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Psychic Modulation heats up the multi-effect market with its VectoMelt plugin

Psychic Modulation VectoMelt

An expanded version of its EchoMelt plugin, Psychic Modulation’s VectoMelt is a multi-effect unit that’s designed to “bring your sounds into the audio netherworld”.  

The key addition is the XY vector, which serves as the centrepiece of the modulation section. X mixes between Flow and Flutter, while Y increases the effect.

The effect units include chorus, an EQ and echo, an analogue-style tape dub delay with pitchshifting. The end result is a plugin that can take your audio to all kinds of swirling, whirling places.

Find out more on the Psychic Modulation website. VectoMelt’s regular price is $59, but you can currently purchase it for the introductory price of $49. It’s available for PC and Mac in VST/AU formats, and you can also download a demo.

Psychic Modulation VectoMelt features

  • XY modulation vector
  • Flow and Flutter: Analog-style drifting, instability and random fluctuations that are mixed at two different speeds using the X axis
  • Multiple targets for modulation include: Pitch, Chorus, Echo, Amp and Pan; Y axis controls the overall mod depth
  • Flex: A modulator for the XY pad made up of Orbit (to circle the XY point), and Jump (to jump out of orbit sporadically)
  • Multi-FX include:
    2-Voice Chorus with voice Separation
    Parametric 3-Band EQ that works as both high and low pass filters
    EQ dry/wet control that can isolate the filter to only affect the Echo
    Saturation driver sent into the Echo signal
    Echo: Analog tape style dub delay unit with pitch-shifting
  • Mix controls for each effect as well as Master Mix
  • Sub Presets for each FX section
  • Randomization controls for each effect section
  • MIDI Learn and automation of most parameters
  • Double-Click Parameter Reset
  • Intuitive patch management system
  • 128 presets to get you started
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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