NO SHIPPING TO THE US!
Postal service to the USA has been suspended due to tariffs. We are currently unable to process orders from American customers. Shipping will resume as soon as possible.
Postal service to the USA has been suspended due to tariffs. We are currently unable to process orders from American customers. Shipping will resume as soon as possible.
Prism III VST3/AU plugin
PRISM III
VST3/AU plugin
The Prism III VST/AU plugin is a software counterpart of the Shift Line Prism III pedal which can produce mind-boggling sound effects.
The plugin includes 22 complex algorithms involving additive synthesis, reverb and various modulation types (frequency, amplitude, time). The Prism III is too deep to properly classify, which is why its name reflects three of its key aspects: modulation, filtering and pad creation.
The Prism III plugin has all the same functions as the pedal, and the presets you create in the plugin can be transferred into the pedal. The key difference is that the Prism III pedal operates at a 48 kHz sample rate, while the plugin offers more flexibility in bit depth and sample rate.
The Prism III is also available as a standalone app which doesn’t require using a DAW.
The plugin includes 22 complex algorithms involving additive synthesis, reverb and various modulation types (frequency, amplitude, time). The Prism III is too deep to properly classify, which is why its name reflects three of its key aspects: modulation, filtering and pad creation.
The Prism III plugin has all the same functions as the pedal, and the presets you create in the plugin can be transferred into the pedal. The key difference is that the Prism III pedal operates at a 48 kHz sample rate, while the plugin offers more flexibility in bit depth and sample rate.
The Prism III is also available as a standalone app which doesn’t require using a DAW.
Internal Signal Chain
The Prism III plugin has a fixed internal signal chain, but its algorithms can bypass certain sections.
The full signal chain is organized as follows:
The plugin’s 22 algorithms are based on those elements, but not every algorithm utilizes the entire processing chain.
The full signal chain is organized as follows:
- The input mixer with three pitch shifter channels (octave down, fifth up, octave up). The transposed signal has its own LFO for detuning.
- Three resonant multimode filters (LPF, HPF, BPF, All-pass) in series. Each filter has its own mixer and a tremolo mode switch.
- The first delay modulation section.
- The first non-linear distortion mix section.
- The reverb section.
- The sample rate reduction section.
- Three more resonant multimode filters (LPF, HPF, BPF, All-pass) in series. Each filter has its own mixer and a tremolo mode switch.
- The second non-linear distortion mix section.
- The second delay modulation section.
- The output HPF (low shelf).
- The output wet/dry signal mixer.
The plugin’s 22 algorithms are based on those elements, but not every algorithm utilizes the entire processing chain.
Presets
We recommend getting started with the Prism III plugin by exploring the factory presets.
The Preset Save/Load Section
The Previous/Next buttons
These buttons allow you to go through the preset list one by one.
The dropdown menu
This menu is the main control element for saving and loading presets. It includes the following sections:
The Previous/Next buttons
These buttons allow you to go through the preset list one by one.
The dropdown menu
This menu is the main control element for saving and loading presets. It includes the following sections:
- Actions: Utilities for saving presets (Save As…) and rescanning preset folders (Rescan Presets).
- Predefined Presets: This section contains the Factory folder (standard presets from the Prism III pedal), artist preset folders, and any user-created folders.
- User: Presets from the User folder (empty by default). This is a shortcut for accessing user-defined presets.
NB!
After you’ve installed the plugin, the following folders will appear in the system folder ("C:\Users\%username%\Application Data\Prism" or "С:\Users\%username%\AppData\Roaming\Prism” for various Windows versions, “~/Library/Prism/” for MacOS): Factory, Nikita Demchenko, Project [19], User.
For quicker scanning, the plugin imposes limits on folder nesting depth. You can use any of the folders to save your presets, and you can also create new folders in the root. However, you can’t create nested folders in any of those.
If you have deleted some of the presets in the default folder, you can get them back by deleting the whole folder. The plugin will restore all the presets except for the User folder and the custom presets you have saved.
After you’ve installed the plugin, the following folders will appear in the system folder ("C:\Users\%username%\Application Data\Prism" or "С:\Users\%username%\AppData\Roaming\Prism” for various Windows versions, “~/Library/Prism/” for MacOS): Factory, Nikita Demchenko, Project [19], User.
