Manual for YER 1.0.0 · VST3, Windows 10/11, 64 bit · 4 September 2026
What YER does
YER listens to a second signal — the sidechain — and takes exactly those frequencies out of the track it is sitting on. It splits the audible range into 32 bands, measures about every ten milliseconds which bands the sidechain is using, and lowers the same bands in your track by up to 30 dB. A sidechain compressor pulls the whole track down when the kick lands; YER pulls down only what is in the way and leaves the rest where it is.
The analysis is measured against the sidechain's own loudest band, not against an absolute level. A quiet kick therefore carves the same shape as a loud one, and amount decides how deep the cut goes. The absolute level keeps exactly one say: below about −36 dBFS the whole cut is scaled back with it, down to nothing at −60 dBFS — see Nothing happens at all.
Installing and finding it
Run the setup. It puts YER into
C:\Program Files\Common Files\VST3\aysound, which is the
official VST3 folder, and then your DAW has to scan for plugins once
before it shows up. YER is VST3 only, Windows 10 or 11, 64 bit — there
is no macOS build, no AAX and no AU.
The download and the paid version are the same file. There is no separate full version to install after buying; you paste your key into the plugin you already have.
Routing the sidechain
This is the step most people get stuck on, and it is not YER's doing: every DAW has its own way of feeding a plugin a second signal.
YER has a second input next to the normal one. In the host it is called Sidechain, it takes mono or stereo, and it starts out switched off — a plugin has to work without one. So there are always two things to do: switch that input on, and send something into it.
The general way, in any host: put YER on the track that should step aside (the bass, the pad, the guitar bus), then send the track that should win (the kick, the voice) into YER's sidechain input. You are not routing the kick through YER — nothing of it reaches the output. YER only listens to it.
FL Studio
Put YER on the mixer track with the bass. Select the kick's mixer track and route it to the bass track as well, using the send arrow at the bottom of the mixer. Then right-click that send arrow and choose Sidechain to this track. FL Studio now offers the kick as a sidechain source on the bass track, and YER picks it up on its sidechain input.
Ableton Live
Put YER on the bass track and unfold the plugin device. VST3 plugins with a sidechain input get an audio-from chooser in the device header: pick the kick track there. Nothing else is needed — Live handles the routing itself.
Cubase and Nuendo
Put YER on the bass channel and switch on the side-chain input in the plugin's own header strip. As soon as it is on, the plugin appears as a send destination: on the kick channel, add a send to YER's side-chain and open it.
Studio One
Put YER on the bass channel and switch on the sidechain input in the plugin's header. On the kick channel, add a send and choose YER's sidechain as the target.
Reaper
Reaper does it with track channels instead of a separate bus. Set the bass track to four channels, send the kick track to the bass track on channels 3/4, then open YER's pin connector and map input channels 3/4 to YER's sidechain inputs. That is the standard Reaper sidechain procedure and it works here unchanged.
Any other host
Look for the words sidechain, side-chain or external input in the plugin's own frame or in the channel's send list. If the plugin does not appear in a host's list at all, see the plugin is not in my DAW below.
What happens without one
Nothing breaks. With no signal on that input YER listens to the track it is on, and says so in the display: no sidechain bus — listening to this track itself. That is a good way to build a static EQ with freeze, but it is not what the plugin is for.
Both sidechain channels are analysed separately and averaged, not summed to mono. A wide, out-of-phase sidechain therefore reads as what it is instead of cancelling itself out.
The first sound
amount starts at 0. A freshly inserted YER does nothing at all, on purpose — insert it, get the sidechain in, then turn amount up while the part is playing. The display tells you within a second whether the sidechain is arriving.
A useful first move is to load the factory preset Kick - Bas Yeri with the arrows in the header and work from there. Its settings are in the first worked example.
The display
The display is the honest part of this plugin: it does not draw an idea of the cut, it draws the cut.
- The amber curve is the spectrum of the sidechain — what YER is listening to right now, band by band.
- The cream line is the cut. It hangs down from 0 dB at the top, and it is the real response of the 32 filters, skirts and all — not a drawing of what was asked for.
