AudioEffX vs Phosphor 3

Multieffect Audioprocessor Seven studio quality effect modules for live usage and to enrich your iTunes music library. All effect modules can be used together chained in any order you like. The Chorus effect is a modulation effect used used to create a richer, thicker sound and add subtle movement. The effect roughly simulates the slight variations in pitch and timing that occur when multiple performers sing or play the same part. The Delay effect provides you with two different types of delay effects using two delay lines. With Sync mode the delay times can be set by note lengths and are then relative to the currently set tempo. The delayed signal can be feed back to the input for echo effects. You can select between a stereo delay and a ping-pong delay where the echoes bounces across the stereo field. The Drive effect provides you with different types of distortion from hard clipping to soft distortion simulating analog tube amplifiers and tape machines. The sound balance can be adjusted using a combined High/Lowpass filter. The distortion algorithm uses oversampling to reduce aliasing artefacts. The ParaEQ effect is a parametric equalizer with optional graphic editing of Lowpass/Highpass and Bandpass equalizer stage. The Flanger is composed of two independent delay lines with feedback for the left and the right channel respectively. The delay time of both delays is modulated by one LFO with adjustable frequency. For typical flanging effects the delay time should be below 5 milliseconds. The Phaser is built from an 8-pole allpass filter, which gives you a very short and frequency dependent delay time. This delay time is modulated by an LFO. The Reverb effect is used to simulate the sound reflections off walls in different kind of rooms. This reflections disperse the sound, enriching it by overlapping the sound with its reflection. This reverb parameter are accessible by the user: • Tail delay - Sets the amount of time that elapses between the direct sound and the reverberation tail. This time correlates with the perceived size of the simulated room. The adjustable range is from 0 ms to 300 ms. • Reverb time - The time the reverb takes to die away by 60dB after the end of the initial sound. This parameter correlates with the perceived size of the simulated room. The adjustable range is from 50 ms to 100 seconds. • Room size - The room size parameter sets the average distance between the reflecting walls. • Diffusion - The Diffusion parameter controls the echo density of the resulting reverberant sound. A higher value corresponds to a higher echo density which is in most cases more natural sounding. • Absorption - The Absorption parameter simulates the surface and air absorption of high frequencies. Due to absorption the reverberation time is shorter for high frequencies than for low frequencies. With higher absorption high frequencies will decay much faster. • Tail stereo - Adjusts the stereo image width of the reverberation tail. • Tail cutoff / tone - Lowpass and Highpass filter for the reverb tail. Summary of features: • Seven studio quality audio effects • AudioUnit for AUv3 compatible hosts. • AudioUnit full parameter automation. • Inter-app audio compatible effect. • Audiobus 3 compatible with state saving. • Apply multi effect to any song in your iTunes library. • Low latency live usage with mic and headphones. • Audio recorder • Ableton Link compatible.

Glow in the dark synthesis. Phosphor 3 is a dual-oscillator additive synthesizer that puts the raw building blocks of sound at your fingertips. Draw, randomize, or select up to 64 harmonics per oscillator, then shape them with envelopes, LFOs, cross-modulation, and a flexible mod matrix. Originally inspired by the alphaSyntauri, a rare digital additive synth from the early 1980s, Phosphor 3 takes that concept far beyond its origins with modern MPE expression, polyphonic modulation, and a full effects engine. --- Additive Oscillators Two identical additive oscillators, each with up to 64 individually editable harmonics. Start from classic shapes: sawtooth, triangle, square, or draw your own harmonic spectrum directly in the partial editor. The intelligent randomizer generates musically useful timbres with variable rolloff, density, and formant peaks, so every click produces something worth exploring. Choose 16, 32, or 64 partials per oscillator to balance complexity against CPU. Each oscillator has independent level, pan, transpose, fine tune, a noise generator with lo-fi downsampling, and cross-modulation (FM) for pushing timbres into harsher, more complex territory. Modulation Two ADSR envelopes with adjustable attack, decay, and release curves. Two LFOs with four waveforms (pulse, sine, saw, random), tempo sync, and the option to run polyphonically, a separate LFO per voice, or globally. An 8-source modulation matrix routes velocity, pressure, pitch bend, mod wheel, CC 74, triggered random, and both LFOs to destinations across the oscillators and effects. Effects Stereo delay with independent left/right time, feedback, and cross-channel feedback for ping-pong and rhythmic patterns. Tempo sync locks delay times to your DAW. Dual band-pass filters after the delay let you carve the wet signal into resonant, frequency-specific textures. Expression Full MPE support with per-note pitch bend, pressure, and slide across 16 polyphonic voices. Mono legato and mono retrigger modes with adjustable portamento. Unison mode for thick, detuned stacks. A scrollable 128-key on-screen keyboard with velocity from touch position, pitch bend from horizontal drag, and channel pressure from vertical drag, no hardware controller required. Tuning MTS-ESP client support for real-time microtuning from any MTS-ESP master. TUN file import for custom scales. Standard 12-TET with adjustable A4 reference. Supports AUv3 for use in GarageBand, AUM, Cubasis, and other AUv3-compatible hosts.