For quicker scanning, the plugin imposes limits on folder nesting depth. You can use any of the folders to save your presets, and you can also create new folders in the root. However, you can’t create nested folders in any of those.
If you have deleted some of the presets in the default folder, you can get them back by deleting the whole folder. The plugin will restore all the presets except for the User folder and the custom presets you have saved.
The SAVE button
The button duplicates the Save as… function from the dropdown menu. This allows saving presets quickly. If a preset has been modified but not saved yet, an asterisk will appear on the panel, while the plugin will be using the current control values from the UI.
The MONO IN button
This function is only available in the standalone app.
This button switches the app to Mono mode where the input signal from the first active channel is sent to both inputs.
The SHIFT LINE logo button
This button opens the purchase page (in the demo) or checks for updates (in the full version).
The button duplicates the Save as… function from the dropdown menu. This allows saving presets quickly. If a preset has been modified but not saved yet, an asterisk will appear on the panel, while the plugin will be using the current control values from the UI.
The MONO IN button
This function is only available in the standalone app.
This button switches the app to Mono mode where the input signal from the first active channel is sent to both inputs.
The SHIFT LINE logo button
This button opens the purchase page (in the demo) or checks for updates (in the full version).
Controls
The plugin’s controls are split into sections with the Algorithm section being the most important one.
The Algorithm section
This section contains a dropdown list of 22 algorithms which define the resulting sound. Each algorithm has its own control value ranges for the FILTER, LFO and REVERB sections.
The easiest way to start is to select an algorithm and turn the knobs until it sounds right. After that, feel free to refer to the algorithm’s description for more details.
This section contains a dropdown list of 22 algorithms which define the resulting sound. Each algorithm has its own control value ranges for the FILTER, LFO and REVERB sections.
The easiest way to start is to select an algorithm and turn the knobs until it sounds right. After that, feel free to refer to the algorithm’s description for more details.
Solar Winds
Spacey synth sounds from the 70s. An octave up and 5th up are mixed with the dry signal; the result then goes through mild filtering before reverb, after which a flanger is applied for good measure. This is a great algorithm for melodic parts which could use a soft pad with some extra harmonics.
Synthation Flow V.2
This patch pays homage to Michael Garrison’s sound. Both octaves and the fifth are used in the pitch shifting section. Only the pre-reverb filter block is engaged, resulting in mild filtering with barely noticeable movement. The reverb sounds soft but completely replaces the dry signal. All those elements together create a lush pad for the incoming signal. This patch is probably the closest one could get to the original Prism-9 pedal.
Illusions Far V.2
This inspiring algorithm can produce really soothing timbres. The incoming signal is pretty much eliminated in favor of the pitch-shifted version. The sound is then processed by HPFs set to low depth. The soft flanging and dreamy reverb provide the finishing touches.
CM116 V.2
Another classic sound from the previous versions: this time, you can get tones reminiscent of Tangerine Dream. Multiplication of two LFOs modulating low-pass filters is the key element here. The incoming signal is enriched and expanded by the pitch shifting section. Both the pre- and post-reverb filter blocks are used. The chorus effect is particularly noticeable when blending the result with the dry signal.
Tremolo Organ
The pitch-shifted signal is enriched by chorus and tremolo. The FREQ knob controls tremolo signal filtering (the higher the value, the more harmonics are cut off). The sound is additionally expanded and smoothed-out by the reverb.
Phase Organ
The pitch-shifted signal goes through a mild chorus and a phaser. The FREQ knob sets the lowest frequency value for the phaser, while the DEPTH knob controls modulation depth. The active reverb section adds some extra oomph.
Meow V.2
This is an updated version of the “meowing” algorithm from the Prism II. Set the FREQ knob fully CCW and the DEPTH knob fully CW to highlight the U and A vowels. The engaged reverb section eliminates the dry signal almost completely. You can use this algorithm with little to no filter movement in order to create endless ambient spaces. Additionally, the algorithm has a rather pronounced chorus which can turn into vibrato at high X-MIX and DEPTH values.
Butter V.2
The mild filtering in this patch works best with a slow LFO set to medium depth. The algorithm features a bit of upper and lower octave signals. Some of the filters move in the opposite direction to the others. This adds a bit of instability to the sound, which is additionally colored by a flanger. The reverb is turned up high in the mix and has a long decay, resulting in a soft pad.
