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So i had an epiphany just now while reading the filters thread below.

There are a couple filters you all hear about and thats low pass, high pass, double notch, band pass, bandreject. You could easily make these in an eq of your choice? Has one tried to do this really for growls or other sounds etc...? Im not talking about having three bells and one moving past another making a monotonous wahr sound like in most growls made.

Also what other filters are there? Surely there is more than the basic ones stated above ^. How do massives filters work? How do the get a daft and scream?

Seems like a noob question but what if we started creating our own personalized filters. We probably get more crazy and unique sounds if we use a simple eq as fabs pro Q. Look at the thing! Can go as lows and high as 20 db if im not wrong. Its nothing to abletons standard eq 8 going to like 16.

Any thoughts guys? Seems pretty interesting for new types of reeses and growls.

A lowpass in Pro Q is pretty identical to any other lowpass. You won't really hear any radical new sounds by employing an EQ. It's all just filters at the end of the day.

Pretty sure those Massive filters just have an extra saturation stage added to the feedback or something.


Also, I wish you would have committed to the third capital F in the title.

I've tried ReaEQ for this before. I didn't get too heavy into it, but it seems like theres a lot of potential for this.

a lot of people automate EQs for sounds tbh, i spend more time tweaking FM synths rather than going crazy with filters, it sometimes sounds too unnatural when doing that.. unless you layer other sounds on top or add the right FX. it all depends on the sound and what you are going for.

Artie Fufkin wrote:I've tried ReaEQ for this before. I didn't get too heavy into it, but it seems like theres a lot of potential for this.

I do loads of EQ automation in Reaper.
ReaEQ is a great EQ.

SunkLo wrote:Also, I wish you would have committed to the third capital F in the title.

Ahaha sorry about that mate. So you pretty much cant do anything that innovative really? Ill try experiment one day and see what i get; Maybe make my own filter

I'd look into Max, Pure Data or Reaktor for things like this.

R3b_Official wrote:Also what other filters are there? Surely there is more than the basic ones stated above ^. How do massives filters work? How do the get a daft and scream?

this is a good question and it's one I've always wondered. Not sure about daft or scream. i'll have to look those up. but comb is called "comb" because the frequency response (look at it in a spectrum analyzer) boosts harmonics in such a way that looks like the spikes on a comb.

So guys... I tried making an attempt to make a new filter and got no such luck. Just distorted sounds and bad frequences. There must be something about this some where?

R3b_Official wrote:So guys... I tried making an attempt to make a new filter and got no such luck. Just distorted sounds and bad frequences. There must be something about this some where?

Humor me a moment. What DAW are you using?

fragments wrote:

R3b_Official wrote:So guys... I tried making an attempt to make a new filter and got no such luck. Just distorted sounds and bad frequences. There must be something about this some where?

Humor me a moment. What DAW are you using?

Does it really matter? I use ableton the most but i go on reason to make my synths?

Well, I was thinking if you used Ableton maybe you could chain some processors/filters together in a rack to do what you are trying to do. Just a thought. I'm not sure exactly how you might go about it as I don't use Ableton, but just had that thought last night.

Also, as I suggested before Max might be worth looking into for this.

Oh, well thats what i did. I put too pro q together in a rack with couple other fxs to modulate my bass. I assigned them all to a macro and messed around for awhile but i got some bad frequencies and nothing clear. Was pretty bad but ill try again another time. There is a secret some where....

Whats max? Is it max for live in ableton?

Yea. Max for Live. Again, I don't know shit about it myself. I just picked up Reaktor when it was on sale for 99. I'll have to play about with it and see if I can come up with anything interesting once I get my head around it.

Ill look into it another day, reaktor is pretty sick! I love there synths way more than kontaks stuff. But then again its all resampled stuff. Ill see what i can do and keep posted about it.

I used to have a Waldorf 4-Pole filter that was a beast of a piece of hardware. I regret selling it, and I sold it for cheap too.

I still have my Moog Moogerfooger filter which is the classic Moog LP filter.

