k2k audio Movement and motion. These nodes wobble, spin, shift, and sweep — turning static sounds into living, breathing textures.
Mod Delay
What it does — Thickens or metallicizes your sound using modulated delay lines, switching between chorus and flanger modes.
When you’d reach for it — Your synth pad sounds flat and lifeless in the mix, or you want that jet-engine sweep on a guitar riff. Chorus fattens; flanger cuts.
Quick example
- Connect your source to Mod Delay.
- Set Mode to Chorus for thickening, or Flanger for metallic sweeps.
- Dial Rate to around 0.5 Hz and Depth to 3 ms for a gentle shimmer.
- Push Feedback past 60% in Flanger mode to hear the resonant comb effect.
- Adjust Dry/Wet to taste — 30-40% keeps the original intact while adding width.
Parameters
| Parameter | What it controls | Range | Sweet spot hint |
|---|---|---|---|
| Mode | Chorus (multi-voice detuning) or Flanger (single delay + feedback) | Chorus / Flanger | Chorus for pads, Flanger for rhythmic material |
| Rate | LFO speed — how fast the delay wobbles | 0.01 - 10 Hz | 0.3 - 0.8 Hz for subtle movement |
| Depth | How far the delay time swings | 0 - 10 ms | 2 - 4 ms for chorus, 1 - 2 ms for flanger |
| Feedback | Amount of output fed back into the delay | 0 - 99% | Keep below 70% unless you want resonance |
| Voices | Number of detuned delay copies (chorus mode) | 1 - 4 | 2 - 3 voices for natural width |
| Stereo Spread | Distributes voices across the stereo field | On / Off | On for wide mixes, off for mono compatibility |
| Polarity | Positive or negative feedback phase | Positive / Negative | Negative gives a thinner, nasal flanger tone |
| Dry/Wet | Balance between original and effect signal | 0.0 - 1.0 | 0.3 - 0.5 for mix use |
Phaser
What it does — Sweeps a series of allpass notches through your signal, creating that unmistakable whooshing, swirling motion.
When you’d reach for it — You want rhythmic movement in a keyboard part or a slow, psychedelic swirl on a vocal. More stages means deeper, more pronounced notches.
Quick example
- Connect your source to Phaser.
- Start with 4 stages and a Rate of 0.3 Hz for a classic slow sweep.
- Increase Feedback toward 0.7 to sharpen the notches — the sweep becomes more vocal.
- Narrow or widen the Min Freq / Max Freq range to focus the sweep on a specific part of the spectrum.
- Set Dry/Wet to 50% for a balanced phaser sound.
Parameters
| Parameter | What it controls | Range | Sweet spot hint |
|---|---|---|---|
| Rate | LFO speed — how fast the notches sweep | 0.01 - 10 Hz | 0.2 - 0.5 Hz for classic phaser |
| Depth | How far the notches travel through the frequency range | 0.0 - 1.0 | 0.6 - 0.8 for full sweeps |
| Feedback | Sharpens the notch peaks — adds resonance | -0.95 - 0.95 | 0.5 - 0.7; negative values invert the character |
| Stages | Number of cascaded allpass filters | 2 - 12 | 4 for subtle, 8 - 12 for deep and lush |
| LFO Shape | Waveform driving the sweep | Sine / Triangle / Sample & Hold | Sine for smooth, S&H for random stepped |
| Stereo Spread | Phase offset between left and right LFOs | 0 - 180 degrees | 90 degrees for wide stereo |
| Min Freq | Lower bound of the sweep range | 100 - 10000 Hz | 200 - 400 Hz for full-range sweeps |
| Max Freq | Upper bound of the sweep range | 100 - 10000 Hz | 3000 - 5000 Hz to avoid harshness |
| Dry/Wet | Balance between original and effect signal | 0.0 - 1.0 | 0.5 for classic phaser blend |
Frequency Shifter
What it does — Shifts every frequency in your signal by the same number of Hz, breaking harmonic relationships and producing bell-like, metallic, or alien timbres.
When you’d reach for it — You need an inharmonic, otherworldly texture — the kind of sound that pitch shifting can’t produce. Small shifts (1-5 Hz) create subtle beating and movement; large shifts obliterate the source into something unrecognizable.
