The Flanger effect is a short modulated delay line with feedback to the input. It is used for a sense of movement and for psychedelic effects from the subtle to the extreme. It features a built-in sine LFO for modulating the flanging delay line.


The Rate control affects the speed of modulation of the flanger delay time.


The Depth control adjusts the amount of modulation of the delay time.


The VU-style display represents the current flanging delay time.

Pos (Position)

This control introduces an additional fixed delay time to the Flanger's delay line. It is a very short delay, ranging from 0 ms to 15 ms.


This control adjusts the amount of the flanged signal that is fed back into the input.

Higher Feedback settings result in a more pronounced flanging effect. Settings over 50% lead to extreme comb filter type effects.

Spread (stereo only)

This control allows you to adjust the panning of the left and right channel processed signals.

Phase (stereo only)

The Phase control offsets the phase of the internal LFOs for the left and right channels.

Flip Phase

By default (with the Flip Phase button deactivated), the flanged signal is in positive phase with the input signal.

Activating the Flip Phase button inverts the flanged signal's phase in relation to the input signal.

A positive phase setting tends to lead to a more obvious flanging effect.




The Phaser uses phase cancelling techniques (with the use of all-pass filtering) to create a series of peaks across the frequency spectrum. When these peaks are swept, a psychedelic sweeping effect is created.


The Mode control selects between a number of phaser responses. 4, 6, 8 and 12 stage phaser types are available, with positive or negative feedback. The number of stages refers to the number of all-pass filters within the algorithm.


The Pitch control adjusts the centre frequency of the all-pass filters used in the Phaser algorithm.


The Resonance control adjusts the amount of resonance (feedback) in the all-pass filters.


The Phase control adjusts the phase between the dry signal and the all-pass filtered signal.


The Depth control adjusts the amount of Pitch modulation from the Phaser device's internal LFO that modulates the Pitch parameter for classic phaser effect sounds.


The Rate control adjusts the speed of the internal LFO.


When the Sync parameter is set to BPM, the Rate control is set in tempo-based values relative to BFD3's current tempo. Possible values range from 64th note to 2 bars, including dotted and triplet variations.

In Seconds mode, the Rate control is set as an absolute time value, ranging from 31ms to 4 seconds.




The Chorus effect is a modulation effect that is pitch-based. It is used for thickening up sounds.


The Rate control adjusts the speed of pitch modulation.


The Depth control adjusts the amount of modulation away from the input signal's original pitch.

Spread (stereo only)

This control varies the panning of the left and right pitch-modulated signals.



Bit Crusher


The Bitcrusher effect provides a type of digital distortion that occurs when the sample-rate and bit-depth of the audio is reduced. It allows you to simulate the sound of early samplers, useful for underground hip-hop and other 'lo-fi' styles.


The Bits control reduces the bit depth from a maximum of 16 bits to a minimum of 1 bit, which is effectively digital noise. The digital noise generated by the bit-reduction process is referred to as quantisation noise.

Early digtal drum machines and samplers tended to have 8 or 12 bit resolution.



The Freq control adjusts the sample rate frequency of the audio processed by the effect and ranges from a maximum of 100 kHz to a minimum of 1 Hz.

Lower sample rates result in an aliasing effect on the processed audio.


The Drive control adjusts the amount of drive in an OTA-type distortion stage after the crossover filters. This allows gain and colour to be added to the signal before it is processed by the Bit and Freq processes.

Input Filter

This control provides high-pass and low-pass filters for isolating a part of the signal before the sample-rate and bit-depth reduction stages.

To adjust this control, click and drag the light blue arrows at the left and right of the blue active frequency band the light-blue arrows represent the cutoff frequencies of the high-pass and low-pass filters.

These filters are crossover filters – the active frequency band is processed by the bitcrushing circuit with its level adjustable via the Dirty control. The frequencies that are filtered out before the bitcrushing stage are accessible via the Clean control.

Dirty & Clean

The Dirty control sets the amount of processed signal that is heard at the output.

The Clean control sets the amount of the clean signal, which is comprised of the signals filtered out by the Input Filter before processing.

Please note that these are not 'wet' and 'dry' controls – use the Mix control at the top of the effect interface in order to mix between the pre- and post-effect signals.


The Tone control provides a simple -6 dB/oct low-pass filter for the Dirty signal after the bitcrushing process. It allows you to roll off unwanted high frequencies that may have been generated in the signal as part of the distortion effect.




A ring modulator multiplies two signals together, giving you the sum and the difference between them and the output.

BFD3's RingMod device contains an internal oscillator that provides one of the signals, the other being the drum sound passing through it.

This effect is useful for radical, inharmonic timbral changes for more experimental-sounding mixes.


The Mode control adjusts the waveshape of the internal oscillator which is multiplied with the audio input to the effect. Sine, Triangle, Saw, Square and Parabolic oscillator shapes a re available, as well as white or pink noise.


The Pitch control tunes the internal oscillator within a range of an octave.


The Drive control introduces an adjustable amount of distortion on the input signal. Overdriving the signal in this way changes the waveshape of the input, leading to further variations in the resulting effect.


Frequency shifter


A frequency shifter changes the frequency of the sound passing through it - all frequencies in the signal are adjusted by a fixed amount. This differs from a pitch-shifter which adjusts the frequencies of fundamental frequencies and their harmonics by a proportional amount to preserve the harmonic series of the original signal. Therefore, a frequency shifter usually results in inharmonic and clangorous sounds.


The Pitch control adjusts the amount of frequency shifting, and is represented in semitones. You can shift the input signal's frequencies up or down by up to 36 semitones (3 octaves).


The Gain control adjusts the level of the output signal.