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FabFilter releases version 3 of its Timeless delay plugin, and it’s about time too

It might be called Timeless, but FabFilter has decided that there’s still room for improvement in its much-loved tape delay plugin, as it’s just released version 3.

And, given that Timeless 2 was released way back in 2009, you could argue that it’s about, um, time.

Users of previous versions will immediately notice the redesigned interface - a more streamlined display that’s designed to simplify operation and improve visualisation.

You should hear an improvement to the sound, too, with upgraded and optimised analogue-modelling algorithms said to deliver FabFilter’s warmest filters and smoothest saturation yet.

Speaking of which, there are now six multimode filters with which to sculpt your delays (Timeless 2 had only a couple), with each offering high-pass, low-pass, band-pass, bell, shelf, and notch modes.

These can be used in series or parallel, or with three filters on each L/R channel for cross-feedback-enhanced stereo effects.

You can also add colour to your delays with the one-knob feedback effect modules: Drive, Lo-Fi, Diffuse, Dynamics and Pitch. These can all be used as targets for Timeless’s improved modulation options, which include 16-step XLFOs, XY controllers, envelope generators, envelope followers and MIDI sources.

With all these new features onboard, it should come as no surprise that the preset library has been rebuilt and reorganised to take advantage of them. You’ll find everything from instrument-specific treatments to spacious reverbs and more complex modulation-based special FX.

You can download a 30-day trial version of Timeless 3 today, with a full licence costing $129/£94/€109 (bundle options with other FabFilter plugins are also available). Upgrade discounts are being offered to existing users, and it runs on PC and Mac in VST/AU/AAX formats.

Find out more on the FabFilter website.

Ben Rogerson

I’m the Group Content Manager for MusicRadar, specialising in all things tech. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 20 of which I’ve also spent writing about music technology. 

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