Yea...unfortunately having some money issues at the moment and am selling some gear...defo not selling my Electrix Filter Factory though... ;p

So you're just assigning various EQ parameters to knobs and twisting randomly? I'm not surprised it sounds bad. I still don't really know what you're trying to do here. Using an EQ to stack multiple filters isn't inventing a new filter, and it's just making it more complicated to get good results. There are a few EQs that track midi notes and transpose themselves to stay the same relative to the pitch being played, if that's what you're looking for.

Yo OP I think you are overcomplicating things in your mind. All a filter is is an eq, just very broadly and easily controlled.

If you go into pro Q and make one band a high cut, you have a lowpass filter. The hight of the little peak right before the cut frequency is your resonance amount. Differences in filter character (what makes a lowpass different from a daft and different from a scream) are little things changed about that peak. It could be slightly saturated for example (which I am pretty sure is the case for the daft), or broadened so that it boosts more frequencies. I am pretty sure in something like a scream filter there is feedback involved, along with some saturation.

Having both a high cut and low cut creates a bandpass filter, and having either a notch or just a bell that cuts enough db creates a bandreject, its all pretty straightforward.

Having a bunch of extreme EQs in series is going to give you shit for the most part. If you want to get crazy make some wierd curves with the different bands in a single EQ instance and boost all of the peaks a tad, nothing to high. Link all the band frequencies so that they all go up and down the same amount with one knob, and saturate it a bit afterwards. Call it a REB filter.

Also, on topic with the gearheads in here, I am strongly debating getting some sort of analog filter to muck about with for fun, be it either just a shruthi, a minibrute (utuilizing the audio in) (and it would also be hella fun for the analog waveforms), or maybe a dedicated filter. I have to figure out if any of those will be worth it, I know they won't increase my production quality, but for the fun factor.

SunkLo wrote:So you're just assigning various EQ parameters to knobs and twisting randomly? I'm not surprised it sounds bad. I still don't really know what you're trying to do here. Using an EQ to stack multiple filters isn't inventing a new filter, and it's just making it more complicated to get good results. There are a few EQs that track midi notes and transpose themselves to stay the same relative to the pitch being played, if that's what you're looking for.

Well if you put it like that then yes... but i dont want to make something randomly. Ill put some actual effort and other things. I think its a good idea and totally original as well.

Coolschmid wrote:Yo OP I think you are overcomplicating things in your mind. All a filter is is an eq, just very broadly and easily controlled.

If you go into pro Q and make one band a high cut, you have a lowpass filter. The hight of the little peak right before the cut frequency is your resonance amount. Differences in filter character (what makes a lowpass different from a daft and different from a scream) are little things changed about that peak. It could be slightly saturated for example (which I am pretty sure is the case for the daft), or broadened so that it boosts more frequencies. I am pretty sure in something like a scream filter there is feedback involved, along with some saturation.

Having both a high cut and low cut creates a bandpass filter, and having either a notch or just a bell that cuts enough db creates a bandreject, its all pretty straightforward.

Having a bunch of extreme EQs in series is going to give you shit for the most part. If you want to get crazy make some wierd curves with the different bands in a single EQ instance and boost all of the peaks a tad, nothing to high. Link all the band frequencies so that they all go up and down the same amount with one knob, and saturate it a bit afterwards. Call it a REB filter.

Also, on topic with the gearheads in here, I am strongly debating getting some sort of analog filter to muck about with for fun, be it either just a shruthi, a minibrute (utuilizing the audio in) (and it would also be hella fun for the analog waveforms), or maybe a dedicated filter. I have to figure out if any of those will be worth it, I know they won't increase my production quality, but for the fun factor.

I know what and how most filters work such as a bandpass and low and high cut filters. I was trying to do what you said with assigning it to a knob and such but i guess i put the wrong frequencies. The thing is i didnt want to do it the sterotypical way of boosting on low end and high. Then running a notch or deep cut half way in the middle. Too me it sounds dull and boring with a lot of sound being taken out. Ableton has presets on its eq for vowels and ill look at those for some ideas.

Like i said before ill try work pretty exstesively and put some research into. Once or if im able to make my own filter ill put it up on here all are welcome for the idea. Seems interesting to go into.