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…

Future Music - - FEATURE -

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.

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