- The fine cream dots at the band centres are what the analysis asked for per band. Where dots and line disagree, the line is what you hear. That is the truth about bell filters and it is why both are shown.
Decibels run down the left, 0 at the top and −60 at the bottom, with a line every 12 dB — so half height is −30 dB, the deepest cut YER can make. Frequency runs along the bottom, logarithmically from 20 Hz to 20 kHz, labelled at 100, 1k and 10k.
The area outside low cut and high cut is shaded: nothing there is touched. A thin line marks the exact frequency each cut knob is set to, while the shading starts at the first band that is actually switched off — a band counts as inside when its centre frequency lies between the two cuts.
Move the pointer over the display and a vertical line follows it, with a read-out: the frequency, the sidechain level there, and the depth of the cut there. The depth it shows is the one the line draws, which is the depth you hear.
The line of text underneath
Below the plot is one line of plain text. It is the plugin telling you what state it is in — one of these sentences:
- listening to the sidechain bus — a sidechain is connected and arriving.
- no sidechain bus — listening to this track itself — nothing is connected, so YER is analysing its own track.
- no sidechain signal — nothing to cut yet — nothing loud enough is arriving. That is a connected but silent sidechain; it is also what you see with the transport stopped and nothing routed at all, because then the track YER is listening to is silent as well. It waits a second and a half before saying this, so it does not flicker between two kick drum hits.
- frozen — the cut holds until you release it — freeze is on.
- sc audition — you are hearing the sidechain, not this track — sc audition is on. Worth reading twice before you wonder where your bass went.
That one line has several jobs, and the state is the last of them. It shows, in this order: the trial reminder while it is being made loud, the help sentence while help mode is on, the read-out while the pointer is over the display, the help sentence for whatever control the pointer is on, the quiet trial reminder — and only when none of those applies, the state. So the state sentence steps aside the moment the pointer goes onto the display: take the pointer off it again to read the state. The quiet trial reminder gives way to the diagnostic states, so a frozen or silent sidechain is never hidden behind it.
amount, low cut, high cut, freeze
Four controls sit on the front panel. They are the ones you need.
amount
0 to 100 % · default 0 % · the only knob on the front that has to move
How deep the cut goes. At 100 the loudest band of the sidechain takes 30 dB out of your track, and every other band is cut in proportion to how close it is to that loudest one — bands more than 30 dB below it are left alone entirely.
Start low and come up until the sidechain has room. On a bass under a kick, 50 to 75 is normal. Above 85 you are usually fixing an arrangement problem with an equaliser, and it will start to be audible as an effect rather than as space.
Because the shape is normalised, turning the kick up changes neither which bands are cut nor how they relate to one another. amount is the depth control. One thing moves the depth as well, and only one: a very quiet sidechain. Below about −36 dBFS the cut is scaled back with the level, down to nothing at −60 dBFS.
low cut
20 Hz to 20 kHz, logarithmic · default 20 Hz (off)
Below this frequency the track is left alone. Use it to keep something out of the cut: a sub that should never move, or the body of a vocal. At 20 Hz it does nothing and its lamp is dark.
high cut
20 Hz to 20 kHz, logarithmic · default 20 kHz (off)
Above this frequency the track is left alone. This is the one you reach for first with a kick: a kick's click sits at 2–5 kHz, and without a high cut it thins the top of your bass for no reason. Pull high cut down to around 250 Hz and only the part of the kick that actually collides is taken into account.
Setting low cut above high cut is allowed. Then no band is inside the range and nothing is cut — the display shades everything and shows both edges.
freeze
on / off · default off · saved with the session, with the a/b slots and with your own presets
Freeze holds the cut exactly as it is at that moment. What you get is a static EQ that the sidechain drew for you — useful when you like the curve on one bar and want it to stay for the whole track, and useful for building a subtractive EQ out of a source without touching a single band by hand.
Only one thing stops: the following. amount, both cuts, pan, mode and smooth all keep working while frozen, so you can still make the held curve deeper, narrower or move it to one side. The frozen curve is stored with the session, so it comes back when you open the project again.
