When producing and mixing your music, a delay is one of the effects you'll probably
reach for every time. From short slap backs on a vocal, to long and dreamy
echos on a synth lead, FabFilter Timeless 3 delivers.
The first thing you will notice when you open Timeless 3 is the brand-new look. We have
put a lot of effort into redesigning the interface, making it much more pleasant and
efficient to work with. All the goodness of Timeless version 2 is still there of course,
but we've added a lot more:
Fully redesigned, highly simplified interface, with an
easier workflow, including a new design of modulation sources and floating slot panel.
Up to 6 filters, which can be either the original,
creative LP/HP/BP filters (with Style setting) or Bell/Shelving/Notch EQ filters. Filters
can be created and deleted in the display, just like in FabFilter Pro-Q or Pro-R.
Up to 16 delay taps, which can be controlled and
Improved overall sound quality of feedback, filters and internal saturation.
Ping-pong mode, with the option to start in either
the left or right channel.
Added five effects, enabling you to color the
delayed sound in different ways:
Drive effect to add warm, vintage saturation and keep
feedback under control.
Lo-Fi effect to pleasantly degrade the signal from
very subtle to totally crushed.
Diffusion effect to beautifully blur the delayed
and feedbacked signal.
Dynamics effect to either gate or compress the
Pitch Shift effect, which can be routed either inside
or outside the feedback path. The Pitch Shift
Mirroring option lets you pitch channels in opposite directions, to easily create
Introducing Slider mode and a range setting for XY
controllers. In Slider mode, the XY controller only works in vertical direction, taking
up much less space. The range setting toggles between bipolar (-1 to 1) and unipolar
(0 to 1) behavior.
Increased the number of XY controllers/sliders to 6.
Modulation sources can now be renamed to make their use easier to understand.
The XLFO Balance and Frequency Offset parameters are
now modulation targets.
The EG Threshold parameters are now modulation targets.
In addition, the incoming signal level is displayed in a meter around the Threshold knob,
and it's now possible to audition the external side chain input.
The EGs now have an Range setting, toggling between Normal
(a range between 0 and 1) and Neutral Sustain (a range around the Sustain level, where
EG outputs 0 when it's in the sustain stage).
Added the ability to hide modulation sources except
for XY controllers and Sliders. This is often useful, since most presets use XLFOs, EFs,
EGs and MIDI sources to create certain effects, which in turn can be controlled by XY
controllers and sliders.