Variety Of Sound ThrillseekerXTC mkIII v3.0 x64 x86 VST VST3 WiN [FREE]

not just all pass, I tried with Volcano for hours to get that sunk sound that bring down the low to the bottom of the stereo image, not happening. matched phase settings on Volcano2 with Linear no saturation filter, it's just does the usual all pass phase thingy, reshaping, tightening but not sinking the low end on stereo image like "phi" on SlickEQ does. It makes the low freq not on the center of stereo image, rather bottom (still center but move down vertically), everything feels on the floor, if it makes any sense. I tried the filter delay on Volcano, duplicate the filter and pan L/R and give them few Hertz away (faking dual mono behavior) from each other too, still not happening. Tweaked for hours. lol. tbh I'd prefer Volcano with its colorful saturation it offers, but it just couldn't do it. SlickEQ it is.

Also TDR is not a company that would exaggerate an all pass filter like that on the manual. They have no history of scamming until now.

Your observation is interesting about the overqualification of a "simple allpass filter" not familiar to TDR. I'm love their product design philosophy and it wasn't aimed to be debasing at all. I praise simplicity.

The simplest principles are mostly the most powerful ones because of their generalizing power and the holistic approach of reality they raise, a kind of remanence of multiple thus complex phenomena.

Now back to this allpass filter network, I got you when you talk about the sunken bass effect. It is quite fun because it actually does bring "down" signal on some goniometers, literally; probably because of the asymmetric phase accentuation towards negativity it has on the waveform, well like an all-pass filter do have.

You talked about the stereo field also, maybe you were referring to some dual mono approach or the integrated tolerance alteration offered by SlickEQ. I was simply talking about what the "Phi" button on a signal does.

From this perspective, I admit I overlooked the "network" in a sense of a more elaborated design made at least of 2 12dB/Oct All-pass Filters, calibrated and adjusted in a sense of twisting the waveform just the right way, but without difficulty, I could easily cancel a good bunch of decibels (33.8), the remainder requiring increasing fine tuning. Mono, or stereo signal, so yeah no channel-interdependent processing anyway.

Anyway this shit kick ass a lot and having the freedom of a reproducibly value is always something handy for me; sharing it is even better

Your observation is interesting about the overqualification of a "simple allpass filter" not familiar to TDR.

more like, if it's just a simple All Pass Filter, they wouldn't have explained it that way on the manuals, saying "special network" and all. Or just be straight forward, "The Phi will activate an All Pass Filter" instead of they way they did it.

You talked about the stereo field also, maybe you were referring to some dual mono approach or the integrated tolerance alteration offered by SlickEQ. I was simply talking about what the "Phi" button on a signal does.

I might have not stated it correctly before, what I truly meant is the bass, in this case the 808 bass feels like it's on the floor and huge. It feels huge and stereo because it has higher frequency stereo content working together with the mono low end injected with the phi FX.

As for the phi when the SlickEQ is on dual-mono mode it's showing on the analyzer that the all pass is split to L/R with slight difference in their center frequency. I figured it sounded better that way on the SlickEQ and try to replicate it on the Volcano 3, managed to get pretty much everything lined-up but am not getting the desired result sound wise. That's when I come with the conclusion that it's not just an All-Pass, probably something more, maybe a network, whatever that is.

Now back to this allpass filter network, I got you when you talk about the sunken bass effect. It is quite fun because it actually does bring "down" signal on some goniometers, literally; probably because of the asymmetric phase accentuation towards negativity it has on the waveform, well like an all-pass filter do have.

another random guess is, the whole FX probably depend on the high end frequency content too, especially with them being stereo and how they interact with the lagged mono low end content. I think there's a slight volume change sometimes.

Anyway, there's another interesting thing I found in this plugin "JMG Audio Expanse 3D". Among 3 of its main function, there's this one I like called "Height" which surprisingly enough did produce a sense a height changes on correct track with moderate amount and also that sunken bass sound sometimes as the high content seems to be moving upward the more you dialed it in. So good for snare reverb, snare room tuning. I got curious and checked what's going on under the hood, it's just an EQ curve. I would appreciate if you can gave it a try and see what do you think about that EQ curve, I'm still impressed by it tbh, assuming it's just EQ curve, nothing less. How is that even possible.

I've just seen the introduction Video to Slick EQ's Mastering edition by Dan Worral,
at minute 12:25 he talks about a function (hidden as an easter egg by holding control plus shift while clicking the low cut button), similar to "phi" button in the GE edition.
Maybe this helps you get closer to the desired results?
Introduction to Slick EQ M

He describes it as a strong phase shift, causing low frequencies to be delayed slightly