Flanging involves the summing together of a signal and a time-varying delayed version of itself.
The input-output relationship for a flanger is given by:
where is the time-varying length of a delay line and is the “depth” of the flanging effect. A flanger block diagram is shown in Fig. 6.
Figure 6:
A digital flanger block diagram.
Because the delay-line length, , must change continuously and smoothly through time, it is necessary to make use of an interpolating delay line.
At any instant in time, the flanger is equivalent to a feedforward comb filter, which has a frequency response as shown in Fig. 7.
Figure 7:
Magnitude response of a feedforward comb filter with , , and = 0.1, 0.5, and 0.9.
For , there are peaks in the frequency response, centered about the frequencies
. Between these peaks, there are notches at intervals of Hz.
As changes over time, the peaks and notches of the comb response are compressed and expanded. The spectrum of a sound passing through the flanger is thus accentuated and deaccentuated by frequency region in a time-varying manner.
The delay-line length of a flanger is typically modulated by a low-frequency oscillator (LFO). Oscillator waveforms are typically sinusoidal, triangular, or exponential.
For a sinusoidally varied delay,
where is the flanger “rate” in Hz, is the “excursion” (maximum delay swing), is the average delay-line length that controls the average notch density, and is the sample period.
For values of
, the peaks and notches of the comb filter trade places. In practice, is normally contrained to the interval and the option of sign inversion is provided by a “phase inversion” switch.
In the inverted mode, a notch is located at zero frequency. As a result, bass response will likely be weakened.
Some flangers also implement feedback (in addition to the delayed feedforward path), which introduces spectral peaks and notches as previously described for feedback comb filters.