LPF72dB+(SRR)
The 72dB/octave LPF is coupled with sample rate reduction, resulting in extra digital harmonics being added to the signal. Set the DEPTH knob fully CCW to stop the LFO and get a steep cutoff at a particular frequency. This algorithm works very well with percussion.
Modulated TripleHPF
Three high-pass filters, each with the cutoff frequency set an octave above the previous one. Setting the RESO knob to high values will result in a bright peak within the selected frequency range, highlighting even harmonics in the process. The reverb in this algorithm is out of phase to prevent muddying the main signal. The chorus provides extra width to the sound.
System Fault
All the available pitch-shifted signals are combined with deep modulation, resulting in a crazy choir of unsettling sounds. This algorithm works well for horror movie soundtracks and dark ambient recordings. The out-of-sync LFO creates unpredictable rhythmical patterns and livens up the sound. The phaser provides some finishing touches. At high reverb levels and slow modulation rates, the signal turns into wind- or wave-like textures which can go well with ambient drones.
Extended Range Wah
A classic wah pedal algorithm with extended filter range. The FREQ knob sets the peak at a frequency within the range of 150Hz (fully CCW) to 2400Hz (fully CW). By tweaking the modulation depth and the frequency threshold, you can shift the frequency range and adjust it to your sound source. The RESO knob sets the resonance amplitude. You can also add mild reverberation and/or blend some of the dry signal back in. This algorithm simulates a fully modded wah pedal and allows for manual control: just set an expression pedal to control the FREQ knob and set the DEPTH value to the minimum (or blend the internal LFO with the external expression pedal).
Stone Phaser
A classic Stone-style phaser with extended functionality. Set the mix fully wet, the FREQ knob fully CCW, and the DEPTH knob fully CW to achieve a traditional phaser effect. Feel free to try any other values as well: this can change the sound significantly. Use the RESO knob to adjust the character and “bite” of the phaser, and blend in some dry signal to get a mild flanging effect. A bit of added reverb will make the sound feel more spacious.
Dual Flanger
This algorithm includes two flangers set to different depths. The DEPTH knob controls modulation depth: set it fully CCW for through-zero flanging, increase the value to get jet-like sounds, and turn it fully CW for a crazy flanger/vibrato effect. The FREQ knob controls the frequency range of the processed signal. You can also add some reverb and/or dry signal to the result.
Chorus-Vibrato
This delay time modulation algorithm gives you a classic chorus (at a 50/50 dry/wet mix) or vibrato effect (when the mix is set to 100% wet). The DEPTH knob controls detune depth and has a very wide range. The FREQ knob sets the brightness of the delayed signal, while the RESO knob controls the amplitude of filter resonance. This algorithm uses out-of-phase reverberation which doesn’t mask the main signal. Additionally, you can blend in a bit of the pitch-shifted signal for richer harmonics.
Harmonic Tremolo
A tremolo (amplitude modulation) algorithm with extra functionality. Modulation depth is controlled via the DEPTH and X-MIX knobs; turn both of those fully CW for the maximum tremolo effect. Intermediate knob positions can be just as appealing. The processing chain involves a barely noticeable flanger, and the FREQ knob allows you to add some frequency modulation. Set the FREQ knob fully CCW for classic tremolo or fully CW for a harmonic tremolo effect, where the amplitude is modulated together with the filter (like what you can hear in an old guitar amp with built-in tube tremolo). Use the BOOST knob to compensate for any volume loss, and add in some reverb for particularly lush textures.
OY Vowel
A formant filter modulation algorithm. Set the FREQ knob fully CCW and the DEPTH knob fully CW to highlight the O and Y vowels. If you like, you can also shift the movement from one vowel to the other and get other, less obvious formants. The algorithm also uses light vibrato, stereo widening of a mono signal, and mild reverberation.
TripleResLPF
Three resonant low-pass filters, each with a resonant peak set an octave above the previous one. The filters have a steep slope, so the signal is practically muted when the FREQ knob is set fully CCW. The filters are set both before and after the reverb block, which results in particularly interesting textures at high REVERB knob values with some dry signal blended in.
TripleResBPF Crushed
A triple resonant band-pass filter combined with sample rate reduction. This algorithm highlights the harmonics selected by the FREQ knob and creates peculiar textures when modulated.