Quick example
- Connect your source to Frequency Shifter.
- Set Shift to +5 Hz for a gentle barberpole phaser-like effect.
- Switch Output Mode to Both to hear the up-shifted signal in one ear and the down-shifted in the other.
- Push Shift to +200 Hz or beyond for full metallic destruction.
- Blend with Dry/Wet to keep some of the original grounding the sound.
Parameters
| Parameter | What it controls | Range | Sweet spot hint |
|---|---|---|---|
| Shift | Amount of frequency shift in Hz (positive = up, negative = down) | -1000 - +1000 Hz | 1 - 10 Hz for subtle movement, 50 - 300 Hz for effect |
| Output Mode | Which sideband to output | Up / Down / Both | Both for stereo widening, Up or Down for focused shifting |
| Dry/Wet | Balance between original and shifted signal | 0.0 - 1.0 | 0.5 - 0.7 to keep some harmonic anchor |
Leslie
What it does — Simulates a rotating speaker cabinet with separate horn (treble) and drum (bass) rotors spinning at different speeds, creating rich doppler and amplitude modulation.
When you’d reach for it — You’re working with organ, electric piano, or guitar and want that classic rotary speaker sound — the breathy, three-dimensional swirl that no other effect quite replicates.
Quick example
- Connect your source to Leslie.
- Leave Speed on Slow for the gentle chorale sound.
- Switch to Fast for the iconic tremolo effect — the spin-up transition is part of the character.
- Balance Horn Level and Drum Level to taste — more horn for airy shimmer, more drum for a heavier throb.
- Use Speed Fine to tune the overall rotation speed without changing the slow/fast preset.
Parameters
| Parameter | What it controls | Range | Sweet spot hint |
|---|---|---|---|
| Speed | Rotor speed preset — slow (chorale, ~0.7 Hz) or fast (tremolo, ~6 Hz) | Slow / Fast | Toggle between them for the classic spin-up moment |
| Horn Level | Volume of the treble rotor (above 800 Hz) | 0.0 - 1.0 | 0.7 - 0.9 for presence |
| Drum Level | Volume of the bass rotor (below 800 Hz) | 0.0 - 1.0 | 0.5 - 0.7 for warmth without mud |
| Speed Fine | Multiplier on the rotor speed | 0.5x - 2.0x | 1.0 for authentic, below 0.8 for dreamy slow-mo |
| Dry/Wet | Balance between original and rotary signal | 0.0 - 1.0 | 0.8 - 1.0; Leslie usually sounds best fully wet |
Spectral Mod Delay
What it does — Applies modulated delay in the spectral domain, delaying entire spectral frames with optional frequency-dependent spread, creating chorus and flanger effects with a distinctly spectral character.
When you’d reach for it — You want chorus-like thickening or doubling that operates on the spectrum itself rather than the raw waveform. The spread parameter lets you delay different frequency regions by different amounts — something a time-domain chorus simply cannot do.
Quick example
- Connect a spectral source to Spectral Mod Delay.
- Set Delay to 15 ms and Dry/Wet to 50% for a basic spectral chorus.
- Increase Feedback to 0.5 for resonant, ringing repetitions.
- Turn up Spread and set the direction to High — high frequencies will echo longer, creating a shimmering tail.
- Adjust Gain to compensate for any level changes from the feedback loop.
Parameters
| Parameter | What it controls | Range | Sweet spot hint |
|---|---|---|---|
| Delay | Base delay time in milliseconds | 0 - 100 ms | 10 - 20 ms for chorus, 30 - 60 ms for doubling |
| Feedback | How much delayed signal feeds back into the buffer | 0.0 - 0.95 | 0.2 - 0.4 for subtle, above 0.7 for metallic resonance |
| Gain | Output level adjustment | -24 - +24 dB | 0 dB; bump up a few dB if feedback is eating level |
| Dry/Wet | Balance between original and delayed signal | 0.0 - 1.0 | 0.4 - 0.6 for blend |
| Spread Direction | Which frequencies get longer apparent delay | Low / High / Center | High for shimmer, Low for murky doubling |
| Spread | How much the delay varies across frequency | 0.0 - 1.0 | 0.3 - 0.5 for gentle differentiation |