Modulation Effects

Modulation Effects alter audio signals by varying certain parameters over time, creating movement, depth, and texture. This category includes chorus, flanger, phaser, tremolo, and vibrato units, all of which shape tone and enhance stereo imaging. Widely used in mixing, sound design, and live performance, modulation effects add richness and dimension to any source.

Made In U.S.A.
Released in 1971 /
The Eventide Clockworks Instant Phaser was designed specifically to eliminate the costly and tedious job of setting up and implementing the special effect known as phasing or flanging.
Made In U.S.A.
Released in 1975 /
The MXR Auto Phaser is a professional phasing unit with low distortion, minimal noise, and a wide range of effects. It features easy operation, low power consumption, and a broad supply range, making it suitable for studio, portable mixing, and PA applications. Unlike flanging, its phase-shift response creates non-harmonic notches in the audio spectrum.
Made In U.S.A.
Released in 1975 /
The MXR Auto Flanger is a professional audio delay line designed for true flanging in both portable and custom setups. Its versatile controls ensure ease of use, while its precise time delay creates a musical tonality in percussion, distinguishing it from phasing.
Made In U.S.A.
Released in 1975 /
Flanging may not be a popular effect these days, but back in 1975 when the Eventide Model FL201 Instant Flanger was released, it was. The Eventide Model FL201 Instant Flanger was designed to simulate true tape flanging and offered a much deeper flanging effect than anything previously available, it was widely used on many legendary recordings.
Made In U.S.A.
Released in 1976 /
For more than 30 years now, both engineers and musicians have relied upon the MXR Model 126 Flanger/Doubler as one of best-sounding bucket-brigade* flanging effects ever made. Through its signature flanging, doubling, and delay effects, the MXR Model 126 Flanger/Doubler imprints a very unique sonic signature on guitars, bass, keys, drums, or just about any source needing depth and movement.
Made In Japan
Released in 1978 /
The Roland DC-30 Analog Chorus-Echo is a vintage Japanese multi-effect unit combining rich BBD-based echo and chorus with stereo outputs, dual inputs, and extensive remote control options. Known for its warm analogue tone and flexible live performance features, it remains a sought-after classic for musicians and producers.
Made In U.K.
Released in 1979 /
The AMS DMX Series Keyboard Interface and Chorus Controller is an ultra rare device to add on to the AMS DMX 15-80S Digital Delay. The chorus controller can be used to add functionality and effects to the DMX 15-80S.
Made In Japan
Released in 1979 /
The Roland SBF-325 is a stereo flanger with dual audio delay lines. It has three different flanger effect modes and one chorus mode. It preceded the now famous Roland SDD-330 by two years in terms of rack mount chorus effectors.
Made In Germany
Released in 1979 /
The Dynacord TAM 19 Stereo Multiflanger System was released in 1979 and produces unique flanging effects.
Made In Japan
Released in 1980 /
The Roland SRE-555 Chorus Echo is a rackmount tape delay based on the RE-501, offering chorus, tape echo and reverb effects. Designed for professional studio and live use, it features balanced XLR and 1/4″ inputs and outputs, a 77dB signal-to-noise ratio, and delays from 0.55 to 1.8 seconds. Its rack-friendly design and advanced noise reduction made it a reliable choice for engineers seeking classic Roland tape echo in a convenient format.
Made In Japan
Released in 1980 /
The Roland RE-501 Chorus Echo is the final and most advanced tape delay in Roland’s classic series. Combining tape echo, chorus and spring reverb, it features balanced XLR connections, noise reduction circuitry and delays up to 1.8 seconds. Its improved tape transport and sound-on-sound mode made it a studio favourite, delivering warm, analogue effects with reliable performance.
Made In U.K.
Released in 1981 /
The AMS DM2-20 tape phase simulator is the result of extensive research into the requirements and needs of the recording industry, for accurate simulation of tape phasing. Unlike other units of this kind, which solely mix the delayed signal with the original, the DM2-20 uses two independent delay lines to allow true ‘over the top‘ tape phase simulation.
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