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[[File:Hordijk pf.png|thumb|right|200px]]The 2U wide '''Rob Hordijk Phaser Filter''' module combines 5 allpass poles with three lowpass poles in one module. The five allpass poles are configured as a phaser with positive feedback resonance control, creating two resonant peaks when opened. Then a crossfade knob fades between the input and the output of the phaser and this crossfade mix is the input signal into the lowpass filter. At the end of the allpass chain before the crossfader is a phaser monitor output. The lowpass section has a cutoff slope of -
[[File:Hordijk pf fc.png|thumb|right|200px|The Phaser Filter flowchart]]Both the phaser section and the lowpass section have a 1V/Oct control law. The phaser has one modulation input and if it is not connected the audio input signal is used as the modulation signal. This allows for dynamic waveshaping of the input signal on the time axis without detuning to signal.<ref name="rh" />
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Both phaser and filter can sweep over a range of roughly 18 octaves and can be modulated up to really high audio rates. In this last case FM-type and ring-modulator-type effects occur, but with much more timbral control than traditional ring-modulators. E.g. when the outputs of two OSC HRM modules, set to sinewave output and tuned in some interval, are mixed and routed into the filter just slight amounts of the internal modulation on either the phaser or the filter will start to produce ‘undertones’ and ‘overtones’ that are sum and difference frequencies of the interval. This exemplifies the idea behind the Phaser Filter architecture, to not only take material away like a normal filter does but to also produce new material not present in the input signal and combine the both to create a vast range of possible timbres.<ref name="rh" />
The Phaser Filter is no longer produced, it was sort of a prototype and only 2 or 3 units were sold.<ref>
{{From Muff Wiggler wiki|Rob Hordijk Designs}}▼
== References ==
{{reflist}}
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