THETA Audio Research C O N C O R D

Eight voices. One shared cycle.

A chorus built around one LFO, not several unrelated ones. Every voice reads the same delay line, offset by its own share of the cycle and detuned outward from centre, so the ensemble moves together and spreads symmetrically across the stereo field.

The VOICE BRAID at the centre of the panel is the delay line, drawn by the same maths that runs the audio.

A chorus is a copy of the signal, delayed by a few milliseconds, with that delay sweeping slowly up and down. While the delay grows the copy plays a touch flat; while it shrinks, a touch sharp. Blend it back with the original and the two drift in and out of tune with each other the way a section of players does. That drift is the chorus.

One copy wobbles. Several copies, sweeping out of step, shimmer. The question is how they are kept out of step. Separate LFOs wander into each other and the ensemble pulses. CONCORD gives every voice the same LFO and staggers it by an exact share of the cycle, so at any instant the voices are spread evenly through it.

The input is summed to mono and written into one delay line. VOICES reads two, four, six or eight taps off it. DELAY sets where the taps sit, DEPTH how far they swing, RATE how fast. DETUNE stretches alternate voices’ delays up and down around centre, so no two taps land together, and WIDTH fans them out across the stereo field, odd voices to one side, even to the other.

BBD and LO-CUT shape only the wet path. MIX blends it with the input, which is never delayed, and AUTO LEVEL takes the volume out of the comparison. One header owns the swing; the audio, the display and the test harness all call it, so the picture cannot drift from the sound.