LPF72dB
This 72db/octave LPF allows you to set a steep cutoff at a particular frequency when the LFO is disengaged (the DEPTH knob is set fully CCW). The processing chain also involves a flanger which is prominent at medium values of the X-MIX knob. You can also add some reverb to soften the overall sound.
DJ Filter
A classic DJ filter combined with mild reverberation. Set the FREQ knob to 12 o’clock to let all frequencies pass, turn it CCW to cut the high frequencies, or turn it CW to cut the low frequencies.
Doubler
An algorithm that adds extra “voices” to the initial signal, expands it, and slightly colors it with chorus and reverb. The FREQ knob sets the “brightness” of the voices and the prominence of their panning. This works particularly well with melodic parts.
Spacey synth sounds from the 70s. An octave up and 5th up are mixed with the dry signal; the result then goes through mild filtering before reverb, after which a flanger is applied for good measure. This is a great algorithm for melodic parts which could use a soft pad with some extra harmonics.
Synthation Flow V.2
This patch pays homage to Michael Garrison’s sound. Both octaves and the fifth are used in the pitch shifting section. Only the pre-reverb filter block is engaged, resulting in mild filtering with barely noticeable movement. The reverb sounds soft but completely replaces the dry signal. All those elements together create a lush pad for the incoming signal. This patch is probably the closest one could get to the original Prism-9 pedal.
Illusions Far V.2
This inspiring algorithm can produce really soothing timbres. The incoming signal is pretty much eliminated in favor of the pitch-shifted version. The sound is then processed by HPFs set to low depth. The soft flanging and dreamy reverb provide the finishing touches.
CM116 V.2
Another classic sound from the previous versions: this time, you can get tones reminiscent of Tangerine Dream. Multiplication of two LFOs modulating low-pass filters is the key element here. The incoming signal is enriched and expanded by the pitch shifting section. Both the pre- and post-reverb filter blocks are used. The chorus effect is particularly noticeable when blending the result with the dry signal.
Tremolo Organ
The pitch-shifted signal is enriched by chorus and tremolo. The FREQ knob controls tremolo signal filtering (the higher the value, the more harmonics are cut off). The sound is additionally expanded and smoothed-out by the reverb.
Phase Organ
The pitch-shifted signal goes through a mild chorus and a phaser. The FREQ knob sets the lowest frequency value for the phaser, while the DEPTH knob controls modulation depth. The active reverb section adds some extra oomph.
Meow V.2
This is an updated version of the “meowing” algorithm from the Prism II. Set the FREQ knob fully CCW and the DEPTH knob fully CW to highlight the U and A vowels. The engaged reverb section eliminates the dry signal almost completely. You can use this algorithm with little to no filter movement in order to create endless ambient spaces. Additionally, the algorithm has a rather pronounced chorus which can turn into vibrato at high X-MIX and DEPTH values.
Butter V.2
The mild filtering in this patch works best with a slow LFO set to medium depth. The algorithm features a bit of upper and lower octave signals. Some of the filters move in the opposite direction to the others. This adds a bit of instability to the sound, which is additionally colored by a flanger. The reverb is turned up high in the mix and has a long decay, resulting in a soft pad.
LPF72dB+(SRR)
The 72dB/octave LPF is coupled with sample rate reduction, resulting in extra digital harmonics being added to the signal. Set the DEPTH knob fully CCW to stop the LFO and get a steep cutoff at a particular frequency. This algorithm works very well with percussion.
Modulated TripleHPF
Three high-pass filters, each with the cutoff frequency set an octave above the previous one. Setting the RESO knob to high values will result in a bright peak within the selected frequency range, highlighting even harmonics in the process. The reverb in this algorithm is out of phase to prevent muddying the main signal. The chorus provides extra width to the sound.
System Fault
All the available pitch-shifted signals are combined with deep modulation, resulting in a crazy choir of unsettling sounds. This algorithm works well for horror movie soundtracks and dark ambient recordings. The out-of-sync LFO creates unpredictable rhythmical patterns and livens up the sound. The phaser provides some finishing touches. At high reverb levels and slow modulation rates, the signal turns into wind- or wave-like textures which can go well with ambient drones.
