FilterFreak 1

FilterFreak 1 is the single-filter member of the FilterFreak pair. Lowpass, highpass, bandpass, and notch shapes provide different ways of selecting the spectrum, while resonance emphasizes the region around the filter frequency. Its modulation system is what turns that static filtering into auto-wah, sequenced sweeps, stepped effects, and more abstract motion.

The available sources cover several different relationships to the input. An LFO repeats a waveform, Rhythm follows a timed pattern, Envelope follows performance level, and ADSR plays a defined contour when triggered. Random and Step distinguish clocked random changes from changes initiated by a new input event. Analog Styles add level-dependent coloration around the filtering.

Begin by turning modulation down and finding the useful frequency region and filter shape. Add only enough resonance to make that region speak, then choose a modulation source that fits the musical part. The Tweak panel controls how strongly frequency, resonance, and level respond, and its shape/rhythm editors support custom movement. Unlike FilterFreak 2, this version has no second filter or serial/parallel filter routing.

Manual, About FilterFreak, p. 5; Control Panel, pp. 6–10; Modulation Modes, pp. 11–27.

Filter and level

Frequency sets the working region, documented from 20 Hz to 20 kHz. Shape chooses LPF to remove highs, HPF to remove lows, BPF to isolate a band, or BRF to reject a band. Poles selects 2, 4, 6, or 8 poles, corresponding to progressively steeper slopes. Resonance emphasizes the cutoff region and can self-oscillate at extreme settings; lower the output before exploring those sounds.

Mod scales modulation depth. Set it low while finding the static filter tone. Mix blends filtered and unfiltered audio; an insert is the manual's recommended arrangement for straightforward control of that interaction. Input / Output manage level and the amount of coloration.

Modulation sources

• LFO Rate / Shape set repeating speed and waveform. Use a smooth shape for continuous sweeps or a sharply changing one for stepped emphasis.
• Rhythm, Tap Tempo, and MIDI sync relate motion to the music. Groove introduces shuffle or swing rather than moving every event uniformly.
• Envelope Threshold / Gain / Attack / Release define when level following begins, its sensitivity, and how quickly it reacts and relaxes. These controls shape the modulation signal, not a conventional audio compressor.
• Random changes to new values at rhythmic intervals. Step / Trigger produces a new random value when triggered by input, manual control, or MIDI.
• ADSR Attack / Decay / Sustain / Release defines a repeatable triggered envelope rather than continuously following the source's shape.

Tweak and editors

Freq Mod, Res Mod, and Level Mod determine modulation of frequency, resonance, and level. A zero Freq Mod prevents frequency movement even with the main Mod control raised. L/R Offset introduces a static frequency difference, while L/R Mode Normal / Flipped aligns or opposes the two sides' motion in the documented stereo application.

Analog Style chooses Clean, Fat, Squash, Dirt, Crunch, Shred, or Pump coloration. Shape Editor creates custom waveforms, with Smoothing / Smoothing Mode controlling transitions. Rhythm Editor uses Num Bars, Beats/Bar, Bar, and Grid to organize timed waveform events and save reusable patterns.

Manual, Common Controls, pp. 6–10; LFO/Tweak/Shape Editor, pp. 12–17; Rhythm Mode, pp. 18–21; Envelope, Random, Step, and ADSR, pp. 22–27.