21 - Plugin Evaluation

Purpose

Use this page when auditioning new or candidate plugins before they enter the cookbook.

Every evaluation answers the same questions so purchases and guide updates stay disciplined — not vibes, not marketing.

Evaluation Framework (always answer these)

vs your stack — definitions

Cookbook tiers

Blank Template (copy for new candidates)

## [Plugin Name]

**Company:**  
**Type:**  
**Price (approx):**  
**Evaluated:** YYYY-MM-DD

### What it does (plain English)


### Job


### vs your stack

**Verdict:** Upgrade / Downgrade / Basically the same / Different job

| Your tool | Comparison |
|---|---|

### Sits next to


### Cookbook tier


### Expert reviews

| Source | Takeaway |
|---|---|

### Bypass test (10 min)


### Guide updates if kept


### One-sentence summary

Completed Evaluations

Analog Realism Sphinx 101

Company: Analog Realism (Helsinki — est. 2026, first product)
Type: Master / mix bus processor (EQ + filter + dynamics in one interacting circuit)
Price (approx): €69 one-time
Evaluated: 2026-07-10
Status: Audition — not installed; demo before any guide promotion

What it does (plain English)

Sphinx is one plugin on your whole mix that pretends to be a living analog desk — not five separate emulations in a row.

Inside the box, EQ, compression, filtering, and saturation all share a virtual power supply. When the compressor works hard, the "voltage" sags a little, transformers remember recent signal, and other stages shift slightly. The goal is glue, dimension, and subtle movement — a mix that feels more three-dimensional and less static.

It is not a limiter and not a full mastering suite. Think "sweetener / alive bus" rather than "finish the record."

Job

Mix bus (primary) or master bus (light sweetening only).
Glue, analog cohesion, broad tonal tilt — after the mix already works.

vs your stack

Verdict: Different job (lateral move) — possibly downgrade on flexibility vs your proven chain.

Sphinx does not replace Ozone or Shadow Hills. It offers a single-box "alive circuit" philosophy instead of stacking named classics. Could add something special — or duplicate what tape + vari-mu + SSL already do. Only a blind A/B on your finished mixes can tell.

Sits next to

Shadow Hills + SSL G Bus + Studer A800 on mix bus. Would be an alternative chain, not an addition on top of all of them.

Cookbook tier

Audition → if it wins bypass tests: Situational (mix-bus character option).
Unlikely to become ⭐ Cookbook default while Shadow Hills + Ozone path is established.

Expert reviews

Is Analog Realism a "good company"?

Early signs are good; track record is zero.

Positives:

• Transparent measurement culture (rare in plugin marketing)
• One-time purchase, offline activation, no subscription
• Clear philosophy (component-level modeling, not black-box curves)
• Active v1.1.x updates shortly after launch

Unknowns:

• First product, first company — no years of support history
• No broad pro endorsement yet
• "Work in progress with the community" — expect iteration

Compared to UAD / FabFilter / Valhalla: not in the same "proven institution" tier yet. Compared to random saturation startups: much more credible engineering posture. Treat as a promising audition, not a trusted default.

Bypass test (10 min)

See 13 - Mix Bus and Mastering — Sphinx Audition.

Short version:

1. Open a finished mix (not a work-in-progress).
2. Duplicate the mix bus.
3. A: Your normal chain (e.g. Studer light → Shadow Hills or SSL → bypass).
4. B: Sphinx only — default preset, peaks around −6 dBFS (their calibration).
5. Level-match. Listen quiet + loud. Bypass every 30 seconds.
6. Keep only if B clearly wins on feel/dimension without losing transients or clarity.

Guide updates if kept

• Promote from Audition → Situational in 15-plugin-inventory.md
• Add overlap row in 16-overlap-and-redundancy-map.md
• Keep audition workflow in 13-mix-bus-and-mastering.md

One-sentence summary

Interesting one-insert "alive bus" experiment — demo against Shadow Hills; do not stack on top of your full UAD+Ozone chain.

discoDSP Vertigo 5

Company: discoDSP (long-running indie developer — Vertigo since 2003)
Type: Additive synthesizer + FFT resynthesis
Price (approx): $199 ($49 upgrade from older Vertigo)
Evaluated: 2026-07-10
Status: Deep Lab candidate — buy only if spectral/found-sound sessions are a priority

What it does (plain English)

Most synths start with a simple wave (saw, square) and filter it — subtractive.

