Phase Modulator vs Q Sahara

PHASE MODULATOR Phase modulation perturbs the running phase of a carrier oscillator with a modulating signal. Sweeping the phase back and forth generates a series of sidebands above and below the carrier, spaced by the modulator frequency, whose number and strength grow with the Index. This is the same technique behind classic FM synthesis: small index values add a little harmonic shimmer; large values produce dense, clangorous, often inharmonic spectra. The carrier you hear is always an internal oscillator. What changes between modes is where its phase modulation comes from. ------ CONTROLS: CAR FREQ Frequency of the carrier oscillator, 20 Hz to 20 kHz. This is the audible tone in both modes. CAR AMP Level of the carrier oscillator before the Output gain. MOD FREQ Frequency of the internal modulator oscillator, 20 Hz to 20 kHz. Active in Osc + Osc only. The carrier-to-modulator frequency ratio sets the harmonic character: integer ratios give harmonic, pitched tones; non-integer ratios give bells and metallic, inharmonic results. In Input + Osc the modulator comes from your audio instead, so this control is inactive. MOD AMP Level of the modulation source before it reaches the phase. Together with Index it sets how far the carrier phase is pushed; think of it as a trim ahead of the Index multiplier. INDEX Modulation index, 0 to 10. The headline control: peak phase deviation in radians equals Index times the modulation signal. At 0 the carrier passes clean; raising it brings in progressively more sidebands and brightness. OUTPUT Makeup gain after the effect, -24 dB to +36 dB. No limiter follows this stage, so watch your meters when boosting. WAVEFORM Carrier oscillator shape: Sine, Saw, Triangle, or Square. Sine is the classic FM voice. The richer shapes already contain harmonics, so phase modulating them produces denser spectra and reacts more aggressively to Index. MOD WAVE Modulator oscillator shape (Osc + Osc mode only): Sine, Saw, Triangle, or Square. Changes the harmonic character of the modulation itself. In Input + Osc mode the modulation comes from your audio, so this picker is inactive. FOLLOW Input + Osc only. With Follow On (the default) the carrier tracks the amplitude of your incoming audio: it speaks only while signal is present and falls silent when the input does, so the plugin behaves like an effect rather than a constant tone. With Follow Off the carrier runs continuously at its set level regardless of input, which suits drones and sustained textures. In Osc + Osc there is no input to follow, so this control is inactive. ----- MODES: OSC + OSC Both carrier and modulator are internal oscillators, set by Car Freq and Mod Freq. Classic two-operator FM with no input required, good for bells, electric pianos, and metallic drones. INPUT + OSC Your track's audio becomes the modulation source, perturbing the phase of the internal carrier oscillator. Note that what you hear is the carrier shaped by your audio, not the audio itself passed through; the input controls the timbre rather than being processed in place. Mod Freq does not apply in this mode. This is the default mode. ------ A NOTE ON ALIASING Phase modulation can scatter energy well above Nyquist, so the effect runs internally at four times the host sample rate and filters on the way back down. At extreme Index settings with the saw or square carrier some residual aliasing can remain; lower the Index or the carrier frequency if you hear gritty, detuned overtones.

Drive it. Shape it. Move on. Q Sahara is an input-driven compressor designed for quick decisions and musical results. There is no threshold to chase and no millisecond math to interpret: drive the signal into Sahara, set the ratio, and let its program-dependent behavior follow the music. INPUT-DRIVEN COMPRESSION A fixed internal threshold means compression is controlled by how hard you drive the input — just like classic analog workflows. MUSICAL TIMING Attack and release are program-dependent, adapting to phrasing, groove and dynamics instead of fixed time values. RATIO WITH CHARACTER Ratio and knee work together. Lower ratios stay smooth and forgiving; higher ratios add firmness and control without limiter behavior. MADE FOR iOS • AUv3 plugin — use it in AUM, GarageBand, Logic Pro for iPad, Cubasis, Loopy Pro and other AUv3 hosts • External sidechain support with dedicated sidechain high-pass filter • Standalone app included • Two hand-crafted themes: Sand Dune and Black Sand • HD and Eco oversampling modes • Zero samples latency, ultra-low CPU • A/B compare and preset management • Factory presets, including artist presets by Grammy-winning engineers FOCUSED BY DESIGN No unnecessary controls, no distractions. Sahara does one thing and does it well: it delivers instant results, stays responsive to your material, and lets you mix by ear instead of by numbers. “Really interesting compressor! Sahara seems to improve the sound of everything I put it on.” — Mark Linett, three-time Grammy-winning producer and engineer “I reach for the Sahara compressor when I want character. It shines on bass, acoustic guitar, snare, parallel drums, and more!” — Brian Vibberts, seven-time Grammy Award-winning producer and engineer