Bubbling riffs with sequencer-driven filtering

Let’s dive deep into electronic territories by carving up a static chord, turning it into a bubbling rhythmic groove…

Here’s UAD Moog Multimode Filter XL loaded over a sustained synth chord, which is being sent to an auxiliary delay for a splash of space. Filter modulation can cause wild jumps in volume, especially at high resonance settings, so we’re levelling out dynamics with post-filter compression.

To find ‘sweet spots’ and inspiring combinations of parameter settings, we’ll juggle Cutoff, Resonance and sequencer Amount values as the sequence cycles. With self-oscillation in play, we can create anything from tuned, arp-like bleeps through to techno-style sub thumps.

The plugin’s 16-step sequencer houses four lanes, and each can modulate one of 23 mod targets. By default, the first lane governs Filter Cutoff offset, so we’ll drag up on a few steps to draw in a simple 1/8th-note pattern.

Crank the sequencer’s global Swing knob to offset odd 16th-notes, giving the stepped modulation a recognisably lazy feel. Likewise, for interesting rhythmic effects, we can switch global Direction (via the left dropdown) to play the sequences in reverse, back and forth, or in a random order.

In the second sequencer lane, we’re offsetting Filter Resonance from its base value on every even 1/8th-note. Like all classic Moog filters, high resonance settings cause the plugin to output a tunable sine tone – self oscillate, in other words. The Glide knob smoothens the stepped modulation.

To make use of the final two lanes, we’re modulating the filter’s tasty Drive; and stepping through Filter Types to rhythmically flick between band-pass, high-pass and notch modes. Finally, Spacing applies inverse filter settings for the left and right channels for an impressive widening effect.