Waves’ Kaleidoscopes plugin is a suite of modulation effects that you can play like an instrument

Waves is inviting you to let your modulation imagination run wild with Kaleidoscopes, its new combined phaser, flanger, chorus and tremolo plugin.

Based on everything from ‘60s phasing and tape flanging to ‘70s stadium tremolo guitar and ‘80s chorus, Kaleidoscope calls on the rich history of analogue modulation effects.

The plugin features what Waves calls a Dual Cascade architecture. There are two FX engines that can be ‘cascaded’ into each when used in serial, or used to create super-wide soundscapes when run in parallel.

Each engine has access to a selection of waveshapes, or you can use a sidechain signal as the modulation input. You can also set up Kaleidoscopes to ‘listen’ to your live performances; a dedicated section features input-sensitive envelopes and intelligent triggers, so you can make the plugin respond dynamically as you sing or play.

You can adjust the Speed, Resonance, Width and Depth of the modulation, while the filter settings and mix levels can also be tweaked. There are five different effect ‘characters’ that give you different analogue-style flavours, and you can also tempo-sync the modulation to your project.

Kaleidoscopes is available now for PC and Mac in VST/AU/AAX formats. The regular price is $99, but you can currently purchase it for $39.

This is thanks to Waves’ current Last Call For Summer sale, which gets you 40% off more than 200 plugins and bundles. This being the case, now’s a good time to stock up on any Waves goodies you might have been holding out on, though we suspect more sales will come along, possibly once the Prime Day music deals start rolling in.


Save 40% on 200 Waves plugins and bundles
Take advantage of this offer by using the code LASTCALL. If you spend $50 you'll also get a free plugin, while spending $90 will get you two free plugins.

Ben Rogerson

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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