Synth Palace MOD-FX v1.5.0_WIN-V.R

综合创意效果器Synth Palace MOD-FX
VST插件格式：
VST3

Synth Palace MOD-FX全模块化模拟风格VST音频效果插件。配备13种模拟效果模块、3种调制器与8步音序器，支持自由路由搭建复杂效果链路，可深度雕琢、随机探索音色，内置海量预设，主打创意声音设计与极限音效塑形。

翻译：
数字效果，模拟信号路径
13 个模拟效果模块 – 3 种独特的调制器
8 步音序器 – 全模块化信号路径

轻松实现高级效果连接。
我们为热爱探索声音设计，并渴望将声音推向极限的制作人打造了这款插件。您可以逐步创建特定的高级效果链，也可以点击随机模式，让插件带给您惊喜。

244 个涵盖多种类别的出厂预设
13 种效果，3 种调制器类型，8 步音序器
跨两个机架页面的全模块化信号路径

1.5 版本新增功能：
– 第二个机架页面，包含五个全新模块：多重失真/复古前置放大器、梳状滤波器/拟音氛围、混响/多频段均衡器、半速/多步采样器以及模态谐振器。
– 一个横跨两个页面的跳线盘——线缆自动插入，调制深度可通过已连接输入的旋钮进行调节。
– 出厂预设包从 150 个预设增加到 241 个，其中大部分预设在浏览器中带有预览图。
– 拿起模块即可将其沿链路移动；双击面板即可将其移除。
– 两页标题栏均显示“？”，每个模块都有使用说明，首次打开时还会显示简短的引导。
– 第二页提供撤销和重做功能。
– 编辑器绘制相同图像时 CPU 占用率降低约三分之一。

所有 13 种效果器详解
01 / 环形调制
环形调制
金属边带。
一款受 CS-80 启发的环形调制器——将您的信号与载波振荡器相乘，在原始音调两侧留下金属边带。

. 速度 – 载波频率，次音频颤音，最高可达钟声范围
. 深度 – 干湿信号平衡
. 摆动 – 载波上的磁带式漂移
.同步 – 以赫兹为单位自由调节或以速度锁定，可选择直线、三连音或附点节奏
.变形 – 在载波波形之间进行混合，而非硬切换

02 / 波形折叠器
波形折叠器
从无到有地生成谐波。
将波形折叠回自身，生成源波形中原本不存在的谐波。

折叠 – 折叠次数，从微妙的温暖到金属般的混乱
对称 – 调整折叠点，以获得偶次谐波或奇次谐波
混合 – 干湿比平衡
柔和/硬朗 – 圆润温暖，或削波平坦：更明亮、更密集、更具侵略性

03 / 反馈引擎
反馈引擎
4 种标志性的延迟模式。
一种可再生的延迟线，每次重复都会加深，模拟自激延迟硬件。

速率 – 每种模式的延迟速度，从缓慢到极快
量 – 反馈级别，从单次拍击到失控的自激振荡
老化 – 磨损重复音：音调偏移、饱和度、比特压缩
模式 – 混响、BBD、磁带和数字，模拟真实外置设备

04 / 模拟滤波器
模拟滤波器
真实的频率塑形。
一个模拟建模的低通滤波器，具有四种模式，基于真实硬件的特性。

截止频率 – 20Hz 至 20kHz，模拟建模响应
共振 – 直至自激振荡
驱动 – 滤波器前饱和度，并导入滤波器核心
模式 – 四种滤波器模型，每种模型都模拟了不同经典硬件的特性

05 / 动态场
动态场
颗粒空间。
将信号分散成重叠的颗粒，分布在立体声场中。

声像 – 声音在立体声场中的分布
声音数量 – 载波声音的数量
重叠 – 每个声音在下一个声音融合之前保持的时间
速率 – 声音切换的速度
大小 – 颗粒长度
颗粒 – 湿混比例；超过 50% 时会进行拉伸和随机音高重采样
八度 – 颗粒音高，从降低一个八度到升高两个八度

06 / 信号切片
信号切片
节奏门控。
将信号切片成具有音高偏移的节奏片段，然后将切片后的信号与原始信号混合。

速度 – 信号速度，与宿主音乐的节拍同步
切片 – 切片的音量
八度 – 将信号或切片的音高升高或降低两个八度
切片 – 录制最多四秒并重新采样

07 / 噪声
噪声
为你的声音增添色彩。
模拟噪声源，具有连续可变的色彩控制，从低沉的隆隆声到清脆的嘶嘶声。

颜色 – 红色、棕色、粉色、白色和蓝色，由深到浅排列
干/湿 – 与输入信号混合
馈送至机架 – 可将其作为调制和纹理源连接到任何位置

08 / 梳状滤波器
梳状滤波器
调谐峰值和拟音。
一个调谐梳状滤波器，其后方存储着一组拟音录音 – 您可以将房间音色和纹理直接输入到梳状滤波器中。

频率 – 峰值所在的位置
高度 – 峰值相对于信号的突出程度
扩展 – 峰值之间的距离
峰值数量
拟音 – 选择一个音源，设置其增益和速度，然后将其路由到梳状滤波器或直接发送到混音器

