The Phaser effect combines the original signal with a copy that is slightly out of phase with the original. This means that the amplitudes of the two signals reach their highest and lowest points at slightly different times. The timing differences between the two signals are modulated by two independent LFOs. In addition, the Phaser includes a filter circuit and a built-in envelope follower that tracks volume changes in the input signal, generating a dynamic control signal. This control signal alters the sweep range. Sonically, phasing is used to create whooshing, sweeping sounds that wander through the frequency spectrum. It is a commonly used guitar effect, but it is suitable for a range of signals.
The 4, 6, 8, 10, and 12 settings put five different phaser algorithms at your fingertips. All are modeled on analog circuits, with each designed for a specific application.
You are free to select odd-numbered settings (5, 7, 9, 11), which, strictly speaking, don’t generate actual phasing. The more subtle comb filtering effects produced by odd-numbered settings can, however, come in handy on occasion.
At 0°, the extreme values of the modulation are achieved simultaneously for all channels. 180° or −180° is equal to the greatest possible distance between the modulation phases of the channels.
Note: When you load a setting that uses the “random” option, the saved phase offset value is recalled. If you want to randomize the phase setting again, choose “new random” in the Distribution pop-up menu.