Fizzy Bacon vs Undae

Some tracks are perfect and still sound like a computer. Fizzy Bacon is the box that fixes that. A tape deck and its compressor, together, on your channel strip. Turn up Dirt. Keep going. You'll know when. PUT IT ON THE DRUM BUS Drive it until the kit stops being a grid and starts being a room. The compressor catches the whole thing on the way past, and the low end arrives on its own, without you touching an EQ. PUT IT ON A VOCAL A little Dirt for body, a little Age to take the glare off a bright mic, and the loud words sit down without you drawing a single automation line. PUT IT ON THE MIX Ease it in and everything moves a little closer together. Nothing sounds processed. It just sounds finished. PUT IT ON EVERYTHING Full wet, slow tape, wow and flutter up — and now you're listening to a cassette that's been in somebody's glovebox since 1982. FIVE KNOBS AND NO HOMEWORK Dirt is how hard you're hitting the tape. Age is how many miles are on the machine. Noise is the hiss and the hum, and it only shows up while the music does. Wow and Flutter are the drift and the shimmer — let them wander, or sync their rates to your tempo. Synced Wow lands on the beat; Flutter remains random. And Mix is hiding a flanger you didn't pay for: pull it back with the wobble running and the two sides sweep past each other. Real flanging, the two-tape-machines kind, free. A COMPRESSOR WITH NOTHING TO HUNT FOR No threshold to find. You just drive it harder until it's doing what you want. Four ratios, plus an All-buttons setting for when the whole track should be breathing rather than politely controlled. Two VU meters swing the way meters should — flip them to watch the gain reduction, or to check your width survives a mono fold-down. 51 PRESETS, ALL AT THE SAME LEVEL From a barely-there print to a completely melted reel, plus mastering and mixing banks. They all sit within a decibel of each other, so you can walk the whole bank without riding the fader and hear the difference instead of the volume. Save your own and they follow you to your other devices. NOTHING TO WATCH OUT FOR Latency never changes, your DAW compensates, bypass vanishes completely. Any hardware knob drives any control. Everything automates. An AUv3 plug-in in your DAW, or a standalone app on Mac, iPhone, iPad and Apple Vision Pro. Same engine either way. There's a full manual inside the window, if you're the type. Most people just turn Dirt up.

Undae is an optical vibe, the watery and vocal swirl of the late sixties photocell units, rebuilt for iPhone, iPad and Mac. A single slow lamp sweeps a chain of staggered filters, so the notches roll through your tone unevenly instead of moving in a straight line. That stagger is what makes a vibe sound like a vibe and not a phaser. Chorus mode blends the sweep against your dry signal for the classic swirl. Vibrato mode drops the dry signal for a pure, seasick pitch wobble. Voice it to taste. Choose 2, 4, 6 or 8 stages, morph the lamp from a smooth sine to a lopsided ramp, move the sweep centre darker or brighter, and add a touch of feedback for a throatier, more vocal sweep. Set the speed by hand or lock the lamp to your project tempo. Spread it across the stereo field for a rotary style swirl, tilt the tone, then set mix and level. Twelve factory presets get you going, from Classic Chorus and Rotary Wide to Jet Phaser and Seasick, and you can save your own. Use it as an AUv3 audio effect in GarageBand, AUM, Loopy Pro, Cubasis, Logic and other hosts, with host presets, parameter automation and full session state. Or run it standalone with the built in demo bed, your microphone, or a song from your library, and export the processed result. Undae collects nothing. No accounts, no tracking, no analytics, no ads. All audio is processed on your device and is never recorded or uploaded.