Vertigo builds sound from hundreds of sine waves (partials) added together — additive. You can sculpt harmonics from scratch, or drop in a WAV and Vertigo analyzes it, rebuilds it as editable partials, and lets you morph, filter, and animate that resynthesized material.

What "spectral control" means

Spectral = the frequency content of a sound — which harmonics are loud, which are quiet, and how that picture changes over time.

Spectral control = hands-on editing of that picture:

• See harmonics as a visual spectrum (not just cutoff/resonance knobs)
• Draw or automate individual partial levels over time
• Resynthesize recorded audio into a playable harmonic map you can reshape
• Morph between two spectral states (A/B morphing)
• Formant filtering (vowel-like peaks) on the spectrum

Subtractive synths (Diva, Juno): you shape tone with filter + osc type.
Vertigo: you shape tone by editing the harmonic fingerprint directly — closer to resampling-as-instrument than preset browsing.

Job

Deep Lab sound design:

• Found-sound → playable morphing instrument
• Abstract pads that do not sound obviously analog or wavetable
• Experimental transitions and ear-candy
• Harmonic resynthesis of vocals, objects, field recordings

Not for: default songwriting pads, "expensive analog pop" bass, quick recipe work.

vs your stack

Verdict: Different job. Upgrade for spectral resynthesis depth only. Downgrade as a main modern synth.

Sits next to

Found-sound recipe (step 2 alternative), Pigments harmonic engine, Reaktor/Straylight/Form in Deep Lab.

Cookbook tier

Deep Lab (recommended if purchased) — same rules as Reaktor, Straylight, Form, Sequis:

• Only open when experimenting is the whole session
• Commit audio or snapshot before returning to cookbook
• Never default reach while finishing a song

Expert reviews

Bypass test (10 min)

1. Record or import one weird found sound (metal scrape, room tone, vocal fragment).
2. Resynthesize in Vertigo. Play a few notes.
3. Try the same source in Pigments granular or Logic Alchemy.
4. Buy Vertigo only if the spectral editor lets you shape the sound in ways the others cannot — and you will actually use that in Deep Lab sessions.

Guide updates if kept

• Add to Deep Lab tier in 15-plugin-inventory.md
• Add optional step in found-sound-and-sampling.md (resynthesis path)
• Add overlap row in 16-overlap-and-redundancy-map.md
• Add entry on instruments/08-synths-and-keys.md (Deep Lab section)

One-sentence summary

Deep Lab resynthesis instrument — spectral control of harmonics; not a Pigments replacement, a found-sound laboratory upgrade.

discoDSP Discovery Pro

Company: discoDSP
Type: Virtual-analog synthesizer (Nord Lead–inspired) + sample import
Price (approx): ~$99–149
Evaluated: 2026-07-10
Status: Skip for current stack — quality is real, overlap is total

What it does (plain English)

Discovery Pro is a virtual-analog synth modeled after the Clavia Nord Lead — bright, punchy, digital-analog hybrid from the 90s/2000s.

Four layers, twelve oscillators, sixteen filter types (including Nord Lead 2 zero-delay feedback, Moog ladder, Oberheim SEM), sample import, PADSynth wavetable generation, and Nord Lead 2 SysEx import/export (load real Nord hardware patches).

Does it sound exactly like a Nord?

No — and it does not claim to.

Fair description: A solid, well-reviewed Nord Lead–style software synth with Nord patch compatibility — not "software Nord Lead that fools a Nord owner in a blind test."

Job

VA leads, basses, pads, Nord-style digital punch — general workhorse synthesis.

vs your stack

Verdict: Basically the same — downgrade vs your ⭐ tier for the target sound.

Sits next to

Diva, Carbon Electra 2, PolyMAX, Roland D-50 — all cover overlapping VA/digital ground.

Cookbook tier

Skip — unless you fall in love with Nord SysEx workflow or Lead 2 filter character in a demo.

Expert reviews

Bypass test (10 min)

1. Load a bright lead or punchy bass preset in Discovery Pro.
2. Match the part in Diva or Jupiter-8.
3. Ask: does Discovery Pro sound more expensive for your art-pop target?
4. If not — skip. If yes only for Nord-specific brightness — situational at best.