While frozen the cut line and its dots turn a warmer cream, and an amber marker appears at the top right of the display, so a held curve can never be mistaken for a live one.
The two lamps
Beside each cut knob, on the outside, sits a small amber lamp. It is lit while that filter is doing something — that is all it means:
- the left lamp is lit when low cut is off its bottom stop, i.e. anywhere above 20 Hz;
- the right lamp is lit when high cut is off its top stop — in practice from about 19.6 kHz downwards.
Both dark means the cut is working over the full range. They fade in and out over about a tenth of a second, and they follow host automation exactly as they follow your hand — so on a mix you did last month, one glance says whether the range was fenced off or not.
The advanced row
The round button on the right, under the word advanced, folds out a second row. The window grows downwards; nothing above it moves, and the display stays where it was. Press it again to fold the row away.
pan
−100 to +100 % · default 0 % · works together with mode
Where the cut lands, not where the sound goes. In l/r mode: −100 puts the whole cut on the left channel, +100 on the right, 0 shares it evenly. In m/s mode: −100 cuts only the middle, +100 only the sides.
The useful pairing is m/s with pan at −100: the kick clears the middle of your bass and leaves the stereo sides untouched, which keeps the track wide while the low middle opens up.
mode — l/r and m/s
two positions · default l/r (lever up) · m/s is lever down
Whether YER works on the left and right channels as they are, or splits the track into middle and sides first and cuts those. The caption above and below the lever names both positions; the lever points at the one it is in.
Use l/r for the normal case. Use m/s when you want to protect the width of a track — a pad, a wide bass, a guitar bus — and only clear the middle, or the other way round.
Switching modes while the cut is working is not a click: YER lets the cut go over five milliseconds, changes domain, and brings it back. You will hear the cut breathe once, never a pop.
attack
5 to 200 ms, logarithmic · default 10 ms
How quickly a band opens the cut when the sidechain hits it. Short for drums, longer for pads and voices.
The knob starts at 5 ms and not lower for an honest reason: the analysis itself takes a step about every 10.7 milliseconds, so 5 ms is as fast as the cut can possibly be. A range down to 0.1 ms would have been three dead decades of knob travel. The fast half of the knob covers 5 to 20 ms, where the audible differences are, which is why the default sits at about ten o'clock rather than straight up.
release
10 to 2000 ms, logarithmic · default 150 ms
How quickly the cut closes again after the sidechain fades. Short keeps the groove and lets the bass come back between kicks; long keeps things smooth and is what you want under a voice, where the cut should not flutter with every syllable.
If the effect sounds like pumping, this is usually the knob — see audible pumping.
smooth
0 to 100 % · default 30 % · YER has this, the plugins it competes with do not
Spreads each cut into the bands next to it, so a sharp, isolated dip does not sound like a comb filter. At 0 each band stands on its own; at 100 a cut reaches four bands to either side.
The deepest band keeps its full depth whatever smooth is set to — this spreads the cut, it does not soften it. So "amount 100 means 30 dB in the loudest band" stays true at every smooth setting.
Low values for percussive work where you want a narrow, surgical dip; high values under sustained material, where a wide gentle scoop is far less noticeable than a narrow deep one.
sc audition
on / off · default off · never stored in a preset — a listening state, not a setting
Puts the sidechain on the output, with low cut and high cut applied, so you hear exactly what YER is listening to. It is the fastest way to set the two cuts: switch it on, move high cut down until the kick's click has gone and only the part that collides with your bass is left, switch it off again.
While it is on, the display says so in plain words. Loading a session or a preset always switches it off, so a monitoring state can never be saved into your work by accident.
The header
Presets
The two arrows step one preset back and one preset on. Clicking the name in the middle opens the list: six factory presets first, your own below them.
A * after the name means the settings have been changed and not saved yet. To keep them, open the list and press Save. Saving your own presets needs a key — see trial and licence.
Two settings that are never part of a preset: sc audition, because it is a monitoring state, and bypass. freeze is part of a preset, and the held curve travels with it.
