Flanger VST Plugins

Classic Flanging for a Modern Mix

The Instant Flanger Mk II brings the great sound of vintage tape flanging to your plug-in toolbox. An authentic emulation of the original 1975 studio rackmount, the Instant Flanger was famously used on David Bowie’s “Ashes to Ashes” and Cyndi Lauper’s “Time After Time.” A truly versatile tool, engineers and producers have used it for stereo sweetening, subtle modulations, double-tracking, and extreme flanging effects.

Spread the Sound Around with Pseudo Stereo

Turn flat mono guitars into huge stereo leads or have your single-channel synthesizer fill out the sides of your mix with pseudo-stereo. The Instant Flanger Mk II has dual outputs that create three different sonic images – “Shallow”, “Deep”, and “Wide”. Combining “Wide” Mode with the “Low Cut” control is an easy way to place multiple harmonies behind the lead. Fine-tune the resonance of your flanging effect by using the “Depth” and “Feedback” controls.

True End-to-end Emulation

Tape machines use servo motors to run at a constant speed and when an engineer pressed a thumb on the flange and then suddenly let go, the capstan motor servo reacts – overshooting and undershooting as it seeks to recover proper speed. In other words, it ‘bounces’. The Instant Flanger convincingly mimicked this behaviour with its innovative “Bounce” control knob. Use this feature to add a real-world groove to your tracks.

MAIN FEATURES

• Depth controls the intensity of the effect. 100% adds the delayed signal to the dry signal. -100 % subtracts the dry signal from the delayed signal
• Three distinct flavours of flanging. Set the Mode switch for Shallow, Deep or Wide
• Manual control allows you to control the ‘comb’ effect by turning the Big Knob
• Oscillator drives the flanging at a user-defined rate
• Envelope Follower drives the flanging based on the signal’s amplitude
• Remote maps the flanging control to a mod wheel for tactile manipulation
• Bounce mimics the distinctive effect of the tape machine’s capstan motor “hunting” for its proper speed when the engineer’s thumb was lifted from the tape reel flange
• “Side Chain” allows for triggering the Envelope Follower from any source in the mix for inter-track mingling
• Exercise total control of the Oscillator with Sync and Retrig
• Tame the intensity by removing low frequencies from the flanged signal with the Low Cut control

Distinguishing Flanging from Phasing Since 1975

Instant Flanger Ad 1975The method of tape flanging was originally achieved by playing back a track on two separate tape machines and using your thumb to apply pressure to the “tape flange” thereby slightly slowing down one of the machines. In the tape era, before the introduction of electronic effects devices, the terms “phasing” and “flanging” were used interchangeably. Then, in 1971, Eventide released the Instant Phaser which was based on analog filters rather than delay.

When the Instant Flanger was released in 1975, the original hardware manual explained “Old model phasing units used analog circuitry to modify the frequency spectrum. Eventide’s Instant Flanger uses a true time delay circuit, producing many more nulls and thus a much deeper effect than previously available with an all-electronic unit.”

8 Iconic Plug-ins

Rewind time with an iconic collection of Eventide studio classics

In 1971, in a New York City basement, Eventide Clockworks revolutionized the audio industry by creating the world’s first studio effects processor–the Instant Phaser and pro audio’s first digital device, the Digital Delay Line. Over the course of the following decade, Eventide would release the world’s first Harmonizer®, the H910, along with the other industry firsts: Omnipressor®, Instant Flanger, H949, and SP2016.

Now, producers and engineers can evoke the classic effects heard on countless records from the last 50 years with the Clockworks Bundle. Painstakingly modelling every aspect of these hardware units was neither quick nor easy but now the must-have sonic beauty of these classic boxes is available for use with your favourite DAW live or in the studio.

Instant Phaser Mk II

The Instant Phaser was the world’s first studio phaser and the first rack mount effects unit, period. Originally intended to make the painstaking task of tape flanging quick and easy, engineers and producers would use it for smooth, transparent modulation and pleasing stereo decorrelation. It used analogue all-pass filters to mimic the effect achieved by time delay resulting in a modulation effect all its own. Experience all of its analogue charm with the Instant Phaser Mk II plugin and add “Age” to taste.

