The greatest secret in filters was revealed to me years ago in the synth secrets series in Sound in Sound. Filters not only change a waveform by attenuation, but distort it by individually phase-shifting the harmonics within it.
Extra Synth Nerd Facts : The SEM filter was an augmented version of the Dennis Collens designed ARP 1047 Filter from the 2500 . The Oberheim Matrix 12 / Xpander Filter has to be the most over engineered CEM CEM3372 design in synth history squeezing 15 modes out of that little chip . Arturia put this in Pigments too , as well as the obvious two other plugins bearing the name . Chris Huggett an unsung hero in synthdom ( EDP/Oxford/Novation ) Used two Waps Filters added a drive circuit and multimode options that utilized them in parallel while the low pass used them in serial for the OSCar Filter . The Summit has an updated version of this as it's essentially an modern version of the Polyphonic OSCar he never got to bring to market before closing Shop and going to work for AKAI writing the operating systems for the S1000 and it's subsequent line before going to Novation . He designed the analog side of the OG bass station , was head designer for the Super Nova and consulted or designed or worked with other designers on every Novation synth up until his passing in 2020 . The Mutable Instruments Shruthi 1 and XT were DIY Kits that filter boards for many synths including the excellent Polivoks , but also The 4 pole mission which was the aforementioned Xpander Filter . Émilie Gillet MI's sole designer another under appreciated synth hero made all Mutable Instruments' code and hardware open source which besides euro rack clones of MI's modules some of her code can be found in : The Arturia Micro& MiniFreak both use the Plaits OSC code Surge XT's : Twist OSC ( Macro OSC ) Nimbus ( Clouds ) VCV Rack's Audible instruments emulations and lots of 3rd party Rack plugins as well as a few other apps that I have slipped my mind and a couple other products I suspect , but havn't been able to verify as of yet .
I really enjoy videos like this where a fellow nerd is just nerding out because I learn so much. Out of this video I got: 1. A history lesson of the different synths (something I've really been looking for since I have the emulations but not the actual hardware) 2. A better understanding of the different filters and inadvertently knowledge on how to get some cool EDM sounds 3. An understanding of Jeremy's love and understanding of hardware Thanks a lot for this great video!
I love it when someone makes a vid explaining the very basics. We so often get totally caught up in what the latest gear is and forget to learn about the basics behind the sound. Bravo!
various dynamic motions across harmonic content really bring out personality/feel/character of a filter. some filters' filtered signals come alive with a touch of reverb/delay as that phasing falls over on copies of itself. fin love sound synthesis.. nice to have a tube where others do too
Comparing the filters side by side was an excellent way of demonstrating the differences of each filter. I replayed the demo again with headphones on and could really notice the difference.
This was an excellent overview. Thank you for going into so much detail, as opposed to "hey check out this filter sweep" One little bit of trivia I think is worth mentioning -- The WASP design is super fun because it's based on abusing digital components for use with analog circuitry, which gives it the fun side effect that the digital components occasionally just blow up. This has happened to me once with the Doepfer . The good news is that they are cheap and super easy to replace, but it's a good argument for using something like the Vult Freak that can model it, as opposed to the original design (and this is likely why we haven't seen it too many other places)
Just discovered this video and this was so ideal for me right now as someone newer into the world synths. I understood the purpose behind high pass and low pass from using parametric EQs but with each software synth I experimented with I would get wildly different results from just the 12db and 24db low pass filters alone even with similar settings wondering why. This perfectly explains it from the ground up including it's history and how no two are the same despite the similar labels. I'm about to re-watch and re-listen so thank you! 😇
perfect timing, alot my fun time lately on synths, I just spend cracking up resonances and doing filter sweeps and listening to all the little harmonies that go in and out of the filters on microfreak on syntakt. this clears up alot of stuff i didnt know about. Thank you!
wow this really makes me appreciate my subharmonicons filter a lot more. I used to think that the cut in bass kinda killed it for me but idk if id like it as much without the ladder filter
Thank you so much for this video! I've been wanting something like this for a long time and you nailed it. I'll be coming back to this the next time I want to get a filter module. Great work!
nice to see this overview........all in one place....................I'm sure it's especially interesting to those people who didn't grow up having to program everything from scratch....love that last comment, but what initially drew you to Electronic music - that really resonates with me (having been involved in electronic music production (professionally) since the late 70's.....
