{"product_id":"prismwave","title":"Prismwave","description":"\u003cp style=\"font-size:1.15em;line-height:1.55\"\u003eA flanger, chorus and phaser built as one engine whose notches you shape. Morph travels from phaser through flanger to chorus without crossfading between effects, and Stretch respaces the notches like the partials of a struck bar, a colour we haven't found in any other modulation plugin.\u003c\/p\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eThree effects, one engine\u003c\/h3\u003e\u003cp\u003eMost modulation plugins give you three effects and a switch. Prismwave starts from a different observation: a phaser, a flanger and a chorus are not three effects. Each carves a pattern of notches into the spectrum and moves it, and what makes one sound hollow, one metallic and one thick is how many notches there are, how they are spaced, and how they move.\u003c\/p\u003e\u003cp\u003eSo Prismwave is one engine whose notch pattern you shape, with the three classics sitting on it as stations you can reach exactly, and every setting between them a real sound of its own. It holds itself to one rule: every control is a statement about notches, where they sit, how they are spaced, or how they move.\u003c\/p\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eHighlights\u003c\/h3\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.7em 0 .2em\"\u003e\n\u003cstrong\u003eOne engine, one axis\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eMorph travels continuously from phaser through flanger to chorus. Nothing is crossfaded: every point in between is a real setting of the same engine, so you can sit anywhere on it.\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.7em 0 .2em\"\u003e\n\u003cstrong\u003eStretch — a struck object\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eAn even comb sounds like a tube. Stretch respaces the notches along a stiff bar's law, so the comb turns into one struck, ringing object. Heard on guitar and drums alike.\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.7em 0 .2em\"\u003e\n\u003cstrong\u003eTwo engines, pulled apart\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eDiverge splits the effect into two engines and pulls them apart along Morph. Routing combines them in Series, in Parallel, one per side, or across a crossover with the phaser low and the chorus high.\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.7em 0 .2em\"\u003e\n\u003cstrong\u003eThrough-zero flanging\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eThe dry is held back 5 ms so the sweep can pass right through it: the tape jet. At the crossing the sound swells or cancels, as far as you choose. Latency only while it is on.\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.7em 0 .2em\"\u003e\n\u003cstrong\u003eA Modulator for whole phrases\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eA second source of motion, down to one cycle every 100 seconds or locked to the song's bars: LFO, the input's envelope, or smooth random steps, on two destinations such as Morph, Stretch, Regen, Diverge or Pan.\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.7em 0 .2em\"\u003e\n\u003cstrong\u003eLocked to the song\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eRate follows your DAW's tempo in straight, triplet or dotted values from 1\/32 to 16 bars, and stays in step after a loop or a jump. Or leave it free, in Hz.\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.7em 0 .2em\"\u003e\n\u003cstrong\u003eA sweep that never ends\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eSine or Triangle, or Rise and Fall: a barber-pole sweep whose notches climb, or fall, forever without ever arriving, at the phaser end and the flanger end alike.\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.7em 0 .2em\"\u003e\n\u003cstrong\u003eTuned to a key, played with MIDI\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eKey tunes the feedback loop so it rings on a note of your song. Route MIDI to Prismwave and up to eight held notes ring at once, chords made out of the audio passing through.\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.7em 0 .2em\"\u003e\n\u003cstrong\u003eMatch — level held\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eOn by default, Match keeps the output as loud as the input at any setting, predicted from the plugin's own response so it follows a knob as you turn it. A ceiling keeps peaks below 0 dBFS.\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.7em 0 .2em\"\u003e\n\u003cstrong\u003eKind to the low end\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eBelow the LF Split the bass never enters the effect and stays centred, so a wide sweep survives mono. At the chorus end the lowest octaves stay dry, so a kick doesn't boom. Pan moves the effect alone, and the dry stays where it was.