Undo
The round button right of the preset field and its arrows takes back the last change, thirty steps deep. It is dimmed while there is nothing to take back.
Three ways to the same history: that button, the keyboard (Ctrl+Z to undo, Ctrl+Y or Ctrl+Shift+Z to redo, as soon as the YER window has the keyboard focus — click anywhere in it once), and the undo / redo entries in the settings menu.
One click is one step: a button press, a switch, a preset change, a knob move. Undo does not eat half of a drag.
The bypass lever
The little toggle switch right of the trial capsule is bypass. The lever stands up when YER is working and down when it is bypassed; the window dims while it is off. Switching does not click.
It is the plugin's own bypass parameter, so your DAW sees it, automates it and can put it on a controller like any other parameter.
The question mark
Help mode. With it on, pointing at any control shows its tooltip immediately instead of after a pause, and the line under the display explains, in one sentence, what that control does. Point at nothing and the line tells you what the plugin is for. Press it again to switch it off.
The sentences are there in the same six languages as the rest of the interface.
The settings button
The button on the far right opens a menu with everything that is not a knob:
- the name, the version and the plugin format, at the top;
- undo and redo;
- slot a and slot b — two complete settings side by side. Park one on a, try the other on b, switch back and forth;
- the update entries — see the update check;
- language: English, Deutsch, Türkçe, Español, Italiano, Русский. Only the interface changes; the parameter names your DAW shows in its automation lists stay English, so a project opened in another language still automates the right thing;
- window size: 100, 125, 150 or 200 %. Remembered for you, for every instance and every project;
- the latency in samples and milliseconds — it is zero — plus a link to aysound.com and the support address;
- licence …, which opens the licence card.
Trial and licence
Without a key YER runs complete: all 32 bands, freeze, the advanced row, every factory preset, as many instances as you like, all six languages. No account, no email address, no expiry date, no reminder window.
Two things wait for a key, and only two:
- every 45 seconds the effect steps aside for 2 seconds. The first 43 seconds of each period are clean, the dropout fades in and out over 20 ms, and what you get during it is your untreated track — never quieter, never muted;
- you cannot save presets of your own. Loading them, factory presets included, works.
The dropout counter runs while the track is playing and amount is above zero. With the transport stopped, or with amount at 0, it holds. Bypassing YER does not stop it.
It is in your bounce too. If an export runs without a key, YER says so in its own window afterwards: This export contains the trial dropouts. We would rather tell you than have you find out after uploading a master.
Activating — three ways
Open the licence card, either by clicking the trial · buy capsule in the header or through licence … in the settings menu. Then, whichever is easiest:
- Paste the key into the field and press activate. A line break, a stray quote or a "Key:" in front of it do not bother it.
- Press load licence file and pick the
.licensefile you were sent. - Drop the file onto the YER window. The card opens by itself.
A YER key begins with YER1 and is 116 characters long. It is meant to be copied, not typed. It is checked entirely on your own computer — no internet, no account, no activation server.
A key that does not begin with YER1 is not a YER key and will never open it, however correct it is — the card says which case it is instead of pretending the key is broken. Any other refusal gets one sentence and no reason: a detailed error message only helps somebody who is guessing keys.
After a successful activation the card says
Full version active — thank you. and closes
itself, the trial capsule disappears from the header, and every other
open YER in the same session switches over on its own. Your key is
stored in
%APPDATA%\aysound\YER\Yer.license.
If that file could not be written, YER says so and stays unlocked for the session: make the folder writable and activate once more, otherwise the next start is back in trial mode.
Removing the licence from a computer
The same card, once activated, has a button: remove licence from this computer. It takes two clicks — the first only asks, the second does it — and nothing happens until the second one.
Afterwards YER is back in trial mode immediately, with no restart, in every open instance. Your key stays valid and you can enter it again at any time. Use this when you sell or hand on a machine.
A new computer
Install YER and paste the same key again. There is no activation to release, no seat to free and nothing to ask us for. The key works on the computers you work on yourself — studio and laptop included. It is personal: passing it on is what gets a key blocked in a later version.
