The parameters of all Phat FX processors are described in the respective sections below.
The Bandpass unit passes the portion of a signal occupying a band surrounding the cutoff frequency and rolls off the portions above and below that band. The Reject Mix knob lets you restore (mix in) the signal that was not band passed at the Bandpass unit position within the overall signal chain. This allows you to apply one or more effects to a specific frequency range only, leaving other frequencies unchanged.
On/off button: Enable/disable the bandpass filter.
Type pop-up menu: Choose a filter characteristic. Each option provides a different tonal color and response to High and Low Res control values.
Low/High sliders and fields: Set the lowest and highest frequencies allowed to pass by the filter. Frequencies outside these boundaries are cut.
The length of the horizontal orange bar represents the frequency range. The handles on the left and right ends of the bar set the Low and High frequency values. You can move the entire frequency range by dragging the bar. You can also drag in the numeric fields above the bar to adjust the frequency values.
Low/High Res knobs and fields: Determine the basic sonic character of filtering around the low and high frequencies set with the Low/High sliders. Higher Res settings emphasize the frequency, resulting in a sharper, brighter character. Lower Res settings result in a softer character.
Reject Mix knob: Mix in (restore) the signal that was not band passed at the Bandpass unit position within the signal chain.
The filter unit provides dozens of filter types. See Phat FX filter types.
On/off button: Enable/disable the filter effect.
Type pop-up menu: Choose a filter characteristic. Each option provides a different tonal color and response to Cutoff, Drive, and Res control values.
Note: The chosen filter type can alter the names and functions of the default Cutoff, Res, and Drive knobs.
Cutoff knob and field: Set the cutoff frequency for the filter. Higher frequencies are attenuated and lower frequencies are allowed to pass in a lowpass (LP) filter. The reverse is true in a highpass (HP) filter. When in a bandpass (BP) mode, cutoff determines the center frequency of the band that is allowed to pass. The comb and other filter types change the names and behaviors of the filter controls.
Res knob and field: Boost or cut signals in the frequency band that surrounds the cutoff frequency.
Drive knob and field: Overdrive the filter. This can lead to intense distortions, depending on filter type.
Mix knob and field: Set the level of the original versus filtered signal.
The three distortion units can be used independently or combined to create a huge variety of tones.
On/off button: Enable/disable the distortion effect module.
Amount knobs and fields: Set the level for each of the three distortion units.
Type pop-up menus: Choose a distortion characteristic for effect unit 1, 2, or 3. Each option provides a different tonal color and response.
The modulation unit provides four types of chorus-like effects, ranging from soft through to doubling or ensemble type processing.
On/off button: Enable/disable the Mod FX unit.
Mix knob and field: Set the level of the original versus modulated signal. This is a modulation amount control.
Rate knob and field: Set the speed of the modulation effect.
Type pop-up menu: Choose a modulation characteristic. Each option provides a different tonal color and effect depth.
Bass Enhancer boosts the signal around a defined frequency.
On/off button: Enable/disable the bass enhancer effect.
Amount knob and field: Set the level of the effect signal.
Tune knob and field: Set the center frequency for bass enhancement. Signals surrounding this frequency are boosted.
Type pop-up menu: Choose a bass enhancement characteristic. Each option provides a different tonal color and response.
The compression unit tightens up your audio by smoothing out dynamics and increasing the overall volume.
On/off button: Enable/disable the compressor effect.
Amount knob and field: Set the level of compression.
Release knob and field: Set the time it takes for the compression circuit to stop reducing the signal.
Type pop-up menu: Choose an emulated compressor circuit. The choices are Classic, Clip, Platinum, Studio VCA and FET, Classic VCA, or Vintage VCA, FET, and Opto.
FET models: Field Effect Transistor compressors are known for their fast transient response. They can deliver a clean or colored tone (notably midrange), and can be pushed toward a “crunchy” tone on transients. FET compressors are ideal for drums, vocals, and guitars. FET compressors can only attenuate the signal.
VCA models: Voltage Controlled Amplifier compressors can respond slowly or quickly to incoming transients. They tend towards a clean tone and are suited for bass guitars and low-frequency signals. VCA compressors can attenuate or amplify the signal.
Opto model: Optical compressors are known for their fast transient response and non-linear release handling. They are very clean and are ideal for vocals and guitars.