Features

• Add Age for component drift and electrical leakage in your phaser.
• Offers three different flavours of phasing with the Mode switch: Shallow, Deep, and Wide.
• Utilize one of four distinct methods to control the phasing.
• Depth allows you to combine the phased signal with the dry signal.
• Added Side Chain function allows you to trigger the Envelope Follower from a separate source in the mix for inter-track mingling.
• Exercise total control of the Oscillator with Sync and Retrig controls.
• Use Feedback control for a more pronounced sound.
• Includes standard gain input and output.

Instant Flanger Mk II

The Instant Flanger utilized newfangled bucket brigade ICs for swept delay resulting in a ‘true’, time-based, emulation of tape flanging. Whereas the Instant Phaser offered several methods of controlling modulation, the Instant Flanger allowed engineers to combine these controls. The result, more control layers and less predictable sweeps. Explore vintage modulation sweetness with the Instant Flanger Mk II.

Features

• Depth controls the intensity of the effect. 100% adds the delayed signal to the dry signal. -100 % subtracts the dry signal from the delayed signal.
• Three distinct flavours of flanging. Set the Mode switch for Shallow, Deep or Wide.
• Manual control allows you to control the ‘comb’ effect by turning the Big Knob.
• Oscillator drives the flanging at a user-defined rate.
• Envelope Follower drives the flanging based on the signal’s amplitude.
• Remote maps the flanging control to a mod wheel for tactile manipulation.
• Bounce mimics the distinctive effect of the tape machine’s capstan motor “hunting” for its proper speed when the engineer’s thumb was lifted from the tape reel flange.
• “Side Chain” allows for triggering the Envelope Follower from any source in the mix for inter-track mingling.
• Exercise total control of the Oscillator with Sync and Retrig.
• Tame the intensity by removing low frequencies from the flanged signal with the Low Cut control.

Omnipressor

The Omnipressor, released in 1974, set the stage as the first dynamics effects processor, introducing the concepts of infinite compression, dynamic reversal, and side-chaining. The flexible nature makes the Omnipressor plugin a must-have, with options to control all aspects of dynamic modification.

Features

• Dynamics processing for creating otherworldly sounds.
• Gating, expansion, compression, limiting, and Dynamic Reversal.
• An intuitive interface makes it simple to operate with the use of a Function dial.

H910 Harmonizer

The H910 Harmonizer was the world’s first digital effects unit. With its unique combinations of pitch shifting, feedback, modulation and delay, it was a huge hit across studios worldwide. Thickening snares, guitars and vocals are H910’s bread and butter, but robot sounds and gritty octaves are just as easily dialed in. The bundle includes H910 Dual.

Features

• NEW Keyboard and MIDI mapping – The original H910 featured a keyboard remote control which was used live by several artists including Elton John. With the H910 plug-in you can easily use MIDI to control pitch and harmonization in real-time.
• NEW Envelope Follower – An envelope follower has also been implemented in this latest release. Engineers and producers discovered that sending a control voltage to the hardware H910 could be used to slightly (or massively) vary the pitch, creating entirely new sounds. The built-in envelope follower makes exploring these possibilities easy.
• NEW OUT2 Delay Group – adds inspiring attributes to your sound.
• True analogue modelling of highly nonlinear electronics for faithful reproduction of the original H910’s juicyness and grit.
• Perform perfect pitch changes controlled manually, via MIDI or with Anti-Feedback.
• Anti-Feedback modulates the pitch around unity for a subtle or wild effect.
• Optional “glitching” of original H910 hardware to create unpredictable sounds as it alters the pitch.
• Modify pitch by musical intervals (diatonic) to harmonize vocals or solo instruments.
• Delay rhythms and melodies to create everything from slap-back echoes to feedback chaos.
• Create colourful, unique sound effects and drones through self-oscillation.
• Individually control delay outputs and dry/wet mix.
• Mix Lock allows for scrolling through presets or settings while keeping the dry/wet mix constant.