The key is in the email you got when you bought it. If that email is gone, write to info@aysound.com from the address you paid with, or with your order number, and we send it again.
The update check
Once a day at most, and only while a YER window is actually open, YER asks aysound.com for the current version number. Nothing else leaves your computer: the request carries YER's own version and the word Windows in its identification line, the way any browser request does, and no identifier of any kind. If there is no connection, nothing happens and nothing is said. A host that only scans for plugins never asks at all.
If there is a newer version, an amber dot appears on the settings button and the menu gains an entry, update to followed by the version. That opens a small card with the version number and two buttons: yes opens the download page in your browser, no closes it.
The card also has a do not ask again button. That switches off the daily check and takes the dot away for good. check for updates stays in the settings menu either way, because that one is a question you asked, not a call behind your back.
Installing an update means running the new setup over the existing installation. Presets, settings and your licence stay where they are.
Three worked examples
Starting points, not rules. Each one names why the numbers are what they are, so you can move them with an idea of what will change.
A bass that keeps getting in the kick's way
This is the factory preset Kick - Bas Yeri. YER goes on the bass; the kick feeds its sidechain.
| amount | 70 % — deep enough to be felt, not so deep that the bass disappears between hits |
|---|---|
| low cut | 30 Hz — leaves the very bottom of the bass alone so the low end does not lose weight |
| high cut | 250 Hz — the kick's click at 2–5 kHz is not allowed to thin the top of the bass. This is the single most useful setting in the whole plugin |
| attack | 5 ms — as fast as it goes, so the space is there the moment the kick starts |
| release | 120 ms — short, so the bass comes straight back between hits and the groove keeps its bounce |
| smooth | 35 % — a little spread, enough to stop the dip from sounding notched |
| mode · pan | l/r · 0 % |
If it pumps, lengthen release before you lower amount. If the bass loses weight, raise low cut. If the top of the bass has gone dull, high cut is too high.
A voice that has to sit over a busy arrangement
This is the factory preset Vokal - Pad Yeri. YER goes on the instrument bus — the pads, the synths, the guitars — and the lead vocal feeds its sidechain.
| amount | 55 % — space, not a hole. A voice needs less than a kick because it is there most of the time |
|---|---|
| low cut | 150 Hz — the bass end of the arrangement is not competing with a voice and should stay put |
| high cut | 8 kHz — above that, air is not what makes a voice hard to hear |
| attack | 15 ms — a little slower than for drums, so the first consonant of a word does not snap the cut open |
| release | 250 ms — long enough that the cut does not flutter between syllables |
| smooth | 50 % — a wide, gentle scoop is much less audible under sustained material than a narrow deep one |
| mode · pan | l/r · 0 % |
If the arrangement audibly ducks, raise release and smooth before touching amount. If the voice still fights, lower high cut towards 6 kHz rather than turning amount up.
A pad under a guitar
Two sustained parts in the same register is the hardest case, because there is no gap for the cut to hide in. Everything here is slow and wide. YER goes on the pad, the guitar feeds its sidechain.
| amount | 40 % — the cut is on almost all the time, so it has to be shallow |
|---|---|
| low cut | 200 Hz — below the guitar there is no conflict |
| high cut | 6 kHz — pick noise and string squeak should not drive the cut |
| attack | 30 ms — nothing here is percussive, and a slow opening keeps the cut from tracking the strum |
| release | 500 ms — long, so the pad rises back slowly enough not to be noticed |
| smooth | 60 % — wide, because a comb-shaped cut on a sustained pad is the one thing you will definitely hear |
| mode · pan | m/s · −100 % — cut only the middle, where the guitar is, and leave the pad's width completely untouched |
The factory preset Yumusak Tutkal is the same idea over the full range: amount 30, low cut 40 Hz, high cut 16 kHz, attack 30 ms, release 500 ms, smooth 60 %. Use it when you want the whole mix to breathe a little around one source.
When something is wrong
Nothing happens at all
Two things have to be true. amount has to be above zero — it starts at 0, so a freshly inserted YER is deliberately silent. And something has to be arriving at the sidechain input.
