Let’s see the sonic destruction processors: firstly, Distortion offers ten models, ranging from amp modelisations to waveshapers. The effect also includes a lowpass filter with resonance, a parametric EQ, two Gain (pre- and post-) and a Mix knob. You can command curve and distortion ratio with Curve, via an X/Y screen. This Distortion section gives very good results when used together with amp IRs.

Then Crush also offers an X/Y screen (bit reduction and sampling rate), and is the perfect tool to emulate phones or walkies sonic degradations. Above all you can use it with Codec, which reproduces the data compression codecs used in cell phones, with sampling rate reduction and connection interferences (Quality). You can also build robot voices by using fixed pitch settings, and/or play pitched phrases by MIDI notes.

With Phono, you’ll find all the artifacts of your record player, in 33, 45 or 78 RPM. There are two parameters modifying the pitch, one emulating an off-center hole (Wow), the other a warped record (Curve). Ticks adds rumble, 50 Hz noise, scratches, light filtering, dust noise and has a master Gain. It would have been nice to have had an independent level for both rumble and noises and another for scratches, all the more so as 50Hz and others are available as separate samples in the Sample Bay.

The last effect, the funny Tuning, simulates artifacts and interferences when you’re dialing for radio stations on an analog radio receiver. Another X/Y screen gives you control over rate and frequency: you can choose between mono and stereo, and you can select FM and AM behaviors among 16 presets, some including music or conversations to add more realism.