Extended Range Wah
A classic wah pedal algorithm with extended filter range. The FREQ knob sets the peak at a frequency within the range of 150Hz (fully CCW) to 2400Hz (fully CW). By tweaking the modulation depth and the frequency threshold, you can shift the frequency range and adjust it to your sound source. The RESO knob sets the resonance amplitude. You can also add mild reverberation and/or blend some of the dry signal back in. This algorithm simulates a fully modded wah pedal and allows for manual control: just set an expression pedal to control the FREQ knob and set the DEPTH value to the minimum (or blend the internal LFO with the external expression pedal).
Stone Phaser
A classic Stone-style phaser with extended functionality. Set the mix fully wet, the FREQ knob fully CCW, and the DEPTH knob fully CW to achieve a traditional phaser effect. Feel free to try any other values as well: this can change the sound significantly. Use the RESO knob to adjust the character and “bite” of the phaser, and blend in some dry signal to get a mild flanging effect. A bit of added reverb will make the sound feel more spacious.
Dual Flanger
This algorithm includes two flangers set to different depths. The DEPTH knob controls modulation depth: set it fully CCW for through-zero flanging, increase the value to get jet-like sounds, and turn it fully CW for a crazy flanger/vibrato effect. The FREQ knob controls the frequency range of the processed signal. You can also add some reverb and/or dry signal to the result.
Chorus-Vibrato
This delay time modulation algorithm gives you a classic chorus (at a 50/50 dry/wet mix) or vibrato effect (when the mix is set to 100% wet). The DEPTH knob controls detune depth and has a very wide range. The FREQ knob sets the brightness of the delayed signal, while the RESO knob controls the amplitude of filter resonance. This algorithm uses out-of-phase reverberation which doesn’t mask the main signal. Additionally, you can blend in a bit of the pitch-shifted signal for richer harmonics.
Harmonic Tremolo
A tremolo (amplitude modulation) algorithm with extra functionality. Modulation depth is controlled via the DEPTH and X-MIX knobs; turn both of those fully CW for the maximum tremolo effect. Intermediate knob positions can be just as appealing. The processing chain involves a barely noticeable flanger, and the FREQ knob allows you to add some frequency modulation. Set the FREQ knob fully CCW for classic tremolo or fully CW for a harmonic tremolo effect, where the amplitude is modulated together with the filter (like what you can hear in an old guitar amp with built-in tube tremolo). Use the BOOST knob to compensate for any volume loss, and add in some reverb for particularly lush textures.
OY Vowel
A formant filter modulation algorithm. Set the FREQ knob fully CCW and the DEPTH knob fully CW to highlight the O and Y vowels. If you like, you can also shift the movement from one vowel to the other and get other, less obvious formants. The algorithm also uses light vibrato, stereo widening of a mono signal, and mild reverberation.
TripleResLPF
Three resonant low-pass filters, each with a resonant peak set an octave above the previous one. The filters have a steep slope, so the signal is practically muted when the FREQ knob is set fully CCW. The filters are set both before and after the reverb block, which results in particularly interesting textures at high REVERB knob values with some dry signal blended in.
TripleResBPF Crushed
A triple resonant band-pass filter combined with sample rate reduction. This algorithm highlights the harmonics selected by the FREQ knob and creates peculiar textures when modulated.
LPF72dB
This 72db/octave LPF allows you to set a steep cutoff at a particular frequency when the LFO is disengaged (the DEPTH knob is set fully CCW). The processing chain also involves a flanger which is prominent at medium values of the X-MIX knob. You can also add some reverb to soften the overall sound.
DJ Filter
A classic DJ filter combined with mild reverberation. Set the FREQ knob to 12 o’clock to let all frequencies pass, turn it CCW to cut the high frequencies, or turn it CW to cut the low frequencies.
Doubler
An algorithm that adds extra “voices” to the initial signal, expands it, and slightly colors it with chorus and reverb. The FREQ knob sets the “brightness” of the voices and the prominence of their panning. This works particularly well with melodic parts.
The Filter section
The Prism III’s sound is primarily based on filtering, so this section is the next in order of importance.
-
The FREQ knob always sets the minimum filter cutoff value. In any algorithm, the value of this control sets the minimum value to which the filters might go. Setting this knob to the minimum can fully silence the output in certain algorithms.
The RESO knob controls filter resonance or (in some algorithms) the selected algorithm’s character.