\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.7em 0 .2em\"\u003e\n\u003cstrong\u003eA Guard for attacks\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eTurns the effect down for a moment after each hit or pick, by as much as the hit is big, so attacks come through clean and the effect blooms after them. Held notes are left alone.\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.7em 0 .2em\"\u003e\n\u003cstrong\u003e50 presets in eight categories\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eGuitar, Bass, Keys, Synth \u0026amp; Pads, Vocals, Drums, Mix Bus and Sound Design, each a complete starting point that uses the whole plugin, from struck strings to tape-flanged breaks.\u003c\/span\u003e\n\u003c\/div\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003ePhaser and flanger differ only in spacing\u003c\/h3\u003e\u003cp\u003eA flanger adds a signal to a delayed copy of itself. Wherever the copy arrives half a cycle late the two cancel, and the notches repeat at an even step: a harmonic series, which the ear hears as a pitch. That is why a flanger rings. A phaser's notches come from allpass stages instead: few, broad, and spaced evenly in octaves, with no pitch in the pattern, which is why it sounds hollow.\u003c\/p\u003e\u003cp\u003eStated that way, the question Prismwave answers is why only those two endpoints. The illustrations here are drawn from the plugin's own code, so each curve is exactly what Prismwave does.\u003c\/p\u003e\u003cimg src=\"https:\/\/udidsp.com\/images\/prismwave\/guide-phaser-flanger.png\" alt=\"A phaser's four broad notches against a flanger's many narrow ones, drawn from Prismwave's own engine\" style=\"width:100%;height:auto;border-radius:6px;margin:0.5em 0 1em\"\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eOne axis from phaser to chorus\u003c\/h3\u003e\u003cp\u003eMorph is an axis of time. At the phaser the delay is a single sample and four allpass sections make the notches. Toward the flanger the delay grows to about a millisecond and the notches multiply. Toward the chorus it grows past 12 ms, feedback falls away, and two more voices come in. Because the axis only ever moves one way in delay time, each half changes different things and nothing doubles back.\u003c\/p\u003e\u003cimg src=\"https:\/\/udidsp.com\/images\/prismwave\/guide-morph.png\" alt=\"Morph from phaser through flanger to chorus, with how the delay, feedback, Stretch and the chorus voices change along it\" style=\"width:100%;height:auto;border-radius:6px;margin:0.5em 0 1em\"\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eA comb tuned like a struck object\u003c\/h3\u003e\u003cp\u003eReal struck objects are not tidy combs: a stiff string or a metal bar spreads its partials further apart as they rise. Stretch respaces Prismwave's notches along that same physical law, so the pattern stops sounding like a tube and starts sounding like one struck, ringing object, sweeping as one.\u003c\/p\u003e\u003cimg src=\"https:\/\/udidsp.com\/images\/prismwave\/guide-stretch.png\" alt=\"Stretch 0 gives an even comb; at 60% the notches are respaced like a stiff bar's partials\" style=\"width:100%;height:auto;border-radius:6px;margin:0.5em 0 1em\"\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eThe sweep passes through the dry\u003c\/h3\u003e\u003cp\u003eAn ordinary flanger's delay can come close to the dry signal but never reach it. Holding the dry back 5 ms lets the sweep pass right through it: as the gap closes, the comb's step widens past the top of hearing and the notches sweep out of the band, the tape jet. At the crossing the two copies either add, Swell, or cancel, Cancel, down to a floor you set.\u003c\/p\u003e\u003cimg src=\"https:\/\/udidsp.com\/images\/prismwave\/guide-through-zero.png\" alt=\"The wet's delay sweeping through the dry held back 5 ms, and the comb's step climbing out of hearing at each crossing\" style=\"width:100%;height:auto;border-radius:6px;margin:0.5em 0 1em\"\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eThe feedback loop as an instrument\u003c\/h3\u003e\u003cp\u003eTurn Regen up and a flanger's feedback loop stops being an effect and becomes a resonator: its peaks sit on a harmonic series, and it rings. Key chooses the note it rings on, solved from the loop's whole path so it lands in tune, and Ring chooses how long it sustains.\u003c\/p\u003e\u003cp\u003eRoute a MIDI track to Prismwave and each held note opens a loop of its own, up to eight at once. Whatever audio passes through excites them, so a drum loop or a guitar becomes the chord you play, and it fades away when you let go. Only the notes you hold cost any CPU.\u003c\/p\u003e\u003cimg src=\"https:\/\/udidsp.com\/images\/prismwave\/guide-feedback.png\" alt=\"Positive Regen peaks on a harmonic series; negative Regen moves them halfway, an octave down\" style=\"width:100%;height:auto;border-radius:6px;margin:0.5em 0 1em\"\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eA display that draws the notches\u003c\/h3\u003e\u003cp\u003eThe display is Prismwave's own response, drawn live from the engine as it runs: the left and right channels' curves, their dips the notches, a dot under each notch trailing as it moves, and the band the notches travel across over a full sweep. It is computed from the same code the audio uses, the loop's damping included, so the picture cannot drift from the sound, even at high Regen.