BONUS: H910 Dual

• H910 Dual recreates two H910 units running in parallel to create doubling effects and other unique sounds.
• H910 Dual easily fattens and thickens instruments when assigning opposite pitch ratios.
• H910 Dual Stereo (cross-unit) Feedback can cause the incoming signal to shift up and then down continuously.

SP2016 Reverb

In 1981, the SP2016 was released and was the world’s first programmable effects processor featuring ROM chips that “plugged in” under the hood making it possible to add new effects in the field. While it was not a Clockworks effects unit, the SP2016 earned its spot on this roster as it marks the opening chapter of modern Eventide effects processors, with the H9000 its current incarnation. The SP2016 Reverb plug-in includes modern and vintage versions of its signature Stereo Room, Room, and Hi-Density Plate.

Features

• Room – Your basic no-nonsense, no-frills ambient “room.” It’s a mono effect with stereo outputs. The extreme Pre-Delay range makes it possible to use this effect for reverberant doubling and single echoes.
• Stereo Room – Recreates the ambience of a large concert hall, with very clear, natural reverberation. It’s characteristically natural and shines on instruments where a natural sound is a desire – like vocals, drums, acoustic guitar, strings, and horns
• Hi-Density Plate – Plate-type reverb with dual pickups simulating the effect of a bigger, heavier plate. This reverb allows you to make vocals, guitars and percussive instruments appear much bigger and brighter than they actually are.
• Control the structure of the reverb by fine-tuning the controls – including PreDelay, Decay, Position and Diffusion. The EQ section allows for simple high and low filtering of the reverb with adjustable filter ranges. The low filter can be used to cut OR boost at the specified frequency.
• Boasts a variety of artist presets including some by Dave Pensado, Richard Devine, Joe Chiccarelli, Sasha, George Massenberg, The Butcher Bros., Buda and Grandz, and more.

H949 Harmonizer

In 1977, Eventide released the H949, standing on the shoulders of the H910 as the second in Eventide’s family of Harmonizers. It introduced a formal micro pitch-shifting mode, which is a great sound for lead guitar virtuosos. It also had the first Reverse delays and introduced a Random pitch mode, which works great as an automatic double-track for guitars and vocals. And, the H949 conquered the ‘glitch’ by using advanced autocorrelation techniques. The bundle includes H949 Dual.

Tape Construction Kit

We took a journey back to the Golden Age of magnetic tape recording. We wanted to recreate all kinds of tape machines in software, from the ground up. After many months spent on research, measurement and on developing an architecture that would be flexible enough for the job, we knew we had nailed it…

But we couldn’t stop there: We added the old noise-reduction systems that were often (mis)used for timbral compression effects. Then more heads and a global feedback path, which made an uber-tape-delay and realistic ‘one-shot’ tape flanging possible.

Users familiar with analogue recording gear should instantly feel at home with Satin, and digital aficionados will also learn to love the magic of tape – Satin invites you to explore and find out for yourself.

Presets

Satin ships with a wide variety of presets – emulations of classic professional tape machines, cheap ‘n nasty tape machines, tape delays, tape flanging/chorus… and a whole lot more!

Gains

The two large knobs adjust input and output levels – probably the most important controls in Satin!

Metering

Precise visual signal level monitoring is ensured through a combination VU & peak meter, with switchable RMS mode and variable reference level.

Delay

2 or 4-tap delay with variable routing, cyclic modulation, feedback filtering and limiter. Easily create beautiful organic space or precisely synchronized, complex patterns. 

Flanger

Unlike regular LFO-controlled digital flangers, this is the real deal. True tape flanging that legendary ‘swoosh’! Doing this on a pair of real tape machines takes skill and practice – with Satin, you simply activate the Trigger.

Grouping

In Studio mode, you can assign each instance of Satin to one of the eight groups. Each group will behave as a multitrack tape, ‘remote-controlled’ from any instance in that group.

