Gales

Your input goes through the comb filter, whose loop time and decay can wander on their own, then the split delay. GALE mixes that with your clean input on the way into the tape stage, and BLEND brings in the dry sound at the end.

1. Stability drift

   STASIS

   Adds "drunk walk" randomness to OFFSET, so the comb's loop time wanders in smooth, natural-sounding moves. At zero the loop time holds still.

2. Shuffle drift

   SHUFFLE

   Adds slight random changes to DREDGE, so the comb's decay moves around its current setting.

3. Comb filter

   DREDGE

   Sets the decay time of the comb filter, from a short tap up to about four seconds of ringing.

   OFFSET

   Sets the comb's loop time, from 80 to 200 ms. That sets the spacing of the repeats and the pitch the comb rings at.

4. Split delay

   SPLIT

   Mixes in copies of the comb delayed by 10 ms on the left and 20 ms on the right. This pulls the channels apart for a wide space and phase reflections.

5. Comb mix

   GALE

   Sets how much of the comb and split delay goes on to the tape stage, against your clean input. It's the master amount for everything DREDGE, OFFSET, STASIS, SHUFFLE and SPLIT do.

6. Tape aging

   TAPE

   Adds analog cassette-style age after the comb. It brings in a random pitch wobble and a driven low-pass filter that comes down from 15 kHz to 2 kHz as you turn it up.

   NOISE

   Adds tape hiss. TAPE scales its level, so it's silent while TAPE is at zero.

7. Master

   BLEND

   Sets the mix between your dry input and the processed sound.

   GAIN

   Sets the output level, from silent up to double. Noon is unity.

Try thisFor a simple chorus, keep DREDGE short, add a little STASIS and SPLIT and set GALE around halfway. Turn DREDGE up for deep, ringing spaces.

Formats

Studies: Audio Units, VST2 and VST3 on Mac, VST3 on Windows · Apple silicon native

Systems

Current macOS and Windows 10/11 x64