Audio effects

The Chorus/Flanger effect combines two widely used delay-based effects. The Chorus option simulates the sound of multiple voices or instruments played at once by introducing several short delays with a small amount of feedback. This produces a lush, rich sound. You can use this effect to enhance vocal tracks or introduce stereo spaciousness to mono audio.

• Mode: The following modes are available: 
  • Chorus: Simulates multiple voices or instruments playing concurrently.
    
  • Flanger: Simulates the delayed, phase-shifted sound that was initially prominent in psychedelic music.
• Speed: Sets the speed at which the delay time shifts from zero to the maximum setting.
• Width: Sets the maximum delay.
  
• Intensity: Controls the proportion of original audio to processed audio.
  
• Transience: Enhances transients, providing them a sharper and more distinct sound.
  

Flanging is an audio effect achieved by blending a fluctuating, brief delay with roughly equal weighting to the original signal. Its origin can be traced back to the practice of sending an identical audio signal to two reel-to-reel tape recorders and manually slowing down one reel's flange. The combination of these two recordings results in a phase-shifted, time-delay effect, characteristic of the psychedelic music from the 1960s and 1970s. The Flanger effect allows you to replicate a similar outcome by introducing slight delays and phasing to a signal at predetermined or random intervals.

• Initial Delay Time: Sets the point in milliseconds at which flanging begins behind the original signal. The flanging effect unfolds over time, transitioning from an initial delay setting to a second (or final) delay setting.
  
• Final Delay Time: Sets the point in milliseconds at which flanging ends behind the original signal.
  
• Stereo Phasing: Allows you to set separate left and right delays, measured in degrees. For instance, setting it to 180° synchronizes the initial delay of the right channel with the final delay of the left channel. This option can be adjusted to invert the initial and final delay settings for the left and right channels, producing a circular and psychedelic effect.
  
• Modulation Rate: Controls the speed at which the delay transitions between the initial and final delay times, measured in cycles per second (Hz). Even minor adjustments to this setting can result in a wide range of effects.
• Mix: Adjusts the blend between the original (Dry) and flanged (Wet) signal. You need some of both signals to achieve the characteristic cancellation and reinforcement that occurs during flanging. Setting Mix to 0% eliminates flanging while setting Mix to 100% produces a wavering sound, like a malfunctioning tape player.
  
• Feedback: Specifies the percentage of the flanged signal that gets reintroduced into the flanger. When there is no feedback, the effect relies solely on the original signal. By incorporating feedback, the effect utilizes a portion of the affected signal from before the current playback point.
• Mode: Provides three ways of flanging:
  • Inverted Mode: Inverts the delayed signal, canceling out audio periodically instead of reinforcing the signal.
    
  • Special Effects Mode: Combines the normal and inverted flanging effects. The delayed signal is added to the effect, while the leading signal is subtracted.
  • Sinusoidal Mode: Makes the transition between the initial delay and final delay, and vice versa, to adhere to a sine curve. Without this setting, the transition follows a linear pattern, maintaining a consistent rate of change from the initial setting to the final setting. When "Sinusoidal" is chosen, the signal spends more time at the initial and final delays than it does between them.

Much like flanging, phasing involves altering the phase of an audio signal and then recombining it with the original, resulting in psychedelic effects. However, unlike the Flanger effect, which employs variable delays, the Phaser effect cycles through a series of phase-shifting filters to and from an upper frequency. Phasing has the potential to significantly transform the stereo image, creating unearthly sounds.

• Stages: Determines the quantity of phase-shifting filters. Increasing this setting results in more pronounced and dense phasing effects.
  
• Intensity: Controls the degree of phase-shifting applied to the signal.
  
• Depth: Specifies the extent to which the filters move below the upper frequency. Increasing this setting results in a broader tremolo effect, 100% sweeps from the upper frequency to zero Hz.
  
• Mod Rate: The modulation rate dictates the speed at which the filters move to and fro from the upper frequency. Specify a value in Hz, which represents cycles per second.
  
• Phase Difference: Specifies the phase offset between stereo channels. Positive values initiate phase shifts in the left channel, while negative values initiate them in the right. The maximum values of +180° and -180° result in complete phase differences and are sonically identical.
  
• Upper Freq: Sets the highest frequency point from which the filters initiate their sweep. For the most pronounced effects, choose a frequency that falls near the midpoint of the selected audio's range.
  
• Feedback: Returns a portion of the phaser output back to the input, increasing the intensity of the effect. Negative values invert the phase before feeding audio back.
  
• Mix: Manages the proportion of the original audio compared to the processed audio. 
• Output Gain: Controls the output level after processing. Positive values amplify the output. Negative values attenuate the output.