09 / 声盒
声盒
共振峰，移动。
人声共振峰处理器——音高和共振峰独立移动，并可自动在不同声部间跳转。

. 跳转 – 在不同声部间跳转
. 音高 – 信号向上或向下移动
. 共振峰 – 改变人声特性而不改变音高
. 混合 – 干湿比
. 速率/声部/波形 – 移动速度、最终落在哪个声部以及驱动波形

10 / 伏特混响
伏特混响
一种会衰减的混响。
一种尾音会随着衰减而逐渐消失的混响——它损失的是电压，而不仅仅是音量。

. 混响 – 湿声量
. 大小 – 混响空间本身
. 运动 – 尾音内部的运动
. 阻尼 – 高频衰减的速度
.衰减/劣化 – 持续时间以及衰减程度

11 / 时间机器
时间机器
半速播放，带采样器。
将信号速度降至半速或更低，并使用多步采样器记录刚刚经过的内容。

. 模式 – 1.5 倍、2 倍或 4 倍速
. 循环 – 四分之一小节到四小节
. 混响 – 允许播放的自由度
. 混合 – 与未处理的信号混合
. 采样器 – 启用、扫描、调整音高并对捕获的内容进行重新采样

12 / 驱动器
驱动器
失真和前置放大器。
一个复古前置放大器，具有三种失真特性和一个频段控制，用于决定驱动信号作用于频谱的哪个部分。

. 模式 – 削波、驱动或法兹
. 驱动 – 推弦的力度
. 压缩 – 比特率大幅降低
. 频段 – 驱动信号作用于频谱的哪个部分
.增益 – 各频段增益，从 VU 表读取

13 / 音高延迟
音高延迟
每次重复都会移动。
此延迟会重新调整每次重复的音高，可自由调整或锁定到宿主，面板上印有两种音阶。

. 时间 – 1/32 到两小节，直拍、三连音或附点音
. 音高 – 每次重复升高或降低两个八度
. 反馈 – 返回的重复次数
. 大小 – 音符的特征
. 混合 – 干湿比

14 / 调制器
调制器
万物皆在变化。
效果器下方有三种调制器，它们可以连接到机架上的任何设备——包括彼此之间。

. 低频振荡器 (LFO) – 五种形状，可自由调整（以赫兹为单位）或锁定到宿主，三连音和附点音
. 包络跟随器 – 将演奏的音量转换为动态
. 随机器 – 阶梯式、平滑式或随机动态
.每个模块有三个输出——一个信号源、三个输出目的地，或连接到另一个调制器。
每个模块八个——机架上二十四个插槽，可通过一个“+”芯片添加。
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原文：
Digital Effects, Analog Signal Path
13 Analog effect modules – 3 Unique modulators
8 Step sequencer – Fully modular signal path

Advanced effect patching made easy.
We built this plugin for producers who love to not only explore sound design but push sounds to their limit and beyond, create specific advanced effect chains step by step, or hit randomise and let the plugin surprise you.

244 Factory presets in a variety of categories
13 Effects, 3 Modulator types, 8 Step Sequencer
Fully modular signal path across two rack pages

NEW IN 1.5:
– A second rack page, with five new modules on it: multi distortion / vintage pre-amp, comb filter / foley ambience, reverb / multi-band EQ, half speed / multi-step sampler, and a modal resonator.
– A patch bay that reaches across both pages — cables plug themselves in, and modulation depth is a handle on the patched input.
– The factory pack grows from 150 presets to 241, most of them carrying a preview picture in the browser.
– Pick a module up to move it along the chain; double-click a faceplate to take it out.
– A “?” in the header on both pages, a how-to for every module, and a short walkthrough the first time you open it.
– Undo and redo on page two.
– The editor draws the same picture for about a third less CPU.

ALL 13 Effects In-Depth
01 / RING MOD
Ring Mod
Metallic sidebands.
A CS-80-inspired ring modulator – your signal multiplied against a carrier oscillator, leaving metallic sidebands either side of the original pitch.
. Speed – carrier frequency, sub-audio tremolo up to bell range
. Depth – dry/wet balance
. Wobble – tape-like drift on the carrier
. Sync – free in Hz or tempo-locked, straight, triplet or dotted
. Morph – blend between carrier waveforms instead of hard-switching

02 / WAVE FOLDER
Wave Folder
Harmonics from nothing.
Folds the waveform back on itself to generate harmonics that were never in
the source.