\u003c\/p\u003e\u003cp\u003eThe Dynamic EQ's curve and the output's spectrum sit behind it, a legend names every layer, and checkboxes turn each one on and off. Hide the display from the header and the window shrinks rather than leaving a gap.\u003c\/p\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eThe Modulator, tuning, routing and through-zero, one button away\u003c\/h3\u003e\u003cp\u003eThe ADVANCED button swaps the main sections for the Modulator (LFO, envelope or random, free or synced, on two destinations), Tuning (Ring, Notes, Key and Octave, for playing the loop), loop damping, Routing for Diverge's two engines (Series, Parallel, L \/ R, Crossover), and the LF Split, Pan, the Guard and through-zero. Everything there starts neutral or off, except the LF Split, which keeps the bass out of the effect from the moment you insert the plugin.\u003c\/p\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eA dynamic EQ on the effect\u003c\/h3\u003e\u003cp\u003eThree bands, a low shelf, a mid bell and a high shelf, each with a steady Static boost or cut (±6 dB), a level-reactive Dynamic amount, and movable Frequency and Q. It works on the effect alone, never the dry signal, and does nothing at all until you move a band. The display draws its curve live.\u003c\/p\u003e\u003cimg src=\"https:\/\/udidsp.com\/images\/prismwave\/panel-eq.png\" alt=\"\" style=\"width:100%;height:auto;border-radius:6px;margin:0.5em 0 1em\"\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eSpecifications\u003c\/h3\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.6em 0 .2em\"\u003e\n\u003cstrong\u003eEngine\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eTwo engines, each a modulated delay with up to three chorus voices, four allpass sections and a softly saturated feedback loop with damping\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.6em 0 .2em\"\u003e\n\u003cstrong\u003eMorph\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003ePhaser, Flanger, Chorus — continuous, with Stretch (notch spacing), Diverge and four routings\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.6em 0 .2em\"\u003e\n\u003cstrong\u003eLatency\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003e0 samples; 5 ms while Through-zero is on, reported to the host\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.6em 0 .2em\"\u003e\n\u003cstrong\u003eLoudness\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eMatch (on by default) holds the input's loudness; a ceiling keeps the output below 0 dBFS while the effect is in\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.6em 0 .2em\"\u003e\n\u003cstrong\u003eMIDI\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eMIDI in — up to eight held notes from C1 up, each ringing a loop of its own\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.6em 0 .2em\"\u003e\n\u003cstrong\u003eOutput\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eMix against the dry signal, with a padlock that holds Mix, In and Out through preset changes (Match loads with each preset); In and Out trims, ±24 dB\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.6em 0 .2em\"\u003e\n\u003cstrong\u003eParameters and presets\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003e52 parameters, all automatable; 50 factory presets in eight categories, plus Default\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv style=\"border-top:1px solid #ddd;padding:.6em 0 .2em\"\u003e\n\u003cstrong\u003eLicensing\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"opacity:.8\"\u003eFree UDI DSP account, one-time online activation — no subscription, works offline for a week between checks\u003c\/span\u003e\n\u003c\/div\u003e\u003ch3 style=\"margin:2.2em 0 .6em\"\u003eCompatibility\u003c\/h3\u003e\u003cul\u003e\n\u003cli\u003eWindows: Windows 10 or 11, 64-bit. Plugin formats: VST3 and AAX.\u003c\/li\u003e\n\u003cli\u003emacOS: macOS 11 (Big Sur) or later, on Apple silicon (M1 or later). Plugin formats: AU, VST3 and AAX.\u003c\/li\u003e\n\u003cli\u003eInternet needed once, briefly, to activate (a short browser sign-in). Day-to-day use after that works offline for up to a week between checks.\u003c\/li\u003e\n\u003cli\u003eValidated in Cubase Pro, Avid Pro Tools, Apple Logic Pro, Reaper, Waveform and FL Studio.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"UDi DSP","offers":[{"title":"Default Title","offer_id":67728659775802,"sku":"prismwave","price":35.4,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0806\/2078\/1882\/files\/panel-main_8546f324-a84e-4820-a604-af4c24b84249.png?v=1792391918","url":"https:\/\/udiaudio.com\/products\/prismwave","provider":"UDi Audio","version":"1.0","type":"link"}