Would be cool to do this again but automate all the knob twiddling too so that we get a more or less true A/B test. The Polivoks sounded great but I imagine a lot of that comes from your extensive experience with that sound. Would be interesting to hear it in situations where it is less masterfully guided among other things.
Great video! Makes you appreciate some "folk knowledge" differences, like how juicy and phat the Moog is, and how "crazy" and unstable the MS-20 filter is!
Filters are the essence of synthesis ! Thank you very much to help us to dig deeper into it :) You rock the pedagogy as no one else ! Cheers from the city of Arturia :)
Very informative presentation, and a nice exploration of a component that makes up what’s so fundamental to musicians: tone. I was surprised at how I immediately knew my favorite within a second of the demo- the ladder, which makes sense, since I am building a Moog-based system. It’s so full sounding, and can go from clean to nasty. I’d love to see future videos with more historical background as well on the why and how of these innovations. It’s good stuff to know.
While sleeping ”I Need U” played on my headphones and I had a dream Jeremy and I jammed out while I told him how much I love the song. He also had a lot of animals in his house like bull frogs, alligator, tarantulas, etc.
In a wonderful example of the peculiar efficacy of math in describing reality, the "order" of a filter in its circuit corresponds to the number of "poles" in its mathematical representation. Electrical engineering will describe a circuit's behavior using a "transfer function," filters tend to be well described using fractions. As you may recall from algebra, if the denominator of a fraction goes to zero, the quotient goes to infinity. As you may not recall from complex analysis, just about any fraction will go to zero and infinity somewhere in the complex plane even if it wouldn't on the real line. And the peculiar correspondence is that the number of filter stages in the circuit corresponds to the number of poles associated with the transfer function for that filter.
Great video mate. Fantastic overview. My favourites were the Steiner Parker (surprised me), the Polivoks (also surprised me), all the Korg MS20 filters including Sallen Key (would be cool to have that in a modern poly), and the SEM. But I think the Steiner Parker can sort of impersonate the SEM.
Best filter in eurorack is fizzle guts by alm it is a sweet spot sound filter. U wont modulate it without aliasing. Amazing sound best and rarest in the bizz
Definitely not an expert here - but I am a Windsynth/EWI player, and I know that the Steiner in Steiner-Parker is a reference to Nyle Steiner, the inventor of the EWI, EVI, and…that filter! I *believe* the story goes that Nyle was using existing filters for his Windsynths and they weren’t really doing the trick, so he created his own. I think he later joined with Parker to make the Synthacon, and they ended up using Nyle’s filter design. (This is off the top of my head and likely to not be *exactly* right, but the gist should be pretty close. Check out Nyle and EWI/EVI! I firmly believe breath control is one of the most under-appreciated aspects of synth playing!)
On the topic of the Z-Plane, I really really wish Rossum would either make or license them for use in a digital synth / plugin. The Euro module is great, but ultimately monophonic. I feel like the Z-planes really get interesting when you have them in a poly synth.
@@OscillatorSink I'll have to take a look, but I struggle to use independent filter plugins because ultimately they're a bus filter as opposed to a voice filter.
As mentioned, the first commercial Z-plane filter was the E-mu Morpheus. Assuming E-mu was able to patent the concept the patent would have expired years ago so it wouldn't be necessary to license anything from Rossum Electro-Music for anyone to implement the algorithm in software. BTW, I acquired the Rossum Eurorack version for my rig. I had previously owned the Morpheus for many years.
The differences are obvious when they're filtering at different dB/octave, but if you played them at equivalent slopes I just don't think I could tell them apart.
Great video👍🏼. Am I correct in thinking a ladder filter is tuneable? Ie when it’s self oscillating, the peak will tune to the key pressed (when it tracks the keybed) ? Is that common/uncommon among other filter types?
was super confused why you had a keyboard with only two rows of keys, it wasn't until like 14 mins in that i realized it's a pull out keyboard tray that's not all the way out 🤣
Tough challenge you have gotten yourself into, by giving each filtertype the same amount of time. I would never ever be able to be satisfied with any recording attempt of this.
The parts where you are talking are so much louder than the parts where you are playing the synth sounds. I am having to constantly readjust the volume.
Way cooler than people just rambling about "filters are totaaaally different, huh!" without a single filter-comparison in sight. Nice job.
I didn't expect to learn so much today. Amazing video!
Damn dude thank you ♥️♥️
The greatest secret in filters was revealed to me years ago in the synth secrets series in Sound in Sound.