Companders

A choice of encoder and decoder circuits brings back the era of noise-reduction systems that were (mis)used for all kinds of dynamic and spectral effects, including the legendary ‘A-type vocal trick’.

TapeControls

Satin’s speed control is continuously variable from 7.5 up to 30ips – it even re-adjusts the entire machine model as you tweak. Pre-emphasis allows for precise control over transients, tone and fidelity.

Service Panel

Satin lets you get seriously technical whenever you want: adjust numerous attributes of the tape, the heads and the surrounding circuitry. A handy analyzer makes alignments such as biasing easy and precise.

MAIN FEATURES

• Mix-and-match emulation spans all major historical developments in tape technology
• Control multiple instances from one panel – ‘glue’ multiple tracks together
• High-quality: internal sample rate up to 384kHz, continuous tape speed control
• All the ‘goodness’ of tape (saturation, transient-smoothing, HF compression etc.)
• Full control over the ‘badness’ (head-bump, wow&flutter, asperity noise, hiss etc.)
• Record / repro EQ standards (separately selectable), classic NR compander standards
• Extra FX modes: through-zero tape flanging, host-synchronizable 4-tap stereo delay

• True emulation of BBD based analog delay line
• Optional independent parameter control for each stereo channel
• Selectable L/R or M/S stereo processing modes
• Mistress mode allows the whole unit to work the same as the classic flanger
• LFO can be synchronized with your host application
• 3 different LFO-to-BBD clock curves
• Ultra-low aliasing output
• Highly musical and pleasant sound
• Tag-based browser
• Two alternative GUI sizes
• MIDI-learn functionality throughout
• 64bit internal processing

A legendary flanger resurrected In bringing the classic stomp box back to life, we’ve created a must-have effect plugin that will appeal not only to performing guitarists, but to instrumentalists and producers of virtually any genre: whether it’s rock guitar riffs or melodic synth lines you’re into, you’ll find that the extreme attention to sonic detail coupled with the flexibility afforded by modern technology in Antresol make it the perfect example of what a flanger should be in the modern era. The original, conceived in the mid-70s, quickly became a benchmark for flanger-type effects by offering a uniquely rich character defined by luxuriously harmonious interacting resonances, and has been heard ever since on countless classic recordings. That’s why D16 couldn’t resist the opportunity to resurrect the soul of this classic in a thoroughly modern incarnation with Antresol, our newest effect in the SilverLine Collection!

Loaded with features way beyond the original Antresol’s users can also enjoy absolute freedom of control over every aspect of the BBD-based delay line (including such nuances as calibration of the linearity of the clocking system or the number of analog memory cells constituting the backbone of the BBD). Fashioning a flanger sound that is uniquely you yet retains all the richness and warmth afforded by the original, classic circuit design has never been easier! In addition to the standard parameter knobs found on the face of the original unit, there is also a wide range of deeper parameters available to tweak, such the on-PCB trimpots which would normally be inaccessible without taking the stompbox apart. Some even go far beyond those you could find in common flanger-type effects: a fully controllable LFO (with adjustable phase and rate sync to a host application’s tempo); the ability to delink the stereo channels and control the most important parameters independently for left and right (or mid/side, depending on selected mode), and more. Try the demo today and see where your imagination takes you!

True BBD emulation with total control An exceptionally accurate emulation of an impulse-controlled, solid-state analog delay line (a Bucket Brigade Device) is responsible for the impeccable sonic characteristics found in Antresol. Effects based on high-quality BBD emulations stand out with remarkable, even seductive warmth, and we have no doubt that the tremendous success of D16’s first foray into BBD delay line emulation, the chorus plugin Syntorus, has been directly attributable to this approach. The key element around which Antresol is designed, an analog BBD integrated circuit, proved to offer some unique challenges for a digital emulation of this type. In particular, the feedback parameter showed some weaknesses in the form of improper shapes of emerging peaks and notches in the frequency response, forcing us back to the drawing board. After much R&D, our Eureka moment came in the form of a much-refined BBD emulation using quasi-analog signal representation throughout, guaranteeing behavior much more akin to the original, physical circuit. While a bit chaotic, it includes all the benefits and subtleties the analog domain can offer—unlike a deterministic, classically digital algorithm—and all this without any unwanted artifacts such as aliasing (something we always take great pains to minimize)… and all with the rock-solid stability only digital can offer!