The display answers the second one for you. If it says no sidechain bus — listening to this track itself, the routing has not arrived and your host is not sending anything into that input: go back to routing the sidechain. If it says no sidechain signal — nothing to cut yet, nothing loud enough is arriving. Start the transport first: with everything stopped, that sentence says nothing about the routing. If it stays while the music is playing, check that the source track is playing and not muted — and if it never turns into listening to the sidechain bus, the routing is missing after all.
One more: if the sidechain is very quiet, YER deliberately cuts less. Full depth is reached from about −36 dBFS upwards and fades to nothing at −60 dBFS. That is what keeps a noise floor, a reverb tail or hi-hat spill on a drum bus from ducking your track at full depth. Raise the level of what you are sending in.
You can hear it pumping
Pumping means the cut is moving faster than the music. In order:
- Raise release. A short release makes the track jump back after every hit. On sustained material go to 300–500 ms.
- Raise smooth. A narrow cut is far more audible than a wide one. 50–60 % costs you nothing in depth — the deepest band keeps its depth.
- Narrow the range with the two cuts. Most audible pumping is the cut following parts of the sidechain that were never in the way. Pull high cut down; use sc audition to hear exactly where.
- Then lower amount. In that order — amount is the last thing to touch, not the first.
- If a bass note disappears entirely, raise low cut so the fundamental is outside the working range.
The plugin is not in my DAW
The installer puts YER in
C:\Program Files\Common Files\VST3\aysound. Run a plugin
rescan: in FL Studio, Options → Manage plugins → Start scan; in Ableton
Live, Options → Plug-ins → Rescan; elsewhere, check the VST3 path in the
plugin manager and rescan.
One thing is specific to YER: it has an extra sidechain input, and a few hosts keep plugins with extra inputs in a separate list. If the general list does not have it, look under the host's sidechain-capable or multi-input category.
YER is Windows only, 64 bit, VST3. No macOS, no AAX, no AU, no ARM.
I paid and no key arrived
Check the spam folder first, and search your whole mailbox for “YER” — the message comes from info@aysound.com, not from the payment page, and its subject line carries your order number. The key was also shown on the thank-you page right after payment.
Still nothing? Write to info@aysound.com from the address you paid with, or with your order number. We look it up by hand and send it again.
My key is not accepted
Almost every refusal is a half-copied key. Select the whole line, from the leading YER1 to the very last character — it is 116 characters — and paste it in one piece.
If it does not begin with YER1 it is not a YER key and will never work here, whatever else it opens.
If a complete, freshly copied YER key is still refused, write to info@aysound.com from the address you paid with, or with your order number, and we check it by hand. Never send the key itself.
The numbers
| Bands | 32, logarithmically spaced from 20 Hz to 20 kHz — 3.2 per octave |
|---|---|
| Maximum cut | 30 dB in a band, at amount 100 % |
| Analysis | FFT with a Hann window and 75 % overlap: 2048 points at 44.1 and 48 kHz, 4096 at 88.2 and 96 kHz, 8192 at 176.4 and 192 kHz — the size follows the nearest doubling of 48 kHz. A new measurement about every 10.7 ms |
| Latency | 0 samples. The analysis only listens; the cutting is done by 32 IIR bell filters |
| Main input | mono or stereo |
| Sidechain input | mono or stereo, or none — both channels are analysed separately, not summed |
| Format | VST3, Windows 10 – 11, 64 bit |
| Interface | English · Deutsch · Türkçe · Español · Italiano · Русский, at 100, 125, 150 or 200 % |
| Presets | 6 factory presets, plus your own; a/b slots; 30 steps of undo |
| Files it writes | %APPDATA%\aysound\YER\ — the licence, the language, the window size and the update memory |
| Internet | Only the update check, at most once a day, only with the window open, switchable off. The key is checked entirely on your own computer |
| Version | 1.0.0 |
Still stuck
Write to info@aysound.com. One address for everything — questions, purchase, keys, refunds — and an answer within two working days. Support is in Turkish, German and English.
The support page has the shorter answers, the YER page has what the plugin is and what it costs, and the changelog says what changed in each version.