Filters not only change a waveform by attenuation, but distort it by individually phase-shifting the harmonics within it.
And this is why I try out a highpass filter on almost all of my bass sounds 😎
such a great series
and a great observation
THIS IS A GREAT VIDEO. Importance: Filter > Oscillator
"Band reject filters" are also known as the thing that gets applied to my new releases when I submit them to Spotify playlists.
Lol
OMG so great to hear them B2B2B2B like that! Thanks so much for taking the time to explain and lining them up for listening!
Extra Synth Nerd Facts :
The SEM filter was an augmented version of the Dennis Collens designed ARP 1047 Filter from the 2500 .
The Oberheim Matrix 12 / Xpander Filter has to be the most over engineered CEM CEM3372 design in synth history squeezing 15 modes out of that little chip .
Arturia put this in Pigments too , as well as the obvious two other plugins bearing the name .
Chris Huggett an unsung hero in synthdom ( EDP/Oxford/Novation )
Used two Waps Filters added a drive circuit and multimode options that utilized them in parallel while the low pass used them in serial for the OSCar Filter .
The Summit has an updated version of this as it's essentially an modern version of the Polyphonic OSCar he never got to bring to market before closing Shop and going to work for AKAI writing the operating systems for the S1000 and it's subsequent line before going to Novation .
He designed the analog side of the OG bass station , was head designer for the Super Nova and consulted or designed or worked with other designers on every Novation synth up until his passing in 2020 .
The Mutable Instruments Shruthi 1 and XT were DIY Kits that filter boards for many synths including the excellent Polivoks , but also The 4 pole mission which was the aforementioned Xpander Filter . Émilie Gillet MI's sole designer another under appreciated synth hero made all Mutable Instruments' code and hardware open source which besides euro rack clones of MI's modules some of her code can be found in :
The Arturia Micro& MiniFreak both use the Plaits OSC code
Surge XT's : Twist OSC ( Macro OSC ) Nimbus ( Clouds )
VCV Rack's Audible instruments emulations and lots of 3rd party Rack plugins as well as a few other apps that I have slipped my mind and a couple other products I suspect , but havn't been able to verify as of yet .
🎵💯🎵💯
Thank u so much!!
Loved the first pigment settings! So Walter Carlos/Clockwork Orange 😊
I really enjoy videos like this where a fellow nerd is just nerding out because I learn so much.
Out of this video I got:
1. A history lesson of the different synths (something I've really been looking for since I have the emulations but not the actual hardware)
2. A better understanding of the different filters and inadvertently knowledge on how to get some cool EDM sounds
3. An understanding of Jeremy's love and understanding of hardware
Thanks a lot for this great video!
Great video! Very interesting and convenient to hear so many examples back to back.
One of the best audio channels, love your enthusiasm
What a great video, awesome explanation with visual and audio examples! Perfect for a synthesizer smooth brain like myself!
Never really got into the filter designs and was always confused by it. This was super insightful, thank you! 💚
I love it when someone makes a vid explaining the very basics. We so often get totally caught up in what the latest gear is and forget to learn about the basics behind the sound.
Bravo!
So many filters. Good to have them demystified a bit. Love the kleen sound of those ladder filters. That sequence, though... serious groove.
Love your content as a beginner it cna be so discouraging but the way you go about describing is so good!
various dynamic motions across harmonic content really bring out personality/feel/character of a filter. some filters' filtered signals come alive with a touch of reverb/delay as that phasing falls over on copies of itself. fin love sound synthesis.. nice to have a tube where others do too
Comparing the filters side by side was an excellent way of demonstrating the differences of each filter. I replayed the demo again with headphones on and could really notice the difference.
SEM has always been my fave. It completely changes the Pro 2.
EVERYTIME I think about how I don't need the pro2 I go and play it and welp
@@soupforare It's fun. One of my favorite synths.
This was an excellent overview. Thank you for going into so much detail, as opposed to "hey check out this filter sweep"
One little bit of trivia I think is worth mentioning -- The WASP design is super fun because it's based on abusing digital components for use with analog circuitry, which gives it the fun side effect that the digital components occasionally just blow up. This has happened to me once with the Doepfer . The good news is that they are cheap and super easy to replace, but it's a good argument for using something like the Vult Freak that can model it, as opposed to the original design (and this is likely why we haven't seen it too many other places)
A really under-covered topic, thanks for this!
Fabulous blend of education and enthusiasm. Thank you for another video that I'll be using as reference material in the future!
