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Aural Diffraction
Bass-safe spectral panner
Aural Diffraction - How the image is built
Input can stay stereo, or Sum to Mono (on by default) so the pan line is the only width. Lock through Top follows that line. Above Top you hold the throw, ease back to center, or snap the air home.
Multiband is the low-latency engine; a stepped line, one pan per band. Spectral is the continuous curve. Higher quality, more latency; bounce it and the host is told the delay so nothing jumps.
Solo Lock to hear the floor. Solo Center to hear the part that’s actually moving. Solo Top for the air. Dry/Wet and Output are the mix. Bypass still reports Spectral latency, so flipping it doesn’t shove the track.
Multiband is the low-latency engine; a stepped line, one pan per band. Spectral is the continuous curve. Higher quality, more latency; bounce it and the host is told the delay so nothing jumps.
Solo Lock to hear the floor. Solo Center to hear the part that’s actually moving. Solo Top for the air. Dry/Wet and Output are the mix. Bypass still reports Spectral latency, so flipping it doesn’t shove the track.
Screenshot 2026-09-26 at 12.14_edited.jpg
Up is left. Down is right. Middle is center. The orange line is pan vs frequency. The ribbon around it is Bleed.
Drag the dashed LOCK, CENTER, and TOP lines. Click a Hz readout and type 80, 1.2k, or C2. If the bass walks, raise Lock. If the air needs to come home, change Top Behavior.
Spectrum Overlay (Settings) fills left upward in red and right downward in cerulean. You watch the image, you don’t guess it.
Iterations are how many times the gesture repeats between Lock and Top. 1 is a single sweep. 2–8 is a spreader. Link Join weaves them. Link Lean repeats the same lean. Line Type is the shape inside each copy (power, S-curve, shelf, comb, and so on).
Drag the dashed LOCK, CENTER, and TOP lines. Click a Hz readout and type 80, 1.2k, or C2. If the bass walks, raise Lock. If the air needs to come home, change Top Behavior.
Spectrum Overlay (Settings) fills left upward in red and right downward in cerulean. You watch the image, you don’t guess it.
Iterations are how many times the gesture repeats between Lock and Top. 1 is a single sweep. 2–8 is a spreader. Link Join weaves them. Link Lean repeats the same lean. Line Type is the shape inside each copy (power, S-curve, shelf, comb, and so on).
Screenshot 2026-09-26 at 12.14_edited.jpg
Pan Bleed - instead of hardening a pan position, you can make it blur so it sounds less synthetic if desired.
Lock - everything below this is mono. That’s the bass-safe part.
Center - the pivot. Osc 2 can move it.
Top - where the throw is full.
Top Behavior - Plateau holds it. Return to Center eases the highs back. Force Center snaps them.
Amount / Direction - one bipolar dial. Left of center: lows one way, highs the other. Right of center: flipped. Dead center: no frequency pan. Osc 1 moves this.
Pan Warp Amount - bends the shape of the line type selected.
Lock - everything below this is mono. That’s the bass-safe part.
Center - the pivot. Osc 2 can move it.
Top - where the throw is full.
Top Behavior - Plateau holds it. Return to Center eases the highs back. Force Center snaps them.
Amount / Direction - one bipolar dial. Left of center: lows one way, highs the other. Right of center: flipped. Dead center: no frequency pan. Osc 1 moves this.
Pan Warp Amount - bends the shape of the line type selected.
Aural Diffraction - Motion
Two oscillators. Osc 1 moves Amount. Osc 2 moves Center.
Analog waves when it should breathe. Stepped when it should click. Sync to the session or free-run. Depth 0 means the dial stays put even if Enable is on.
Osc 2 also has Area (how many octaves Center can travel) and Anchor (centered, from below, from above). The pivot can hunt through the body of the instrument without taking the sub with it.
Analog waves when it should breathe. Stepped when it should click. Sync to the session or free-run. Depth 0 means the dial stays put even if Enable is on.
Osc 2 also has Area (how many octaves Center can travel) and Anchor (centered, from below, from above). The pivot can hunt through the body of the instrument without taking the sub with it.
Aural Diffraction - Delay
One copy of Lock–Top, opposite channel. No repeats. Short times are Haas. Longer is a slap.
Intensity is level. Duration is the tail. Attack can wait, then ramp in. Solo the delay if you need to hear only that copy. When Delay is on, Filter always runs after it.
Intensity is level. Duration is the tail. Attack can wait, then ramp in. Solo the delay if you need to hear only that copy. When Delay is on, Filter always runs after it.
Aural Diffraction - Filter
Same Lock–Top band, inverse channel ( left mid goes right, right mid goes left) so it complements the pan line instead of fighting it.
Categories: Pass, Band, Shape, Delay, Phaser, Colour. Position is the hinge. Feedback is the bite. Osc 3 can wander Position. Lo-cut / hi-cut stay inside the band. Depth is how much of that inverse copy you actually use.
Radio, comb, ladder, formant; to name a few. These are for adding character on the moving part of the image, not a second insert eating the bass.
Categories: Pass, Band, Shape, Delay, Phaser, Colour. Position is the hinge. Feedback is the bite. Osc 3 can wander Position. Lo-cut / hi-cut stay inside the band. Depth is how much of that inverse copy you actually use.
Radio, comb, ladder, formant; to name a few. These are for adding character on the moving part of the image, not a second insert eating the bass.
Aural Diffraction - Binaural
Experimental addition; use for adding taste. Placement on top of the pan line, not instead of it. At rest, Lock–Top stays where the panner put it. Then X is yaw, Y is front/back, Z is height. Drag the pucks.
Spread is source width on that stage. Room is a little space, not a hall. Doppler if you want distance pitch. Wet Only if only the panned band should move around the head.
Spread is source width on that stage. Room is a little space, not a hall. Doppler if you want distance pitch. Wet Only if only the panned band should move around the head.
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