+binaural: This filter places a sound at a specific position around the listener’s head. Use it with a reverb to create a virtual environment. When used with it’s LFO, +binaural can place various beats or parts of a loop in specific repeatable positions.
PHA-979 is useful during mixing sessions, especially when working with the sound material recorded through an array of microphones. In many cases this allows you to solve various phasing problems arising from the microphone placement chosen during the tracking session. In other cases this process may help you to align drums and other instruments to each other bringing punch and time coherence not attainable by the ordinary time-aligning alone.
Echobode is a delay effect with a frequency shifter placed inside the feedback loop. The frequency shifter algorithm is inspired by the classic Bode Frequency Shifter (named after its inventor Harald Bode). The difference between a frequency shifter and a pitch shifter is that it shifts the audio spectrum linearly. E.g. an overtone series of 100, 200, 300 Hz can be shifted by 50 Hz to 150, 250, 350 Hz, making the overtones inharmonic. This effect in itself is great for creating metallic bell timbres, but putting it inside a delayed feedback loop opens up many other possibilities.
Sympathy for the audio Superchord is a novel effect plug-in which emulates virtual strings resonating in sympathy with the input audio. The strings can be tuned to any pitch, and even be played live using MIDI, as an instrument. Superchord transforms your sounds into complex, animated textures with an organic quality. It can also be used as a special kind of reverberation to add a touch of ambience to your tracks. Superchord opens a myriad of possibilities for musicians, producers and sound designers alike.
The Cyber Bundle includes all P.A plugins until now, over 40 of the most respected pro audio brands.
TENS has been physically modeled after the range of high end studio spring reverberation units introduced by a famous Austrian company from the early 1970s to early 1980s. As opposed to classic spring reverbs found in guitar amps, these units were based on the company’s own patented proprietary design principle, which allowed various connected spring elements of different lengths and wire diameter to vibrate inside a small isolated space. The spring elements were manipulated in various ways, e.g. by etching the wire surface and deforming individual turns of the coil wire resulting in a highly diffused, and very dense reverb, that didn’t expose the boing/chirping artifacts associated with spring reverbs and brought it much closer to the sound of plate reverbs. This range of reverbs is praised for its incredibly deep, organic, complex, rich, smooth and floating character. In terms of sound (but of course not technically) it can been seen as the missing link between classic spring and plate reverbs. A very unique beast indeed!
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