NB!
The Prism III uses a positive LFO which goes from the minimum (set by the FREQ knob) to the maximum (set by the DEPTH knob).
The Prism III uses a positive LFO which goes from the minimum (set by the FREQ knob) to the maximum (set by the DEPTH knob).
The LFO section
-
LFO
Parameter modulation is another crucial element of the Prism III. The DEPTH knob sets modulation depth, while the rate is set by the RATE knob, the TAP button or by syncing to the DAW. The plugin features 5 LFOs with different settings for each algorithm. This opens up a variety of effects: simple modulation, turning a mono signal into stereo, adding movement in the stereo field, or phase distortion.
The DEPTH knob controls parameter modulation depth via the LFO and also sets the maximum cutoff value for the filters. Depending on the algorithm, it can also control the depth of effects (tremolo, flanger, phaser, chorus). Turn the knob clockwise to increase modulation depth. To completely remove parameter modulation, turn this knob fully CCW.
The CLOCK dropdown list offers three ways to control LFO rate:
The BEAT dropdown list selects a subdivision for the clock rate: quarter notes, dotted 8ths or quarter note triplets. The subdivision applies to all clocking methods (Manual/Tap/Sync).
The RESET button resets LFO phase to the default value for the chosen algorithm.
The TAP/SYNC SCALE dropdown list allows scaling the LFO rate set by the TAP or SYNC methods (but doesn’t affect the rate set by the RATE knob). The scaling range is 2x to 32x.
The TAP button sets LFO rate after two presses.
The RATE knob sets LFO rate in Hz. The range depends on the selected algorithm.
The STEREO knob affects LFO phase in the right channel. In some algorithms, there is no difference in LFO phase between the two channels when the STEREO knob is fully CCW, a 180-degree difference with the knob set to 12 o’clock, and a 360-degree difference with the knob fully CCW. This way, you can control signal movement in the stereo field. However, other algorithms may have different settings. Depending on the algorithm, the STEREO knob may either widen the stereo image or pan the sound across the stereo field.
The CLOCK dropdown list offers three ways to control LFO rate:
- Manual: via the RATE knob.
- Tap: via the TAP button.
- Sync: by syncing to the plugin host’s clock.
The BEAT dropdown list selects a subdivision for the clock rate: quarter notes, dotted 8ths or quarter note triplets. The subdivision applies to all clocking methods (Manual/Tap/Sync).
The RESET button resets LFO phase to the default value for the chosen algorithm.
The TAP/SYNC SCALE dropdown list allows scaling the LFO rate set by the TAP or SYNC methods (but doesn’t affect the rate set by the RATE knob). The scaling range is 2x to 32x.
The TAP button sets LFO rate after two presses.
The RATE knob sets LFO rate in Hz. The range depends on the selected algorithm.
The STEREO knob affects LFO phase in the right channel. In some algorithms, there is no difference in LFO phase between the two channels when the STEREO knob is fully CCW, a 180-degree difference with the knob set to 12 o’clock, and a 360-degree difference with the knob fully CCW. This way, you can control signal movement in the stereo field. However, other algorithms may have different settings. Depending on the algorithm, the STEREO knob may either widen the stereo image or pan the sound across the stereo field.
The REVERB section
-
The REVERB knob controls reverb decay. Turn this knob fully CCW to disengage the reverb completely. The reverb mix is fixed for each particular algorithm, but you can modify reverb decay to go from barely noticeable reflections to long, pad-like reverb tails.
The FILTER knob controls the brightness of the reverb signal. The higher the setting, the brighter the reflections.
The DETUNE section
With this section, you can achieve various effects with nice-sounding quirks (e.g. guitar whammy bar simulation, tape speed up / slow down, or old-sampler-like pitch shifting). The effect’s attack rate is 8 times slower than its release rate, which results in a more organic sound.
-
The DETUNE knob controls the rate at which the transposed signal is gradually detuned when the DETUNE button is pressed. Turn this knob CCW from 12 o’clock to detune the signal downwards or CW from 12 o’clock to detune it upwards. Detune rate is minimal when this knob is set to 12 o’clock. Turn it fully CW or CCW for maximum rate.
If you want to hear the detuning effect, avoid setting the DETUNE knob to 50.00 (the gradual detuning is disengaged in that position).
