PhaseMistress

PhaseMistress combines a configurable phaser circuit with a broad modulation system. The audible character comes from both: the selected Style determines the phase network, while the modulation source determines how that network moves over time. Changing Style can therefore reshape the sound even when the rate and depth remain unchanged.

Frequency places the phasing region, Resonance sharpens its peaks, and Mix combines the phase-shifted path with the original. Input and output gain can add saturation on different sides of the phaser, changing whether new harmonics are shaped by the sweep or added afterward. This makes gain staging a creative choice rather than merely level maintenance.

Begin with a Style, a moderate wet/dry blend, and a slow sweep. For rhythmic material, switch to the pattern editor or input envelope rather than forcing a free-running LFO to fit. The Style Edit panel goes beyond ordinary pedal controls by changing stage count, resonant relationships, polarity, and intensity. High resonance can become self-oscillating, so reduce output before exploring extreme settings.

Manual, About PhaseMistress, pp. 5–6; Control Panel, pp. 7–11; Modulation Modes, pp. 12–30; Style Edit Menu, pp. 31–33.

Main phaser controls

Frequency locates the center of the moving notches. Find its useful range with Mod low, then raise Mod to introduce a sweep. Resonance emphasizes the phaser's peaks and can eventually generate oscillation; its character also depends on the circuit Style.

Mix combines processed and original paths. Unlike a reverb, the relationship between those paths is central to the phasing sound, so a higher wet percentage is not automatically a stronger conventional phaser effect. Input / Output affect the processed path while leaving the dry signal unchanged. Driving Input adds harmonics before phasing; driving Output adds them afterward.

Style recalls different circuit behaviors. Tweak opens the modulation-related controls, while Style Edit changes the underlying phase network.

Modulation source

• LFO Rate / Shape create a regular repeating sweep. The Shape Editor can replace the stock waveform with a custom contour.
• Rhythm uses musical divisions or edited patterns, with Tap Tempo, sync, Shape, and Groove for timing and swing/shuffle character.
• Envelope Threshold / Gain / Attack / Release make the sweep follow the input's dynamics. Threshold chooses where response begins; Gain changes sensitivity; Attack and Release determine how quickly it follows rising and falling level.
• Random generates clocked random changes. Step generates a new random value on a trigger. Smoothing softens abrupt changes where offered.
• ADSR uses a defined Attack / Decay / Sustain / Release contour triggered by input level, manual control, or MIDI, rather than copying the source envelope directly.

Modulation Tweak panel

Freq Mod determines sweep direction and maximum depth; zero prevents frequency movement even with the main Mod raised. Res Mod changes the resonant behavior, and Res Ofs Mod modulates the tuning of the resonance relative to its Style Edit starting point. The associated polarity switches reverse modulation direction.

L/R Offset separates the channels' frequency positions, and L/R Mode changes their modulation relationship. Analog Style sets saturation character. Shape / Rhythm editors, with smoothing and grid controls, define reusable custom motion.

Style Edit

Stages selects 2–24 stages, including unusual odd counts. Res Mode changes the resonant-peak arrangement independently of stage count. Res Offset tunes peaks relative to the notches. Color Classic / Modern changes whether increasing resonance weakens or preserves the notches; Intensity Normal / High changes their sharpness. Phase and Res Phase switch the relevant polarities and can materially alter bass response. Style edits are stored with the complete preset.

Manual, Main Controls, pp. 7–11; LFO/Tweak and Shape Editor, pp. 13–18; Rhythm, Envelope, Random, Step, ADSR, pp. 19–30; Style Edit Menu, pp. 31–33.