D16 Group Fazortan 2 v2.1.1

D16 Group Fazortan 2 v2.1.1

A '70s Classic, Resurrected

Brings you ever closer to the classic units' sonic character!

Fazortan 2 is the newest incarnation of our Controllable Space Phaser, part of the SilverLine Collection. Needless to say, we didn't cut corners when striving for that robust, yearned-by-all analog feel. The Phase Shifter provides you with total control, allowing you to obtain highly precise sonic contours. If you’ve ever wondered what’s behind the swirling, ethereal synth vibes synonymous to Jean Michel Jarre's vintage sound, it has surprisingly less to do with the synths he chooses but in matching it with the analog phaser for which Fazortan 2 is a fine equivalent.

Thanks to our advanced analog modelling techniques based on Operational Transconductance Amplifiers, we implemented allpass filters comprising characteristics identical to its analog counterpart. In this update, we're even closer to the original hardware unit.

You can think of Fazortan 2 as an exact virtual replica of a ‘70s retro phaser, but whose identical sound and primary functions aren't limited to the analog realm. Bearing in mind that the original had a single Rate knob and a Color switch on the front panel, Fazortan 2 stands alone as a completely new device - made obvious no less by its GUI - expanding on the features of its hardware counterpart.

Structure

Fazortan 2 starts off with two big, friendly LFO Rate knobs, coupled with a Waveform window and a depth knob. Unlike its hardware cousin, Fazortan 2’s LFOs have multiple waveform modes: triangular (like the original), sinusoidal, hyper-triangular and random.

Using both LFOs simultaneously opens new dimensional soundscapes that hardware users could only dream of. Endless contour diversity catapults source material from sluggish, monotonous swings to gurgling scrumbles*, just by slight tweaks of the the rate knob. It’s also now possible to add consecutive allpass stages as well as to regulate the feedback effect. The number of stages defines the number of slopes, so increasing it affects the placement of peaks and valleys. The feedback parameter alters the amplitude (distance) between these peaks and valleys. The more you tweak it, the more it diverts from soft pulses to rapid warbles and drilling insanity. To visually display how it works, consider white noise as an input signal. Moving the feedback knob will start to morph it into oncoming "sea waves” and cosmic wind. Additionally, each LFO can be modified by altering its respective phase for lush, wide imaging.