Use randomized side-chained elements with filters for more depth
Problem: lack of depth or cohesion in randomized elements
Pairing randomized side-chained elements with filters enhances the depth and character of the sound. The filter can shape the frequency content of the randomized element, making it more cohesive with the rest of the…
Use two filters in parallel or serial for complex filtering
Problem: limited filter options
Rumble allows you to use two filters at the same time, either in parallel or serial. This gives you more control over the frequency response of your sound and allows for more complex filtering techniques, such as…
Use linear phase mode for transparent filtering
Problem: ringing from linear phase filters
For producers who prioritize linear phase filtering, Degan offers this option. However, it's important to note that linear phase filters can introduce some ringing, especially when used with very steep or aggressive…
Connect mod wheel to filter for real-time modulation
Problem: static, lifeless synth sounds
Linking the mod wheel to the filter allows for expressive, real-time control over the filter cutoff, which can be used to add movement and dynamics to a synth. This is a common technique in trance and tech trance to make…
Use a low-cut filter to remove unnecessary low frequencies
Problem: muddy or cluttered low end
Applying a low-cut filter helps to clean up the low end and prevent muddiness in the mix. This is especially useful for background elements that don't need to occupy the same frequency range as the kick or bass. The…
Use a low-pass filter with a steep slope for cleaner bass
Problem: buzzy or harsh bass sound
Using a low-pass filter with a steep slope, such as the MG Low 24 or Low 24, helps cut off harsh high frequencies more effectively. This results in a cleaner, less buzzy bass sound. The filter allows the bass to sit…
Control resonance to avoid acid-like tones
Problem: bass has an acid-like or gritty tone
Keeping the resonance of the filter around 7% helps avoid an acid-like tone, which can be too harsh or gritty for most EDM genres. This small adjustment ensures the bass remains clean and professional-sounding. It's a…
Add a noise oscillator for texture in the bass
Problem: bass lacks movement and texture
Adding a noise oscillator to the bass can introduce subtle texture and movement. By filtering the noise to remove low-end content and applying a stereo effect, the noise becomes more wide and less intrusive. This…
Modulate noise with a filter to balance loudness
Problem: noise becomes too loud when filter opens
When using noise in a bass sound, it can become too loud as the filter opens. By modulating the noise level inversely with the filter cutoff using a macro, the noise is reduced as the filter opens, preventing it from…
Use a filter after effects to control high-end
Problem: bass becomes too bright or harsh
Applying a filter after effects like distortion and compression can help control the high-end content that these effects may introduce. This allows for more precise shaping of the bass sound, ensuring it doesn't become…
Filter out lows in spectral mode to avoid messy low-end artifacts
Problem: bass sounds messy or undefined
When using spectral mode in a synthesizer, it's important to filter out the lows to avoid messy and washed-out low-end artifacts. This helps maintain clarity and prevent the bass from sounding strange or undefined in the…
Use low-pass filter to focus bass on low frequencies
Problem: bass lacks depth and clarity
A low-pass filter allows only low frequencies to pass through, which is essential for shaping a bass sound. By tightening the filter, you remove higher frequencies that can make the bass sound thin or unclear. This is a…
Use a filter-controlled envelope to create a plucked bass sound
Problem: bass lacks dynamics and rhythm
By using an envelope to control a filter's cutoff frequency, you can create a plucked, rhythmic bass sound that follows the dotted eighth note rhythm. This technique adds dynamics and movement to the bass, making it more…
Filter out the kick instead of removing it entirely for smoother transitions
Problem: abrupt transitions between sections
Instead of completely removing the kick drum in a section, use a filter to gradually reduce its presence. This creates a smoother transition between sections and maintains the groove of the track. This technique is…
Automate filter cutoff to create dynamic movement in the tom groove
Problem: static or lifeless tom groove
To add movement and interest to a static tom groove, automate the filter cutoff to gradually open or close the sound. This creates a sense of tension and release, making the groove feel more dynamic and engaging. This is…
Use envelope modulation to shape the filter cutoff
Problem: static or lifeless bass sound
Modulating the filter cutoff with an envelope allows for dynamic control over the bass's frequency content. In this example, the cutoff is modulated by 23%, which adds movement and character to the bass sound. This…
Use separate filters for different layers to shape the frequency response more precisely
Problem: muddy or unclear bass frequency response
Splitting the bass into multiple layers and assigning different filters to each allows for more detailed frequency shaping. This approach helps avoid muddiness and ensures each layer has its own space in the frequency…
