Both filters offer multiple operation modes. For the first filter, you can choose between Low-
pass, Highpass, Bandpass, Peak EQ, and Notch filters, with a choice of a 12 or 24 dB/octave
slope per filter type. The second filter is designed for shaping the sound after the distortion, so
it offers four different lowpass filters, three bandpass filters, and a bandpass/lowpass combo.
Both filters were very carefully designed to produce warm, analog sounds even at extreme reso-
nance and cutoff settings.
Beside the normal cutoff frequency control available in both filters, Filter 1 also provides fast
modulation of its frequency by an additional oscillator (which can itself be modulated by the
LFO, envelope, or envelope follower!).
The Distortion section between the two multimode filters also features multiple modes of oper-
ation. While the clipper mode provides a relatively harsh distortion sound and the saturator
mode results in warm overdrive, the several wrapping modes (marked by the name of the wave-
form used for wrapping) produce unique sounds from subtle to extreme.
An additional quantize mode converts the incoming signal into a step waveform, for familiar
bit-reduction effects to mimic the character of vintage samplers, for instance. A visual display
of the distortion function helps to see what's going on inside.
2.1.3 Modulation
Analogic Filter offers six modulation sources (A built-in LFO, envelope follower, enveloper,
MIDI note pitch, modulation wheel, and pitch bend wheel). The modulation sources and the
flexible matrix signal routing system at the bottom of this effect transforms it into an incredibly
powerful machine.
The modulation signal routing system provides a source selector for each parameter to be
modified; among those modifiable parameters are the cutoff frequencies and resonance set-
tings of both filters and the distortion amount and symmetry control of the distortion section.
In addition to gate information from MIDI note-on events that can even be used to trigger the
filter, you can also use the pitch and mod wheels as modulation sources.
An internal LFO, envelope follower, and auto-trigger envelope can add movement to the sound
without the need any external MIDI controllers. The LFO offers different waveforms and can al-
so be synchronized to the global tempo or MIDI clock (the small Unit knob syncs the LFO to
MIDI clock and sets the musical note-units that are shown under Freq). The Envelope Follower
calculates its modulation amount from the incoming signal: At high levels there is a high mod-
ulation level, and at low levels it's low. The Interval knob controls the response time to fast
Effects
Analogic Filter Box
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