That was great! Side by side - simple for me to understand as well.
The Access Virus B has my favorite filter. Sounds just so smooth with just enough character.
Great educational overview of filters.
Great stuff, greatly done and greatly appreciated!
The keyword here is... Great!
Just discovered this video and this was so ideal for me right now as someone newer into the world synths. I understood the purpose behind high pass and low pass from using parametric EQs but with each software synth I experimented with I would get wildly different results from just the 12db and 24db low pass filters alone even with similar settings wondering why. This perfectly explains it from the ground up including it's history and how no two are the same despite the similar labels. I'm about to re-watch and re-listen so thank you! 😇
perfect timing, alot my fun time lately on synths, I just spend cracking up resonances and doing filter sweeps and listening to all the little harmonies that go in and out of the filters on microfreak on syntakt. this clears up alot of stuff i didnt know about. Thank you!
Please make more videos like this talking about other parts of the synthesizer! This was so incredibly fun and informative!
The bite on the MS-20 and Sallen Key are so good.
That was just gold bro. Really enjoyed it. Thank you for all of your fine work.👍
wow this really makes me appreciate my subharmonicons filter a lot more. I used to think that the cut in bass kinda killed it for me but idk if id like it as much without the ladder filter
Thank you so much for this video! I've been wanting something like this for a long time and you nailed it. I'll be coming back to this the next time I want to get a filter module. Great work!
nice to see this overview........all in one place....................I'm sure it's especially interesting to those people who didn't grow up having to program everything from scratch....love that last comment, but what initially drew you to Electronic music - that really resonates with me (having been involved in electronic music production (professionally) since the late 70's.....
Would be cool to do this again but automate all the knob twiddling too so that we get a more or less true A/B test.
The Polivoks sounded great but I imagine a lot of that comes from your extensive experience with that sound. Would be interesting to hear it in situations where it is less masterfully guided among other things.
+1 for Minibrute filter being great and a bit overlooked
Great video! Makes you appreciate some "folk knowledge" differences, like how juicy and phat the Moog is, and how "crazy" and unstable the MS-20 filter is!
I knew most of this already, but this was still a wonderfully entertaining and instructive video! Thanks Jeremy! Big Hugz!
Man, ladder filter is SO funky. Gonna reach for that the next time I wanna make something squelch and swagger
This is dope. The only negative is now I want a Vult Freak in HW even more.
Great overview and audio examples!
Brillant recap Jeremy! ❤️
Filters are the essence of synthesis ! Thank you very much to help us to dig deeper into it :) You rock the pedagogy as no one else !
Cheers from the city of Arturia :)
another excellent video man! thanks for the detail on transistor ladder vs diode ladder filters -well done!
Very informative presentation, and a nice exploration of a component that makes up what’s so fundamental to musicians: tone.
I was surprised at how I immediately knew my favorite within a second of the demo- the ladder, which makes sense, since I am building a Moog-based system. It’s so full sounding, and can go from clean to nasty.
I’d love to see future videos with more historical background as well on the why and how of these innovations. It’s good stuff to know.
Thank you so much for your work in putting this very useful video together.
Thanks Jeremy!
Woob without a doubt is the best filter for all occasions.
interesting video. Didnt know about that Vult VCV plugin either, seems really nice to just switch between filters to what sounds best
While sleeping ”I Need U” played on my headphones and I had a dream Jeremy and I jammed out while I told him how much I love the song. He also had a lot of animals in his house like bull frogs, alligator, tarantulas, etc.
Excellent topic, and very well covered as far as I've watched.
Kudos!
Super-informative! I loved this, thanks!
Thanks, awesome demonstration!
Great video dude! I'll always love the 24db ladder and SEM the most :)
In a wonderful example of the peculiar efficacy of math in describing reality, the "order" of a filter in its circuit corresponds to the number of "poles" in its mathematical representation. Electrical engineering will describe a circuit's behavior using a "transfer function," filters tend to be well described using fractions. As you may recall from algebra, if the denominator of a fraction goes to zero, the quotient goes to infinity. As you may not recall from complex analysis, just about any fraction will go to zero and infinity somewhere in the complex plane even if it wouldn't on the real line. And the peculiar correspondence is that the number of filter stages in the circuit corresponds to the number of poles associated with the transfer function for that filter.
This is really helpful, nice job! Thanks!