Use a filter on the breakdown to control bass presence
Problem: bass overpowering other elements in the breakdown
Demis uses a filter (Simplon) on the breakdown to control the presence of the basses, allowing for high-pass or low-pass filtering as needed. This helps in managing the bass frequency content during the breakdown,…
Use a filter and envelope to shape the synth sound
Problem: flat, lifeless synth sound
Using a filter and envelope on a synth helps shape the sound and add movement. This is a fundamental technique in sound design that allows producers to create dynamic and evolving synth sounds. By applying a filter and…
Use low-pass filter with unipolar envelope for classic acid sound
Problem: synth lacks the classic acid sound
Applying a low-pass filter with an unipolar envelope is a key technique for emulating the classic TB-303 acid sound. This creates the characteristic 'squelching' effect by allowing the filter to open and close in a…
Use velocity to control filter cutoff for dynamic movement
Problem: static, lifeless synth sounds
Mapping velocity to filter cutoff allows for dynamic changes in the sound based on how hard a note is played. This creates a more expressive and organic feel, especially in melodic or lead synths. The quieter the note,…
Use a band-pass filter to shape a funky stab sound
Problem: muddy or undefined stab sounds
Applying a band-pass filter to a synth can help create a more focused and punchy stab sound. This technique is particularly effective in genres like house and trance, where tight, rhythmic elements are essential. The…
Use the PN12 for peak and notch filtering
Problem: bass doesn't sit well in the mix
The PN12 is a peak and notch filter that can be used to shape the frequency response of a bass. This helps in carving out space for other elements in the mix and ensuring the bass sits well in the frequency spectrum.…
Apply velocity modulation to filter cutoff
Problem: preset lacks dynamic filter response
Mapping velocity to filter cutoff creates dynamic articulation. This makes the sound respond to playing intensity, adding expressiveness. The modulation depth should be set to 10-30% for natural variation without losing…
Map velocity curve to filter cutoff for dynamic bass
Problem: static, lifeless bass with no dynamics
Creating a velocity curve that controls the filter cutoff allows the bass to open more with higher velocity notes. This adds dynamic movement and prevents the bass from sounding flat. Lower velocity notes stay filtered,…
Use key tracking on low-pass filter for bass brightness
Problem: static bass tone lacking dynamic range
Applying key tracking to a low-pass filter (set to 18Hz) allows the bass to become brighter as notes ascend. This creates dynamic tonal variation while maintaining sub-bass presence below 100Hz. The filter's cutoff…
Apply low cut on filter for clarity
Problem: muddy low-end, unclear frequency definition
Adding a low cut on the low 18 filter helps remove unwanted sub-bass frequencies that could muddy the mix. This is particularly useful for mid-range filters, ensuring the sound remains focused and doesn't clash with…
Adjust gate volume and filter depth for background texture
Problem: gated layers overwhelm the main sound
Setting the gate to a low volume and closing the filter tightly ensures it sits in the background without overpowering the pluck. This allows the gate to add subtle movement while maintaining clarity in the mix. The…
Use LFO-modulated filter on gate for rhythmic movement
Problem: gated layers lack rhythmic connection to main elements
Applying an LFO to the gate's filter creates a pulsing effect that syncs with the pluck's rhythm. This adds a sense of forward motion and prevents the layer from feeling static. The LFO rate should match the pluck's…
Use envelope two to control filter cutoff for pluck movement
Problem: Static, lifeless synth tones
Modulating the filter cutoff via an envelope adds dynamic shape to the pluck. This creates a more organic, evolving sound rather than a static tone. The drive parameter adds harmonic saturation, thickening the sound.…
Use low-pass filter automation for build-up control
Problem: Flat dynamics in transitions
Starting with a low-pass filter and gradually opening it creates tension and release. This technique is essential for building energy in transitions. The filter automation is combined with other parameters for layered…
Use high-frequency waveforms for effective filtering
Problem: ineffective filtering on low-frequency waveforms
The speaker emphasizes selecting waveforms with high-frequency content to enable meaningful filtering. This allows for shaping the sound's character through EQ and other processing. Without high frequencies, filtering…
Add filter pluck for rhythmic attack on bass
Problem: bass lacking rhythmic definition
Inserting a filter pluck (likely a short, filtered envelope) on the bass adds percussive attack, making the bassline more dynamic and punchy. This technique helps the bass cut through the mix while maintaining its…
Automate filter cutoffs to create spatial and textural shifts
Problem: Static, unchanging timbres
The speaker uses filter automation to transition between echoey, distant sounds and brighter, more present tones. This technique adds depth and movement, making the track feel more dynamic and spatially engaging.
