Features

After loading a sample into Peak, SFX is accessed from the Plug-ins menu bar. On the program’s main window, users can choose among 21 effects categories with 240 presets. Categories include bread-and-butter processing like chorus, delay, flange, pitch, vibrato and tremolo. More esoteric effects include envelope follower, multivox, random, filter effects, modular synth and weird. And the weird esoteric sounds are SFX’s forte!

A separate Slider Screen is part of the main window. Up to six different sliders are available for processing each preset. Slider functions change depending upon the preset and each slider may control multiple parameters. Typical functions include LFO, vibrato rate, wet/dry mix, filter rate, modulation frequency, feedback percent, echo time, vibrato per cent and master volume. Incremental moves can make dramatic changes to the sound. And excessive moves with some sliders (like feedback) may cause loud distortion and clipping. Be forewarned!

The Slider Screen also lists minimum, maximum and current values for each slider along with the parameter’s name. Below this area is a brief description of the preset - a nice touch to the interface. A fast preview button is handy for auditioning sounds at a lower sampling rate. At the bottom of the window are several utilitarian buttons such as load, save, process, bypass and cancel.

In Use

With all of the presets and sliders, the main window has enough horsepower to keep users busy for a long time but, SFX Machine has a second window: the edit screen. This is where the action is. Eight identical modules comprise this window. And each module contains the same four components: source, process, modulation, and output.

The module’s source can either be the audio sample or generated waveforms (sine, triangle, square and saw and white noise). If a waveform is used, the frequency can be specified as a note (such as A4) or frequency value (such as 440 Hz). SFX Machine also lets the user choose the channel for the input of the audio selection; handy for specifying the input source as stereo or any combination of left and right mono.

Through the process section, a DSP algorithm is selected. Choices include envelope follower, pitch tracker, quantize frequency, DC offset, PhaseShape, Raise to Power, Delay, Sample/ Hold and several resonant filters. With each algorithm, several adjustable parameters are available. Once the Process section modifies or analyzes the input signal, it is sent to the modulation section.

SFX provides two independent modulators. Each of these may be routed to any of the eight blocks including itself. Some of the mod choices include amplitude, mix, ring, pan, frequency, delay, sample/hold and filter. The amplitude or depth of the modulation can be specified in the Mod Amp field.

Last but not least is the output section. As to be expected, the final signal is routed to the mix outs. The bottom of the edit page has the same utilitarian buttons as the slider page, but with the addition of randomize. This is one great function. Once this button is hit, there is no way of knowing what will come out - garbage or a jewel. Expect the unexpected. I would love to see a randomize function on all synths and effects processors.

How does all of this fit together? Let’s look at the comb filter preset from the envelope follower category. This patch imparts a tubey flange sweep to the sound. On the slider page, five of the six sliders are used. These handle mostly delays and feedback parameters. The edit page uses three of the eight modules. The audio is processed with an envelope follower and a delay. All three modules are then routed into one another with various amounts of delay and mix modulation. This creates the warm, comb-filtering flange effect.

Several other categories and presets that caught our attention. “Echo/Feedback” is reminiscent of the old sci-fi films with fat echo chambers and robotic voices. In the FM category, interesting effects include “Car alarm”, ”Siren”, and “Telephone Ring.” For watery sounds, try “Leaky Faucet” in the Weird category. We also programmed our own patches. It was fairly easy to simulate the sounds of an Arp 2600 and a Moog Modular. For users who have worked with analog synthesis, SFX will be natural.

Summary

Don’t expect SFX to replace your current rack of outboard gear: the program’s choruses and flanges are no match for most dedicated processors. We’d like to see an improvement to the audio fidelity and be competitive with stand-alone effects boxes. We also want SFX Machine to work in real time as opposed to preview mode. This would let users process entire audio tracks. Currently, SFX only previews short samples as loops.

There are tons of possibilities with SFX. The slider page makes basic preset changes a breeze. The Edit page offers a wealth of options with its 8 building blocks. With all this power, the novice may feel somewhat daunted. Experimentation however, is what SFX Machine is all about. Luckily, the interface is easy to use. For the sound designer and mix engineer looking for something different, BIAS’s SFX Machine is a must.

At A Glance
Applications: Software based sample effects processor
Key Features: Unique DSP algorithms with powerful programming features
Price: $299

Plus
Extremely versatile in creating unique effects
Logical interface
240 presets including test tones, utilities and a tutorial
Excellent manual
Reasonably priced

Minus
May not be suitable for traditional types of effects processing
Programming might be difficult for novices

The Score
For the sound designer and mix engineer looking for something different, BIAS’s SFX Machine is a must.

J. Arif Verner is a recording artist with Spotted Peccary Music and a regular contributor to Pro Audio Review. He can be reached at www.infinitesound.com. Karta Iglesias is a keyboardist specializing in analog synthesis.