve accent colours, Sunset by default. Dark or Paper, then the accent you like. The orb, the curve and the meters follow, and so does Baby Zilla.

Explore Kikzilla 2, the complete low-end machine.

Kikzilla Lite rebuilds the direct rumble workflow of the original. Kikzilla 2 takes that idea further, with tools for shaping and processing the whole low end.

Kikzilla 2

The Complete Low-End Machine.

Generate rumble, bring in an external bassline and shape how it moves around the kick. Process both parts independently, then work on their sum with the full set of FX bricks and final mix controls.

For creating, shaping and finishing the whole low end.

Explore Kikzilla 2

Choose the workflow that fits.

Feature

Kikzilla Lite

The Rumble Machine

Kikzilla 2

The Complete Low-End Machine

Focus

Kikzilla LiteDirect rumble creation

Kikzilla 2The complete low-end workflow

Sound sources

Kikzilla LiteVerb and Noise

Kikzilla 2Verb, Noise, Sample and Ext

Internal sound models

Kikzilla Lite6

Kikzilla 29

Included loops

Kikzilla Lite—

Kikzilla 2107

External bass processing

Kikzilla Lite—

Kikzilla 2External input as a sound source

Envelope workflow

Kikzilla LiteStart, Attack, Hold, Release and Curve

Kikzilla 2Morph and Draw; two envelopes

Main character filter

Kikzilla LiteClean, Comb and Dirty

Kikzilla 2Clean, Comb and Dirty

Modular effects

Kikzilla Lite—

Kikzilla 213 bricks across 3 chains

Final processing

Kikzilla LiteOutput clipping

Kikzilla 2Master EQ and output clipping

Also included

Kikzilla Lite—

Kikzilla 2Kikzilla Lite

Lite also includes Auto Gain and up to 8× oversampling on its output clipper.

A few practical details.