Replace redundant filter plugin with Diva's envelope automation
Problem: clashing filter plugins, poor modulation control
The speaker removes an unnecessary filter plugin (Serum 2, Filter 1) and replaces it with Diva's envelope automation for smoother filter control. This avoids conflicting signal paths and allows more precise modulation of…
Adjust filter cutoff in context, not isolation
Problem: poor frequency integration
The speaker emphasizes tweaking the filter cutoff while listening to the full track rather than in isolation. This ensures the arp and bass elements sit properly within the mix, avoiding frequency clashes and maintaining…
Tweak ADSR after initial filter setup
Problem: inadequate filter modulation dynamics
After replacing the filter plugin, the speaker notes the need to adjust the ADSR settings for finer control over the filter's attack and release. This step ensures the filter modulation aligns with the desired rhythmic…
Use filter cutoff to shape subby bass layers
Problem: muddy low-end in bass layers
Apply Filter 2 with a low cutoff frequency to remove high-end content from the lower oscillator layer. This ensures the subby component remains focused while the upper layer handles mid-range texture. The filter is…
Enable key tracking on filters for melodic bass pitch following
Problem: static filter behavior on melodic bass
Activating key tracking on the filter ensures the cutoff frequency automatically adjusts to the pitch of the notes being played. This creates a more dynamic and musical low-end response, especially for melodic basslines.…
Route filter layers to separate buses for isolated processing
Problem: inability to process specific frequency ranges independently
By sending different filter layers to distinct buses (bus one and bus two), you gain control over applying effects to specific frequency ranges without affecting the entire signal. This setup allows precise shaping of…
Use a second envelope for more control over filter cutoff
Problem: lack of dynamic filter control
Using a second envelope allows for more precise control over the filter's cutoff frequency over time. This gives the sound a more dynamic and evolving character, rather than relying on a single envelope for both ADSR and…
Filter out low end from delay to avoid muddiness
Problem: muddy or unclear delay effect
Filtering out the low end from the delay effect helps prevent muddiness in the mix. This is especially important in trance and melodic techno, where the low end needs to be clear and defined. By removing the low…
Use LFO to shape pluck filters for a dynamic, stabby sound
Problem: lifeless plucks, lack of movement
Applying an LFO to a filter can create rhythmic, pulsing effects on plucks, giving them a more dynamic and 'stabby' character. This technique is particularly effective for creating the signature 'deadmau5' pluck sound,…
Automate filter cutoffs on chords and plucks to create contrast before the drop
Problem: lack of tension and release before the drop
Automating the filter cutoff on chords and plucks can create a sense of tension and release, especially before a drop. By gradually opening the filter, the track builds energy and anticipation. This technique is commonly…
Automate filter cutoff on chords to create an expanding effect
Problem: chords feel static, lack movement
Automating the filter cutoff on chords can give the impression that the sound is opening up over time. This technique is useful for creating a sense of progression and energy in a track. By gradually increasing the…
Make the breakdown feel like it's 'flying away' by reducing reverb and filtering in new elements
Problem: breakdown feels static or unchanging
To create a sense of movement in the breakdown, you can reduce reverb on the main vocal and filter in new elements such as stuttering vocals or percussive sounds. This technique helps create a sense of space and depth,…
Use all-pass filter for phase rotation in plugins
Problem: phase misalignment without frequency overlap
All-pass filters can rotate phase without affecting frequency content. This is useful for fine-tuning phase relationships between kick and bass. The technique is often used in mastering and advanced mixing scenarios.
Use filter envelopes to shape synth melodies dynamically
Problem: static synth melodies lacking movement
Applying a filter envelope to the synth allows for dynamic modulation of the sound over time. This creates movement and interest in the melody, preventing it from sounding static. The speaker demonstrates this by linking…