. Fold – fold count, subtle warmth to metallic chaos
. Symmetry – bias the fold point for even or odd harmonics
. Mix – dry/wet balance
. Soft / Hard – rounded and warm, or clipped flat: brighter, denser, more aggressive

03 / FEEDBACK ENGINE
Feedback Engine
4 iconic delay modes.
A regenerating delay line that darkens with every repeat, modelled on bucket- brigade hardware.
. Rate – delay speed per mode, slow throws to extreme rates
. Amount – feedback level, single slap to runaway self-oscillation
. Age – wears the repeats down: detune, saturation, bitcrush
. Modes – Reverb, BBD, Tape and Digital, modelled on real outboard

04 / ANALOG FILTER
Analog Filter
Authentic frequency shaping.
An analog modelled low pass filter with four modes based on real hardware behaviours.

. Cutoff – 20Hz to 20kHz with analog-modelled response
. Resonance – up to self-oscillation
. Drive – pre-filter saturation into the filter core
. Modes – four filter models, each voiced after the behaviour of a different piece of classic hardware

05 / MOTION FIELD
Motion Field
Granular space.
Scatters the signal into overlapping grains, spread across the stereo field.
. Pan – voice spread across the stereo field
. Voices – how many carrier voices
. Overlap – how long each voice holds before the next blends in
. Rate – how fast it moves between voices
. Size – granule length
. Granules – wet mix; past 50% it re-samples with stretch and random pitch
. Octaves – granule pitch, one octave down to two up

06 / SIGNAL CHOP
Signal Chop
Rhythmic gating.
Slices the signal into rhythmic fragments with pitch-shifted splices, then blends the chopped signal back in against the original.

. Speed – signal speed, snapped to one bar of host tempo
. Chop – level of the spliced chop
. Octave – pitch the signal or splice up or down two octaves
. Splice – record up to four seconds and re-sample it back in

07 / NOISE
Noise
Colour your sound.
An analog noise source with a continuously variable colour control, from deep rumble to open hiss.

. Colour – Red, Brown, Pink, White and Blue, darkest to brightest
. Dry/Wet – blend against the incoming signal
. Feeds the rack – patch it anywhere as a modulation and texture source

08 / COMB
Comb
Tuned peaks and foley.
A tuned comb filter with a bank of foley recordings behind it – room tone and texture you can run through the comb itself.

. Freq – where the peaks sit
. Height – how far they stand out of the signal
. Spread – how far apart they are
. Peaks – how many of them
. Foley – pick a source, set its gain and speed, and route it through the comb or straight to the mix

09 / VOICE BOX
Voice Box
Formants, moved.
A vocal formant processor – pitch and formant move independently, and it will hop between voices on its own.

. Hop – jump between voices
. Pitch – shift the signal up or down
. Formant – move the vocal character without moving the pitch
. Mix – dry/wet balance
. Rate / Voice / Wave – how fast it moves, which voice it lands on, and the shape driving it

10 / VOLT VERB
Volt Verb
A reverb that degrades.
A reverb whose tail falls apart as it decays – it loses voltage, not just level.

. Reverb – wet amount
. Size – the space itself
. Motion – movement inside the tail
. Damp – how fast the top end goes
. Decay / Degrade – how long it hangs on, and how badly it wears on the way

11 / TIME MACHINE
Time Machine
Half speed and a sampler.
Drops the signal to half speed and below, with a multi-step sampler that records whatever just went past.

. Mode – 1.5x, 2x or 4x slower
. Loop – a quarter bar through four
. Chaos – how far playback is allowed to wander
. Mix – against the untouched signal
. Sampler – arm it, scan it, pitch it, and re-sample what it caught

12 / DRIVER
Driver
Distortion and pre-amp.
A vintage pre-amp with three distortion characters and a band control that decides which part of the spectrum takes the drive.

. Mode – Clip, Drive or Fuzz
. Drive – how hard the stage is pushed
. Crush – bit-rate destruction over the top
. Band – where in the spectrum the drive lands
. Gain – per-band make-up, read off the VU

13 / PITCH DELAY
Pitch Delay
Every repeat moves.
A delay that re-pitches every repeat, free or locked to the host, with both scales printed on the panel.

. Time – 1/32 to two bars, straight, triplet or dotted
. Pitch – two octaves up or down, per repeat
. Feedback – how many repeats come back
. Size – the character of the line
. Mix – dry/wet balance

14 / MODULATORS
Modulators
Nothing sits still.
Three kinds of modulator sit under the effects, and every one of them patches into anything on the rack – including each other.

. LFO – five shapes, free in Hz or locked to the host, triplet and dotted
. Envelope follower – the level of what you play, turned into movement
. Randomiser – stepped, smooth or drunk random motion
. Three outputs each – one source, three destinations, or into another modulator
. Eight of each – twenty-four slots in the rack, added from a + chip

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