Hardcore Guitar Effects

DEMO ONLY: Hardcore is provided as a demo version in FL Studio and needs to be purchased separately so you can save projects containing Hardcore effects.

Hardcore gives you virtual access to 11 popular stomp-box effects, as used by famous guitar players (who won't let us use their names, unless we ship them suitcases full of cash), including a number of expertly crafted Cabinet simulations, of legendary hardware (from manufacturers that won't let us use their trade-marks, unless we ship them train-loads of cash). Who needs to drop famous names when you have Hardcore!

Note: The Hardcore pedalboard holds a maximum of 5 stomp-boxes, the screenshot above has been stretched to show the complete Hardcore selection.

There is a video series available - Image-Line | Hardcore Efffects Plugin.

Master Controls

The controls from left to right are:

Effects Pedals

Hardcore has 10 stomp-boxes that can be inserted into any one of 5 slots on the pedalboard. If you need to use more than 5 hardcore effects at a time, simply use two instances of Hardcore in series in the same effects chain.


Distortion is the reshaping of an input waveform, usually caused by non-linearities in the electronic circuitry close to (or above) maximum signal level:
  • DIST - Distortion level controls amount of distortion effect applied to the input signal.
  • COMB - Comb filter cut level. Comb filters remove frequencies in a series of narrow bands, an EQ graph that looks like a comb shape.
  • INFERNO - Bass resonator that adds body to the sound.
  • GLASS - High frequency filter.


Chorus is an effect created by the slight detuning of multiple copies of the same sound (similar to a choir of voices):
  • WIDTH - Amount of pitch modulation.
  • SPEED - Pitch modulation speed.
  • INTENSITY - Wet / Dry signal mix.


Flanging is a form of phase cancellation created by combining multiple, variously delayed copies of the same sound.
  • WIDTH - Amount of phase cancellation.
  • SPEED - Phase modulation speed.
  • INTENSITY - Wet / Dry signal mix.


Phasing is closely related to Flanging. Various frequencies in the original signal are delayed by different amounts, causing peaks and troughs in the output signal which are not spaced evenly. Phasing and flanging sound similar, as both arise from combining delayed versions of the signal with the original. The Phasing effect is however significantly more intense, with a greater 'sweeping' effect across the spectrum.
  • SPEED - Phase modulation speed.
  • TUNE - Center frequency tuning, around which the phase modulation is performed.
  • WIDTH - The depth of the phase modulation around the 'Tune' frequency.
  • INTENSITY - Wet / Dry signal mix.


Short for 'Reverberation', Reverb simulates acoustic spaces. If you clap your hands in a bathroom or concert hall, the sound is quite different. This is due to the fact that in enclosed spaces reflections build up and overlap to create the reverberant sound.
  • DECAY - Decay time. Longer decay times simulate larger rooms.
  • HDUMP - Selectively removes the high frequencies from the reverb for a darker sound.
  • MIX - Wet / Dry signal mix.


Creates echo effects.
  • TIME - Delay time between echoes.
  • DECAY - Rate at which echoes fade over time.
  • MIX - Wet / Dry signal mix.

Noise Gate

Noise gates are useful to silence non-guitar noise, such as power hum, often heard from guitar pickups. Start by setting the THRESHOLD value so that the background noise is just cut off. Next select ATTACK and RELEASE values that allow the guitar signal to pass through the gate with the least 'choppiness'.
  • ATTACK - Speed the gate opens after the input signal level passes the THRESHOLD intensity.
  • RELEASE - Speed the gate closes after the input signal level drops below the THRESHOLD intensity.
  • THRESHOLD - Signal level above which the gate opens, below which the gate closes.


4 band inline EQ tuned to Guitar specific frequencies. The 12 O?clock position is flat (no cut or boost), rotate right to boost or left to cut frequencies. Remember Hardcore also has an 8 band graphic equalizer on the Master control panel and Cabinet simulations for further EQ shaping.
  • LOW - Frequencies < 200 Hz.
  • MIDDLE - Frequencies around 600 Hz.
  • TREBLE - Frequencies around 1800 Hz.
  • HIGH - Frequencies > 5000 Hz.


Compression can be thought of as an automated volume control and will help your guitar sound to punch through the mix. Usually compression is used to increase the level of quiet playing while limiting the maximum volume of the louder parts (compressing dynamic range). The compressor also works well when placed after the Distortion effect to add even more crunch to the sound.
  • THRESHOLD - Input level above which the signal volume is limited.
  • RATIO - Input to output volume relationship after the threshold level has been exceeded. Higher levels will give more noticeable compression.
  • ATTACK - Rate at which the compression is applied after the signal exceeds the threshold. Slow attack times will allow some transients through before the compression fully engages.
  • RELEASE - Rate at which the compression is removed after the signal falls below the threshold level.


The Modulator provides four target parameters, Pitch, Amplitude, Panning & Rate. There is no modulation when the controls are turned fully counter-clockwise.
  • PITCH - Amount of pitch modulation.
  • AMP - Amount of volume modulation.
  • PAN - Amount of pan modulation.
  • RATE - Modulation frequency (speed).


Tubedrive provides three target parameters, Pitch, Volume & Panning. There is no modulation when the controls are turned fully counter-clockwise.
  • LOW - Control the low frequencies with a high-pass filter cutoff frequency.
  • HIGH - Control the high frequencies with a low-pass filter cutoff frequency.
  • GAIN - Drive to the tube-distortion unit. More gain = more tube-style distortion (soft clipping).

Plugin Credits -

Code & GUI: Maxx Claster.