Note that the low-cut and tone controls affect the pre-saturation signal, whereas the high-cut is post-saturation.įurther options include a steep setting for the high-cut filter (30dB rather than 6dB/octave) and Thump, which emphasises the cutoff point of the low-cut filter, described as adding a tape-esque thud to your sounds. Sure, some of the SoundToys plug-ins have an analogue mode, but this is in a different league altogether.Ĭontrols-wise, you get input drive level, output trim (with optional auto gain compensation), output wet/dry and three EQ parameters (tone, variable low-cut and variable high-cut) to shape the sound. The brutally-monikered Decapitator stands as a bit of a departure for SoundToys, being a saturation plug-in. This can be used either to create ultra-wide sounds, as with most stereo width processors, or simply to pan sounds past the usual limits of the speakers, which is less common and a great way to add extra space to busy mixes. PanMan has one last trick up its sleeve and that's the option to effectively move signals 'beyond' the speakers (up to 105 degrees either side). This sort of flexibility can seem daunting, but we found creating dynamic effects a doddle and were particularly taken with the idea of panning that becomes wider as the signal level increases.

Here, the Tweak option opens up the trigger filter page, where you can fine-tune and monitor the trigger signal. This turns PanMan into a dynamic effect that reacts to the level of the signal - going past the threshold provides more modulation.īy contrast, in the two triggered modes, when the threshold is exceeded, the signal is panned to a new position. For the first three modes, the Tweak button opens the envelope/gate panel, where you'll find level-dependent methods of further modulating the offset, width and, in LFO mode, panning rate. That, however, is only the tip of the iceberg. And with simple global controls (offset, width and smoothing) and a hardware-style position meter, you've got quick control and visual feedback. On the simplicity front, PanMan's five modes - LFO, Rhythm Step, Rhythm Shape, Random and Triggered (PingPong and Random Step) - enable you to set up either tempo synced or free-running autopans in a jiffy. Well, there are two reasons: simplicity and, uh, complexity. You may wonder why you'd need such a plug-in when most DAWs include an auto-panner anyway, not to mention the fact that you have automation at your disposal. PanMan is heavily influenced by rackmounted classics, such as Audio & Design's PanScan and Electrospace's Spanner.

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