Guide updates if kept

Raw inventory only — do not add to cookbook path unless a recipe specifically needs Nord Lead SysEx.

One-sentence summary

Legit quality, wrong stack — Nord-inspired VA, not a Nord clone; your Diva/Jupiter/Pigments tier already wins.

GForce Oberheim OB-EZ

Company: GForce Software (official Oberheim licensee)
Type: Analog polysynth — streamlined front-end for the OB-E engine
Price (approx): £50 standalone — free with OB-E ownership, also in the Launchkey bundle
Evaluated: 2026-07-26
Status: Install — Situational fast path, not a new ⭐

What it does (plain English)

OB-EZ is OB-E with most of the panel removed. Same Oberheim 8-Voice emulation under the hood, same voice engine, no sonic compromise — GForce is explicit that it is not a lite version in sound terms.

What is gone is the wall: no individual SEM voice controls, no split patches, no sequencer, no drum mode. What remains is cutoff, resonance, amp/filter ADS, tuning, portamento, vibrato, panning modes, a Vintage knob, and delay/reverb — all CC-mappable. The 700+ OB-E patch library is filtered down to 260 curated presets that fit that reduced control set.

Job

Fast 80s Oberheim poly color while writing — pads, keys, unison bass — especially away from the desk on a controller.

vs your stack

Verdict: Basically the same (identical engine) — but a workflow upgrade in one specific situation.

The honest read: this adds no new sound to the studio. It buys speed and hands — the reduced control set is exactly what maps onto eight physical encoders, which is the problem OB-E has on a couch setup.

Sits next to

OB-E (upstream), JUNO-106 as the other fast-color poly, and the Launchkey 37 Mini writing setup.

Cookbook tier

Situational — 🟢 fast path. Never promoted above OB-E; presets made here import into OB-E when a sketch becomes a real part.

Expert reviews

Bypass test (10 min)

Skip the sound test — it is the same engine and A/B'ing it is wasted time. Test the workflow instead:

1. On the couch with the Launchkey, write a pad in OB-EZ using only physical knobs.
2. Do the same in OB-E.
3. Keep OB-EZ if step 1 was faster and you touched the trackpad less. That is the entire case for it.

Guide updates if kept

• Row in 15-plugin-inventory.md (Analog / Virtual-Analog, 🟢, Priority B) — done
• OB-EZ block in the Oberheim section of 16-overlap-and-redundancy-map.md — done
• Pick bullet in instruments/08-synths-and-keys.md 80s poly section — done

One-sentence summary

Install it — free, identical engine, and the only version of the OB-E sound you can actually drive from a controller without a mouse.

GForce Axxess

Company: GForce Software
Type: Analog synthesizer — ARP Axxe (1975) emulation, extended
Price (approx): ~£50 — arrived in the Launchkey bundle
Evaluated: 2026-07-26
Status: Install — Situational, Priority C

What it does (plain English)

The ARP Axxe was the single-oscillator little brother of the Odyssey — one VCO with mixable saw and pulse, noise, a resonant 24 dB filter, one LFO, one ADSR. Raw and simple.

Axxess keeps that signal path and character (it shares its engine lineage with GForce's Oddity3) and then adds the things the hardware never had: 6-voice polyphony, a sub-oscillator, a 16-step sequencer plus arpeggiator, distortion/analog delay/reverb, a Vintage knob, and GForce's X-Modifiers — an independent X-LFO and X-ADSR assignable to almost any parameter.

Job

Raw ARP-flavored mono bass and leads, and sequenced hypnotic lines where the built-in step sequencer plus per-parameter modulation does the work.

vs your stack

Verdict: Basically the same for mono duties — different job only for the X-Mod plus sequencer combination.

The mono lane in this studio is crowded. Axxess does not out-fat SEM or Minimonsta, and it does not out-acid the Bass Station. Its genuine differentiator is that the sequencer and X-Modifiers live on the same panel — you can build an evolving 16-step line with per-parameter modulation without leaving the instrument or drawing automation.

Sits next to

SEM, Minimonsta, Bass Station, Lexington — all covering overlapping mono ground.

Cookbook tier

Situational — reach for it when the part is the sequence. Not a default mono reach, and not named in recipes until it earns a spot.