For wild jet-plane flanging and deep, lush phasing.

What is LiquidShaper?

Dive deep into sound design! LiquidShaper gives you wild jet-plane flanging and deep, lush phasing in one multiband Shaper effect.

With easily editable LFOs, design any movement you can imagine — from soothing stereo sweeps to monstrous robotic comb filter FX.

Running inside Cableguys’ ShaperBox 3 effects plugin, use LiquidShaper on its own or with other Shapers — they all work in exactly the same way, stacking up to create elaborate, multilayered effects that’ll make your productions stand out.

Future Flanger

Based on ultra-short delays, Flanger mode gives you everything from awesome jet-plane swooshes to gritty robotic comb-filtering.

Fluid Phaser

With up to 16 stages, for fluid, bubbling phasing. From soft and gentle to thick, lush and resonant.

Waveforms that you design

Get amazing modulations and design wild patterns in seconds with a drawable LFO for the Centre and Feedback parameters. Sync it to your song, trigger with MIDI, or even with audio transients.

Follows Any Rhythm

Trigger your flanging and phasing patterns in any rhythm at all using MIDI. Or use powerful new audio triggering that tightly tracks the rhythm of drums, loops, instruments – even full mixes.

Reacts to dynamics

Analogue-like Envelope Followers give you funky talking phasers and gritty reactive flanging that tightly tracks the dynamics of any signal.

Multiband Power

Put a phaser on the bass and a flanger on the tops! All 3 bands get their own LFOs and Envelope Followers.

Mighty Modes

Get more sonic options! Flip the feedback polarity for rich or hollow flanging, peaked or notched phasing.

Go Wide!

Expand your stereo field with a funky Stereo parameter that offsets the Centre frequency in each speaker.

Runs in Shaperbox 3!

LiquidShaper runs in Cableguys’ acclaimed ShaperBox 3 effects plugin. Use it on its own, or combine it with up to 8 more Shapers for multilayered effects. Buy LiquidShaper on its own — or save 70% and get all 9 Shapers with ShaperBox 3 Bundle.

Through-Zero Flanger

Dipole is a through-zero flanger. It employs two delay lines with dual-mode feedback, and one of the delays is able to run earlier or later in time in relation to another.

As this time difference passes through the zero point, a very special sound transition occurs: with positive feedback, Dipole produces that coveted spectral “swoosh” effect of a jet plane fly-by – and with negative feedback, the output signal warps and eventually cancels itself out.

In the old days of audio production, such effects were created manually using two parallel tape machines – but now Dipole recreates that charismatic flanging, chorusing and psychedelic stereo widening with much higher fidelity and ease of use.

The plugin offers both manual control of the zero-point as well as modulation via its built-in multi-waveform generator.

Sound Engine:

• Flanger engine with through-zero time capability and positive/negative feedback
• Modulation generator with four different waveforms and variable stereo phase offset
• Low-cut filter and feedback self-levelling to ensure stable operation even at the most extreme settings
• Lag filters on all continuous parameters for smooth, click-free adjustment
• Supports mono › mono, mono › stereo, and stereo › stereo channel configurations
• Optional modulation generator host tempo and transport sync

Graphic Interface:

• Color-coded graphic elements
• Consistent name, mapping, value, and unit implemented for all parameters in both graphic user interface and host control/automation
• Built-in preset management functions
• Supports window size scaling up to 200%.

Eternal is a barber-pole flanger. Unlike a traditional flanger which has its tone repeatedly go up and down, a barber-pole flanger goes upwards or downwards in a seemingly endless fashion.

