Mid vs Spectral Hold

Ever wonder what lies between the L/R and M/S representations? Mid-Side Continuum extends the definition of mid-side encoding to create a smooth, continuous interval allowing in-between values and gradual changes. Channel mode switches can now be turned into faders, opening up new modulation possibilities as well. The algorithm used by the plugin is a true extension of the mid-side encoder/decoder concept and doesn't involve any cross-fading or other artificial constructs. The plugin can be used in two ways: • In standalone mode, as a width-preserving panning effect, or a special modulation effect for spatially balanced sounds • In paired mode, allowing other effects to operate anywhere between L/R and M/S modes, with modulation options available FEATURES: • Provides a new kind of spatial modulation effect for stereo signals • Can be used as a panner that doesn't squash wide components (existing ambience, reverb, stereo FX), strongly panning narrow parts at the same time • A great companion for delays or delay-based effects: explore adding space or change the panoramic character without re-configuring delay taps • Turn any stereo effect or effects chain into a M/S one (or any graduation on the L/R - M/S curve), by sandwiching them between a pair of Mid-Side Continuum instances • Unlike panning, stereo panning, or binaural panning, Mid-Side Continuum preserves the exact geometry of the stereo field by using a lossless transform • Higher rates of change can be used to create additional kinds of effects (chorus, warble/flutter), depending on the width characteristics of the original input • A tempo sync capable LFO is available to add automatic modulation; the LFO phase can be offset to allow precise timing control and alignment THE PANNER FOR REVERB-RICH SOUNDS: Panning high-ambience and reverb-rich sounds need no longer result in squashed stereo images. The exact, full width of the stereo field is preserved when using Mid-Side Continuum as a panning tool. Unlike binaural panning, the overall stereo frequency response is kept maximally flat, thanks to the used algorithm's audio engineering-focused feature set. In fact, Mid-Side Continuum's algorithm is a lossless, completely reversible one (based on True Pan's technology). WRAP ANY EFFECT TO CHANGE / MODULATE THEIR STEREO MODE: Two Mid-Side Continuum instances can be conveniently linked in a way that the second one cancels out the transformation, restoring the original sound. Once linked, the second plugin will automatically re-align if parameters are changed in the first one, without missing a single sample. Between these two points, any number of audio effects can be inserted, all of which will receive the transformed signal instead of the original L/R one. This setup can be used in multiple ways: either to just turn any stereo plugin into a M/S one, or to modulate the stereo field of the wet signals (while keeping the dry signal intact) without the need for setting up additional routing, thus keeping tracks neatly self-contained. VERSATILE EXTENSION TO DELAY-BASED EFFECTS: • Alter stereo delay patterns or turn a mono multi-tap delay into a stereo one on the fly • Instead of having to choose from the two, explore any setting between L/R and M/S delay modes to select the best-fitting stereo response • Remove excessive L/R slappiness without losing any stereo width by spatially equalizing the delay output, filling in directions not populated by L/R taps • Improve the clarity of the mid channel / mono mix when combining panned delays with shorter notes or more rhythmic passages • Lessen any "clockwork-like" quality of panned delays that may be experienced with some instruments or passages • Change or fine-tune delay patterns that emerge in the mono mix when using stereo delays PLEASE NOTE: • An Audio Unit v3 compatible host app is required to use this plugin

SPECTRAL HOLD A spectral processor that combines a frequency-domain tilt EQ with a spectral freeze. Audio is analyzed with a short-time Fourier transform (1024-point FFT, 75% overlap, Hann window). Each frame's bins can be tilted around a pivot frequency, and the most recent frame can be frozen and held indefinitely, turning any moment of the input into a sustained spectral drone. ------ CONTROLS TILT Applies a spectral tilt around the pivot frequency. The gain of each bin is scaled by tilt * 3 dB per octave of distance from the pivot. Negative values darken the sound by attenuating highs and boosting lows; positive values brighten it by boosting highs and attenuating lows. At 0 the spectrum passes unchanged. Range: -1.00 to +1.00 (so +/-3 dB/octave at the extremes). PIVOT Sets the frequency around which the tilt rotates. Bins above the pivot are affected in one direction and bins below in the other; the pivot itself is left at unity gain. Lower the pivot to pivot the tilt around the low end, raise it to rotate around the highs. Range: 20 Hz to 20 kHz (exponential), automatically clamped below the host Nyquist frequency. FREEZE Captures and holds the most recently analyzed spectral frame. While engaged, the stored magnitude and phase of every bin are replayed on each hop instead of the live input, producing a continuous frozen texture. Tilt and pivot remain active on the held spectrum, so the frozen sound can still be shaped. Disengage to return to live processing. DRY/WET Blends the unprocessed (dry) input with the processed (wet) output. At 0% only the dry signal is heard; at 100% only the wet. The dry path is internally delay compensated so it stays time- and phase-aligned with the wet path at every mix setting, with no comb filtering. Useful for layering a frozen pad underneath the live signal, or easing in a tilt. ------ NOTE Because the effect works frame by frame, it reports a latency of one FFT frame (1024 samples, about 21 ms at 48 kHz) to the host for accurate delay compensation.