The DETUNE button engages gradual detuning of the signal. If you hold down the button long enough, the detuning will reach the end of its range and start moving back, creating extra digital artifacts in the process. The difference in sound at various sample rates (44, 48, 96 or 192 kHz) comes from the way the algorithms operate.
The MASTER section
-
The X-MIX knob controls the dry/wet signal cross mix. Set this knob fully CCW for a 100% dry signal.
The X-MIX knob also has a LOCK button which allows you to retain the X-MIX value while browsing presets.
The BOOST knob boosts the output signal up to +12 dB (this affects both the dry and the wet signals).
Additional controls
-
The BYPASS button turns the effect on or off.
The RANDOM button allows you to quickly randomize all control values affecting the sound.
This doesn’t affect dropdown menu values.
The CONFIG button allows configuring and exporting a list of presets into the Shift Line Prism III pedal.
This doesn’t affect dropdown menu values.
The CONFIG button allows configuring and exporting a list of presets into the Shift Line Prism III pedal.
The Preset Export Window
This window allows you to choose 33 presets which will be exported into the Prism III pedal. This way, you can create presets in your DAW and later use them on stage or in a DAWless setup.
The Prism III pedal’s file system includes 22 algorithms and 33 presets which are split into 3 banks. Each bank has 11 presets. The algorithms are saved in the PM and FX banks. The UD bank can be filled with presets based on the algorithms from the other two banks.
Visit the Prism III product page for more info on its preset storing system.
The Prism III pedal’s file system includes 22 algorithms and 33 presets which are split into 3 banks. Each bank has 11 presets. The algorithms are saved in the PM and FX banks. The UD bank can be filled with presets based on the algorithms from the other two banks.
Visit the Prism III product page for more info on its preset storing system.
-
After you’ve configured the preset list in the left panel, you can use the Save Export Settings button to save the current config to disk.
To transfer the saved preset list to the pedal, you need to do the following:
1. Connect the Prism III pedal to the USB port on your computer.
2. Click the Set Path To Prism III button and select the root folder of the pedal’s flash drive.
3. Click the Export Settings To Prism III button.
4. Wait till the Export Settings To Prism III button becomes active again. This means that the transfer process has been completed.
5. Safely eject the Prism III flash drive and disconnect the USB cable from the pedal.
6. Unplug the power from the Prism III, then plug it back in.
The presets will be transferred to the pedal when powering it back on.
Additionally, the export window has a Factory Defaults button which allows reverting the preset list to factory settings.
If you’ve modified the presets in the Factory folder without changing their names, the modified versions will be used when pressing the Factory Defaults button.
If you’ve modified the presets in the Factory folder without changing their names, the modified versions will be used when pressing the Factory Defaults button.
System Requirements
- Microsoft WindowsOS Version:
7 — 11 (64-bit)
CPU:
Intel Core i3-i9, AMD
RAM:
8 GB (recommended)
Minimum Screen Resolution:
1152 × 864
For proper operation of the plugin, make sure you have the latest version of Microsoft C++ redist library installed. - Apple macOSOS Version:
12 or newer
CPU:
Intel Core i5 / Apple M1 or better
RAM:
8 GB (recommended)
Minimum Screen Resolution:
1152 × 864 - LinuxOS Version:
Ubuntu 20.04 or newer
CPU:
x86_64
RAM:
8 GB (recommended)
Minimum Screen Resolution:
1152 × 864
The latest Shift Line Prism III version is v.1.0
The currently installed version is displayed in the upper right corner of the plugin’s UI.
NB: the Prism III plugin is being continuously developed. Please check for new versions regularly. If you have found a bug or have a feature request, please use our bug tracker.
The currently installed version is displayed in the upper right corner of the plugin’s UI.
NB: the Prism III plugin is being continuously developed. Please check for new versions regularly. If you have found a bug or have a feature request, please use our bug tracker.
Prism III | Full Version
After you have pressed the “BUY PRISM III” button, you will be redirected to a page where you can complete your purchase. Please follow the instructions on the page in order to get access to your account.
Thank you for your support!
Thank you for your support!
Prism III | Demo Version
This is a fully functional demo version of the plugin.
The only difference is that the processed signal occasionally cuts out for a few moments.
The only difference is that the processed signal occasionally cuts out for a few moments.