To accomplish this unique effect, Eternal employs a thoroughly calibrated low-frequency oscillator with six output signals which modulate and crossfade three flangers – and they do this in a very special way.

Since these oscillators have a “through-zero phase” design, Eternal can go from downwards to upwards motion and back completely seamlessly.

With two distinct timbres available thanks to positive or negative feedback, this plugin produces a wide variety of delicious spectrum sweeps – plus unusual chorus, pitch shift, and stereo widening effects.

SOUND ENGINE

• Triple-layer flanger engine with positive or negative feedback
• Multi-output, through-zero modulation generator with variable stereo phase offset
• Low-cut filter to ensure stable operation even at the most extreme settings
• Lag filters on all continuous parameters for smooth, click-free adjustment
• Supports mono › mono, mono › stereo, and stereo › stereo channel configurations

GRAPHIC INTERFACE

• Color-coded graphic elements
• Consistent name, mapping, value, and unit implemented for all parameters in both graphic user interface and host control/automation
• Built-in preset management functions
• Supports window size scaling up to 200%

MFlangerMB is a powerful multiband flanger that allows you to fully adjust its shape. Where other flangers end, this flanger only begins. It processes anything from guitar tracks to complete mixes with outstanding audio quality, and includes an extensive set of features.

Features

• Dual user interface – the plugin is not only extremely versatile, but also quick and easy-to-use thanks to 2 graphical user interfaces. First there is a simple default one with several predefined modes, but just a few controls, which lets you start quickly and easily without any knowledge. All you need to do is choose what you want and use a few knobs. And the plugins also has an advanced mode, which provides all the extreme features the plugin offers.
• 1-6 fully configurable independent bands built on 3 perfectly transparent crossover algorithms (analog, linear-phase and hybrid) with fully adjustable limits and input gains. Includes peak meters for all bands and the master.
• Continuously adjustable oscillator shape – every oscillator in our plugins is defined by a mix of predefined oscillator shapes, custom waveforms edited using our MeldaProduction Envelope System (MES), step-sequencer and several methods for algorithmic postprocessing. It is the most advanced approach for defining oscillator shapes.
• 4 global modulators – in each instance you can have up to 4 fully-featured modulators that can modulate any set of parameters including other modulators! In this way you can make the sound move in time, be less static and more interesting. Each modulator works as LFO, follower, midi/audio triggered ADSR envelopes, a pitch detector or even a combination.
• Integrated tube saturation gives the sound a great vintage analog feel.
• Up to 8 channels surround processing – our plugins can handle not only mono and stereo signals, but also up to 8 channels of surround audio, making them ideal for audio production for movies, games etc.
• Full randomization – using a single button you can generate completely new settings. By clicking the button you can walk through the billions of possible settings and find the best one for you! And if that’s too much, you can just hold ctrl and MFlangerMB will only slightly modify existing settings.
• Sync interpolation and high-quality upsampling – MFlangerMB implements the most advanced technologies to provide the best audio quality.
• Adjustable up-sampling 1x-16x to minimize aliasing and get an even clearer sound.
• Extremely advanced and easy-to-use user interface – our products are always designed to enhance the workflow. You can easily change all values, fine-tune each control in multiple ways. Easy orientation in a standardized GUI, textual editing and smooth visualization with almost unlimited zooming are standard in all of our plugins. Moreover our plugins are the world first (and still the only ones), which support resizable and stylable GUI’s.
• Automatic synchronization to host tempo – every oscillator and modulator in the plugin can automatically synchronize to the host providing as natural a sound as possible while not offending other tracks.
• MIDI controllers with MIDI learn – you can map any parameter to any MIDI controller or MIDI keyboard and control it realtime or record and automate it.
• Very fast, optimized for SSE and SSE2 processors.
• Global preset management and online preset exchange – using a title button you can save your settings (which are shared on the computer) so you can easily access these in other songs. Moreover all plugins can automatically share your presets and download presets of other users from our servers (if this feature is enabled). We are building a community and you can be a part of it!
• Fully Automatable.