Expert reviews

Bypass test (10 min)

1. Program a 16-step line in Axxess, with X-Mod on cutoff.
2. Rebuild the same line in SEM or Bass Station with a Logic step sequencer plus automation.
3. Keep Axxess as a reach only if step 1 got somewhere musical faster. If SEM sounded better and the automation was no real burden, leave Axxess in the inventory and reach for SEM.

Guide updates if kept

• Row in 15-plugin-inventory.md (Analog / Virtual-Analog, Priority C) — done
• Promote into instruments/08-synths-and-keys.md and the acid/dub or mono-lead recipes only if the bypass test above goes its way

One-sentence summary

Install, low expectations — a well-made ARP Axxe whose real value is the sequencer plus X-Modifiers, in a mono lane that SEM and Minimonsta already own.

Remanence Audio Iron Glass

Company: Remanence Audio (solo developer — first product, launched June 2026)
Type: Five-band parallel EQ — circuit-modeled inductor network with tube and transformer stages
Price (approx): $75 (intro $50 expired end of June 2026) — fully functional 14-day trial, offline licensing
Evaluated: 2026-07-27
Status: Skip — no trial. Quality looks real; the slot is already held by a ⭐.

What it does (plain English)

A passive-style tone EQ where the five bands are wired in parallel through one shared inductor network instead of stacked in series. Because they interact, boosting and cutting near the same frequency produces shapes a normal EQ cannot make — the same trick that makes passive hardware EQs feel broad and expensive.

The Tube and Iron controls change which kind of tube and transformer you are running, not how hard you hit them. Drive is set separately by ±18 dB of linkable input/output gain, so you decide how hard the circuit works. High- and low-pass filters are inductor circuits too, not utility filters bolted on. It runs independent L/R or M/S, oversamples to 192 kHz internally, and no curve is fixed: push the inductors and the band's center frequency rises while Q drops slightly, and the modeled iron remembers how it just saturated and settles in the moments after a transient — which is where the company name comes from.

One thing to know up front: there is no frequency graph. The developer had one and scrapped it when he moved to the accurate inductor model. This is an ears-only box.

Job

Broad tonal shaping with analog weight on the mix bus or master bus — and the occasional expensive-sounding tone move on a stem.

vs your stack

Verdict: Basically the same on paper — this lands directly on top of a ⭐ you already own.

The honest read: bus tone is the most crowded lane in this studio. The three claimed differentiators are real engineering choices rather than marketing filler — the curve moves as you drive it, the transformer settles after transients, and M/S mode is something the Massive Passive does not offer. But "real" is not the same as "audible on your mixes, better than a ⭐ you already paid for."

Sits next to

Massive Passive and Pultec on the bus; Sphinx 101 in the audition queue for the same slot.

Cookbook tier

Skip. The decision here is not about quality — it is that a "basically the same" verdict against an established ⭐ is not worth 14 days of trial attention. Bus tone is already solved by Massive Passive + Pultec + Ozone, and the only genuinely missing capability (M/S tone shaping) is not a recurring need in current recipes.

Revisit only if one of these changes:

• A real review appears — Sound On Sound, MusicRadar, or a mastering engineer with a track record, not forum enthusiasm
• M/S tone shaping becomes a recurring need in actual mixes, and Pro-Q 4 in M/S mode is not covering it
• The company survives a year, ships a curve display, and the tool stops being a first-product bet

Is Remanence Audio a "good company"?

Promising posture, zero track record — the same caveat as Analog Realism, one notch earlier.

Positives:

• Fully functional 14-day trial, offline licensing, one-time purchase, no subscription
• Started as a free JSFX on Gearspace, then rebuilt on real circuit models rather than shipping the approximation
• Candid about tradeoffs — scrapped the EQ curve display rather than fake it against the new model
• Very responsive to feature requests on the release thread; point releases arriving quickly (v1.1.6 within weeks)

Unknowns:

• One developer, one product, six weeks old. No support history, and a real bus-factor risk on a paid mastering tool
• No press review exists. The glowing quote on the front page is a KVR forum veteran's first-day post, not a publication
• Rapid point releases cut both ways — active development, but the product is still settling

Expert reviews

Bypass test (10 min) — only if revisited

Not being run. Kept here so a future trial does not have to be re-designed. The 14-day clock is short, so do not install until two or three finished mixes are ready to test against.

