F vs Spirangle

F-16 Filter is a flexible multi-mode filter with frequency response display. It features sixteen modes, frequency and resonance controls, saturation for analog-style soft clipping, and wet/dry mix. The 4 pole lowpass mode provides the frequency response of classic the Moog ladder filter. The other modes provide all of the choices available in the famous Oberheim Matrix 12 and Xpander synthesizers. At the heart of F-16 is a Zero Delay Feedback algorithm, the latest in DSP filtering technology. F-16 Filter gives you a wide variety of filtering options with pristine fidelity. F-16 Filter is an AUv3 that works inside host apps. Just open up your favorite host that supports AUv3 and add it as an effect. Compatible with GarageBand, Cubasis, Auria, BeatMaker, AudioBus, AUM, Modstep, and more. Blamsoft brings their experience creating top notch plug-ins for the desktop to iOS. The same filter modes are found in the popular Rack Extension for Propellerhead Reason. You get a desktop quality plug-in at an iOS friendly price. In addition to controlling the filter through the knobs and sliders, you can use the frequency response display to control cutoff frequency and resonance simultaneously. The sixteen filter modes available are: 1, 2, 3, and 4 Pole Lowpass 1, 2, 3, and 4, Pole Highpass 2 and 4 Pole Bandpass 2 Pole Notch 3 Pole Phase 2 Pole Highpass + 1 Pole Lowpass 3 Pole Highpass + 1 Pole Lowpass 2 Pole Notch + 1 Pole Lowpass 3 Pole Phase + 1 Pole Lowpass Tap Developer Website for sound examples.

Spirangle is a delay. It's actually two delays. The first delay is a three-tap delay. The second delay is a feedback delay. The three taps from the first delay are sent through three independent filters. The three filters are SVF filters with plenty of available resonance and drive. The filters can have stereo separation applied to them. The three taps are individually routed, pre-filter, to the feedback delay mix section. The feedback delay mix section also includes an input which is a sum of the three delay taps taken after the filters. The resulting mix is then sent through the feedback delay. The output of the feedback delay then goes into a stereo effect unit that does LFO driven panning, chopping, tremolo, and left-right ping-pong manipulation to the signal. The output of the effect unit is summed with the input signal and sent back into the cycle.