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Getting started with Cluster 2

1 Cluster 2 comes in Mac Audio Units format, so can be used with Mac-based AU-compatible DAWs such as Ableton Live, Logic Pro, GarageBand, MainStage, PreSonus Studio One, Reaper, Renoise, Digital Performer and Tracktion. To install, double-click the DMG file, open the PKG file, then follow the simple installation procedure.

2 Once installed, fire up a fresh DAW project. To initially get to grips with Cluster 2, we’d advise starting with a thick, sustained chord or pad part, as this will provide a harmonically dense starting point for rhythmic filtering. If you’d like to follow along with our example, set your project to 120bpm and load SynthChords.wav on an audio track. We’d also advise sending your signal to some sweetening reverb and delay.

3 Insert a new instance of Cluster 2 on the Synth Chords channel, then hit Play in your DAW. The plugin syncs perfectly with your host: note the running transport highlight that runs through the plugin, showing the current sequence position, plus the incoming waveform appearing in real time on Cluster 2’s red Input section.

4 Cluster 2’s interface is packed with features, but they’re easy to decipher thanks to the software’s handy colourcoding system. White parameters represent the sequencer, Snapshots and other global settings, red represents the input signal, blue parameters control the filters, and the yellow elements deal with the filter envelopes.

5 Before we explore Cluster 2’s features further, let’s dive straight in and get filtering. Click and drag within the blue Frequency section to draw in stepped filter cutoff values. You can always draw in regimented patterns if you’re after a more predictable effect, but we’ll drag around wildly in the Frequency lane to create random filter stutters and shapes.

6 Cluster 2 is a step sequencer-driven rhythmic filter effect, meaning that you draw in stepped filter values at user-defined rhythmic divisions. Sequencer values are set in the topmost Sequencer section. Duration sets the length of one sequencer loop cycle, between the minimum 1 and the maximum 8 bars. Division switches the grid between Quadruple — ie, the usual four steps to every beat — or Triplet values.

7 The Swing slider is a little different to most traditional swing parameters found on other sequencers, as its default value is 50%, meaning we can push notes either earlier or later in time. To push even-numbered step values later in time, increase the slider above 50%. Values between 25% and 50% pull even steps back (earlier in time). We’ll leave this at the default 50% for now.

8 Let’s now venture back to the filter section. We’ve already drawn in a custom stepped curve on the Frequency graph, which is modulating a low-pass filter. In the blue Filter Modes section underneath, you’ll notice that each step can be switched between four filter modes: Band-reject, Band-pass, High-pass and Low-pass. Change a step’s dot position to set that step’s filter mode.

9 The yellow sections deal with per-step modulation envelope parameters. Set each step back to Low-pass mode and draw a straight line of minimum value across the Frequency section ( Cmd- click to set all steps to the same value). Now click and drag in the Envelope section to apply filter frequency modulation amount on a per-step basis, opening up the filter on the steps of your choice.

10 The Envelope section allows you to change a particular step’s envelope shape between one of four types: Pulse, a square-style on/off shape; Ramp, a saw-like fin shape; 2x Ramp and 3x Ramp, which are multiples of Ramp, meaning they stuff two or three ramp shapes within the same division; and finally Triangle.

11 Switch through the various envelope shape options to hear how they affect the filter. These give us plenty of scope for creating custom rhythmic shapes and patterns, but each step’s envelope shape can also be flipped around horizontally via its Polarity (+ or -) button – so, for example, a sharp downwards saw becomes an upwards saw.

12 The plugin’s bottom section is where we can dial in global filter and envelope settings. Again, these parameters are colour-coded to represent either the filter (blue) or envelope shape (yellow) settings they control. The controls in the Shape section adjust the timing of each enveloped step: use them to shorten (ie, tighten) or lengthen the filter envelope’s effect.

13 As you’ve probably already noticed, each envelope shape is fairly jagged, resulting in abrupt rhythmical modulation. If you want smoother, more ‘rounded’ filtering, increase the Lag slider (which ranges between 2ms and 200ms) to smooth the sharp curves’ effect.

14 Now to the blue Filter settings. While the step positions in the Frequency section define cutoff frequency, the Frequency offset slider in the Filter section allows you to offset the filter frequency by 50%. Unsurprisingly, the Resonance slider applies a peak boost (of 0-100%) around the cutoff frequency.

15 Three filter Type options are available. The default SVF (state variable filter) is a 12dB/oct type that self-oscillates with high resonance values. There are also two Biquad variations (12dB/oct and 24dB/ oct). Above the Type parameter sits the Dry/Wet slider, allowing you to mix between the fully filtered signal ( 100%) and the dry, unprocessed signal ( 0%).

16 Cluster 2 allows you to set up eight individual setups, called Snapshots, which are selected via the bottom eight buttons. To duplicate one Snapshot over to another, select the first and hit Copy before switching to the second and hitting Paste. Punch the Reset button to reset the currently selected Snapshot to default.

17 Interestingly, the Evolve button will ever so slightly randomise a few of the current Snapshot’s parameters, which is highly useful for adding a touch of interest or change to a Snapshot. If you’re completely stuck for inspiration, hit the Randomize button to apply drastic random values to the Snapshot.

18 The 1:2x, 1:4x and 1:8x buttons will clone the first half, first quarter or first eighth of the current Snapshot’s settings throughout the entire sequence. Finally, the various arrows are used to shift the entire sequence left or right: single arrows move back or forth by a single step, while double arrows move everything by a beat. Be sure to check out the accompanying manual for more details.