Thanks! Super informative
(filter+VCA knee/saturation matter more than damn near anything else)
great vid
Agree
Great video mate. Fantastic overview. My favourites were the Steiner Parker (surprised me), the Polivoks (also surprised me), all the Korg MS20 filters including Sallen Key (would be cool to have that in a modern poly), and the SEM. But I think the Steiner Parker can sort of impersonate the SEM.
I think my Rucci filter is a SEM! Always wondered why it had such a unique sound!
Brilliant video!
Thank you for this! A very useful reference
Best filter in eurorack is fizzle guts by alm it is a sweet spot sound filter. U wont modulate it without aliasing.
Amazing sound best and rarest in the bizz
Hell to the yeah dude. Thanks for this one.
Amazing content! Thanks for this
so so good. thank you for this.
hell yeah, i love perfect hair time!
Great hair. Great video. Thank you!
Danke!
Fun and informative!
Definitely not an expert here - but I am a Windsynth/EWI player, and I know that the Steiner in Steiner-Parker is a reference to Nyle Steiner, the inventor of the EWI, EVI, and…that filter! I *believe* the story goes that Nyle was using existing filters for his Windsynths and they weren’t really doing the trick, so he created his own. I think he later joined with Parker to make the Synthacon, and they ended up using Nyle’s filter design.
(This is off the top of my head and likely to not be *exactly* right, but the gist should be pretty close. Check out Nyle and EWI/EVI! I firmly believe breath control is one of the most under-appreciated aspects of synth playing!)
High pass perfect hair filter.😉
Pigments is such a great synth to demo sound design concepts. On top of it sounding just delicious. Such a great instrument.
On the topic of the Z-Plane, I really really wish Rossum would either make or license them for use in a digital synth / plugin. The Euro module is great, but ultimately monophonic. I feel like the Z-planes really get interesting when you have them in a poly synth.
Have you checked out the Airwindows "emulations" of them? I don't know how accurate they are, but also they're free so - worth a look!
@@OscillatorSink I'll have to take a look, but I struggle to use independent filter plugins because ultimately they're a bus filter as opposed to a voice filter.
As mentioned, the first commercial Z-plane filter was the E-mu Morpheus. Assuming E-mu was able to patent the concept the patent would have expired years ago so it wouldn't be necessary to license anything from Rossum Electro-Music for anyone to implement the algorithm in software. BTW, I acquired the Rossum Eurorack version for my rig. I had previously owned the Morpheus for many years.
love it
Oh wow. I was expecting the differences to be subtle.
VCV Rack has a sort of "Z-plane filter" module called "Box of Revelation" as part of the "Frequency Domain" collection.
Awesome
❤🙏🙏🙏❤️ .. so much Information and explanation 👌
Every rack has room for a takaab dual lpg!!!
Awesome video, interesting, informative and just so damn handsome as always.
The differences are obvious when they're filtering at different dB/octave, but if you played them at equivalent slopes I just don't think I could tell them apart.
Cytomic The Drop, give it a try.
Did someone say FILTER???
woob
Great video👍🏼. Am I correct in thinking a ladder filter is tuneable? Ie when it’s self oscillating, the peak will tune to the key pressed (when it tracks the keybed) ?
Is that common/uncommon among other filter types?
Youre correct
i need to figure out how to make my TD3 and ext effect in Ableton, rather than ext instrument...
Hell yeah
Nice job! What's the controller you're using?
was super confused why you had a keyboard with only two rows of keys, it wasn't until like 14 mins in that i realized it's a pull out keyboard tray that's not all the way out 🤣
What a cat !
Why don't hardware synth include comb filters?
Tough challenge you have gotten yourself into, by giving each filtertype the same amount of time. I would never ever be able to be satisfied with any recording attempt of this.
@11:55 do you say "don't sweep on it"?
;)
WOOB WOOB
10:40 Did anybody else initially think he just unironically credited Vladimir Putin for this synth? 😆
so a phaser is an inverted comb? hum
Why can't the adsr be triggered by Pigments?
The parts where you are talking are so much louder than the parts where you are playing the synth sounds. I am having to constantly readjust the volume.
My name's Phil which sounds the same as fill and that's half the word filter. Short story made shorter, this video's about me
why's the outro gotta hit so hard tho
Coffee filters
Lpg are over rated.
Industrial Music Electronics Bionic Lester 2 🤌
Indeed
Assume details, thanks
That was supposed to be awesome details. Thanks for your hard work on this one..