1. A: Massive Passive doing your usual broad master move on a finished mix. B: Iron Glass attempting the same curve.
2. Use the linked input/output gain to keep the comparison honest while you push the circuit — that is what the link is for. Level-match A against B too.
3. Listen only for the two things that are supposed to differ: depth and settling after transients, and whether boosts stay musical as you drive it harder.
4. Then run the move the Massive Passive cannot: side-only air or weight in M/S mode.
5. Buy only if it wins the same move on two of three finished mixes. If it ties, the answer is that you already own this.

Guide updates if kept

None — nothing to touch. Not installed, not in inventory, no recipe references. If a future trial passes, the pages to update are the EQ and Mix Bus/Mastering tables in 15-plugin-inventory.md, a bus-EQ overlap row next to Massive Passive in 16-overlap-and-redundancy-map.md, and an audition block in 13-mix-bus-and-mastering.md.

One-sentence summary

Skip — genuinely interesting circuit modeling from a six-week-old one-man company, aimed straight at the slot the Massive Passive already ⭐ owns; a tie is a loss when you already own the incumbent.

reFX Rippler

Company: reFX (the Nexus developer, ~20 years) — engine by tiagolr (Tiago Ribeiro), in partnership
Type: Hybrid modal synthesizer — resonator banks + virtual analog, with sidechain audio excitation
Price (approx): $99 intro / $129 regular — full 30-day trial
Evaluated: 2026-08-02
Status: Buy — trial first, then Situational. Bought for the exciter, not the preset browser.

What it does (plain English)

Modal synthesis. Instead of starting with a saw wave and filtering it, you strike a virtual object with an impulse and the object rings. Change the object — string, beam, membrane, drumhead, plate, marimba, vibraphone, bell, djembe, open or closed tube — and change its material and inharmonicity, and you get struck, plucked and blown tones that behave like real acoustic objects but tune and decay in ways no real object can.

Two layers, 12 resonator models, up to 64 partials each, series/parallel routing with bi-directional energy coupling between resonators, plus two conventional VA oscillators per layer, 27 filters, 4 envelopes / 4 LFOs / 4 randomizers with drag-and-drop mod mapping, MPE, a 32-step arpeggiator, 12 effects per layer + 13 on the master, and 441 presets.

The capability that decides it

Everything above is a synth you already have five better versions of. This is the part that is genuinely absent from the studio:

"Sidechain audio directly into the resonators in tune with the keys you play."

Rippler will take any audio on a track — a vocal, a drum hit, a field recording, a whole loop — use it to excite a modeled object, and let you play that resonance as pitched notes. Alongside that: 32 exciter samples, a custom impulse editor, and import of your own audio (up to 3 seconds) as a permanent exciter.

That makes it a resonator processor for your own recordings, not just an instrument. That is the purchase.

Job

Sound design — found-sound and industrial accent work. Playable resonance driven by captured audio. Secondary: tuned percussion where sample repitching breaks down, and soft mallet/bell shimmer for the dream-pop end.

Not for: bells as a first reach, pads, or anything the ⭐ tier already owns.

vs your stack

Verdict: Different job. Modal synthesis driven by external audio is a real hole, not a duplicate.

The honest read: roughly one feature of this plugin is worth anything here. The VA oscillators, 27 filters, 12 effects and arpeggiator are dead weight against Diva, the GForce shelf and the UAD rack. It earns its place on the exciter alone — but that one capability has named jobs in five existing recipes, which is exactly what Straylight never had.

Is it dream pop? Is it expensive?

Dream pop: yes — as a source, not as an aesthetic. Vibraphone, Bell, Marimba and Plate with long decay and a soft exciter, through S1 Dark Plate + S4 Width, is a direct line to the Julee Cruise / Beach House / Broadcast shimmer and the chimed side of Cocteau Twins. But modal synthesis is naturally dry, precise and percussive, and dream pop is wet, blurred and sustained. The genre happens downstream in the decay and the send rack, not in the plugin.

Expensive: yes — with one specific cheapness trap. Played clean, dry, harmonic and mid-register, modal synthesis collapses into plasticky 90s "physical modeling demo" marimba — General MIDI wooden percussion. That is the sound to avoid.

Where it is genuinely expensive is the exciter: a vocal ringing a Bell resonator through a long plate is expensive precisely because it is unplaceable — the ear cannot work out what made it. That is 04 - Make It Sound Expensive almost verbatim.

