Neural DSP Parallax X

Evolved from Neural DSP’s earlier Parallax, Parallax X is a multiband processor designed to enhance bass sounds, using separate levels of high‑ and mid‑band distortion combined with low‑band compression and the ability to transpose pitch. The plug‑in supports all the popular formats for Mac and Windows, and is authorised through an iLok account.

At the heart of the plug‑in is a three‑band crossover, and the crossover frequencies can be adjusted by dragging points in the centre section of the GUI, which depicts the crossover curves. The levels of the three sections may be adjusted by using the rotary control below or again by dragging the points on the crossover display.

At the top of the screen are controls for a noise gate and a pitch transposer with a ±12 semitone range. This works extremely smoothly on bass sounds, so it’s just the thing if, for example, you just need to get to a bottom D when recording a bass guitar part. Mono or stereo input mode can be selected, and there’s a generous selection of presets (many by specific artists) that show off the scope of the processing. For live performance, there’s also a standalone mode.

At the bottom of the screen are three main control sections: Low Compression, Mid Distortion and High Distortion. There’s also a six‑band graphic equaliser. There’s no master wet/dry control here, but if you need that facility some DAWs offer it per insert slot, and it’s easy enough to use Parallax X as a send rather than as an insert effect.

Parallax X’s cabinet emulation page.

Clicking on the concentric circles logo at the top of the screen switches the display to cabinet emulation with a choice of microphone types, mic position and mic distance. There’s a choice of three dynamic mics, one capacitor mic or two ribbon models and the position can be adjusted using a rotary control or by dragging in the display. When used in stereo mode there are separate cab emulations for the two channels (affecting only the mid and high bands) with independent level, pan and mic position controls. There’s also the option to load custom IRs. MIDI parameter control is catered for and there’s a built‑in tuner that can be set to mute the audio while tuning.

You might think it’s aimed mainly at metal‑style bass sounds, and it does those exceptionally well, but it has a more subtle side too.

Verdict

If you’ve seen any online demos of Parallax X, you might think it’s aimed mainly at metal‑style bass sounds, and it does those exceptionally well, but it has a more subtle side too. For example, compressing the lows while adding just a little dirt to the mids can help an electric bass pop out of a mix without sounding obviously dirty, and there’s lot of tonal territory covered simply by swapping out mic types and positions. Compressing just the low end adds fatness without having too much effect on the mids and highs. I also found Parallax X to be a useful tool for sculpting bass synth sounds, whether to add harmonic complexity or maybe just some low‑end weight, and there are also applications in spicing up drum parts. There are many competing ‘add dirt’ products available today, but for treating bass sounds specifically, Parallax X offers a great balance between sound, features and ease of use — I’d definitely recommend giving the free 14‑day demo a try and seeing if it works for you.

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