Guards: keep it inharmonic, keep the decay long, keep it in the send rack, and never let it play a clean melody in marimba register.

Sits next to

Sculpture (the incumbent it replaces in practice), Quick Sampler ⭐ and Logic Sampler in the found-sound workflows, Halogen FM ⭐ in the bell lane it does not take.

Cookbook tier

Situational — filed under sound design. Never promoted above Halogen FM ⭐ for bells, never above the granular ⭐ tier for pads.

Promote to Cookbook only if the found-sound exciter workflow produces a keeper in a real song. Demote to Deep Lab if three months pass and it has only made impressive demos — that is the Sequis outcome and it should be recorded honestly.

Is reFX a "good company"?

Established, with a reputation from a different world.

Positives:

• ~20 years in business — the Nexus developer, not a first-product bet
• One-time purchase, no dongle since Nexus 3, no subscription
• Full 30-day trial — generous, and long enough to test properly
• Partnered with tiagolr rather than forking his work; the free predecessor RipplerX stays up on GitHub under GPL-3.0 and openly points at the commercial version

Unknowns:

• Account-based cloud installer with online activation — more friction than the UAD / GForce norm
• reFX's reputation is built on EDM romplers, not synthesis instruments. This is a departure, and the preset library will lean in a direction that is not this guide's target
• Three days old at time of evaluation, with exactly one review in existence

The free version, and why it is not the answer here

RipplerX (tiagolr, GPL-3.0, still on GitHub with AU/VST3 builds for Apple Silicon) has 9 resonators, dual resonators with serial/parallel coupling, 64 partials, mallet and noise generators, and — from v1.4.0 — audio input. So the core unique capability is available for free.

What the paid version adds that matters here: custom impulse import and the impulse editor (the found-sound half of the case), the second layer, bi-directional coupling, three more resonators, and 441 presets. The presets matter more to this studio than to most, because programming a modal synth from scratch is exactly the decision-load this guide exists to remove.

Price is not the constraint on this decision, so the paid version is the correct one. RipplerX stays worth knowing about as the zero-cost way to sanity-check the lane.

Expert reviews

Bypass test (first session — run the trial, not the preset browser)

The trial is 30 days and costs nothing, so start there even having decided to buy. Do not open the preset browser first — that is the path to the Sequis outcome.

1. Record one object in the apartment on the SM57 — metal, glass, a pipe, a hard tap.
2. Instrument track → Rippler. Route the recording in via the plugin's sidechain menu (it is an instrument listening to an audio track, not an insert).
3. Bell or Plate resonator, long decay, high inharmonicity. Play the resonance as a line.
4. S1 Dark Plate 15% + S4 Width. For the dream-pop version: Vibraphone, longer decay, softer exciter, add S2 Cinematic as a throw.
5. Then the second test: import that same recording as a custom impulse and build a playable instrument from it.
6. Keep it as a Cookbook reach if either step produced something you would put in a song. If both were merely impressive, it is Deep Lab — file it honestly and stop reaching for it.

Guide updates if kept

• Row in 15-plugin-inventory.md (Sample Instruments / Keys, Character, Priority B) — pending trial
• Modal-vs-FM-vs-sample overlap row in 16-overlap-and-redundancy-map.md — pending trial
• Workflow 7 — Resonator Excitation in Found-Sound and Sampling, plus a Transformation Toolbox line — drafted, pending trial
• Optional source row in FM Bells and Glass (does not take the ⭐) and the Knife / Pitched Percussion Grid Best Sources
• Accent option in Depeche Mode / Industrial Accent Effects and ionnalee / Cinematic Digital Nature
• Pick bullet in 08 - Synths and Keys (physical modeling — replaces the Sculpture mention in practice)

One-sentence summary

Buy it for one feature — audio sidechained into tuned resonators, the only genuinely new sound-design capability in the studio; the synth wrapped around it is redundant, the bells belong to Halogen FM, and it becomes Sequis the moment you open it as a preset browser.

Quick Reference — Recent Candidates

Related Pages

• 13 - Mix Bus and Mastering — bus chains + Sphinx audition
• 15 - Plugin Inventory — what is installed
• 16 - Overlap and Redundancy Map — when not to add
• 20 - Guide Maintenance — intake rules + blank template