Auto Filter

Morphing between the two shapes, as well as the cutoff, can be controlled with a manual pedal control, an LFO, or an envelope follower.

Filter Parameters

Filter Shape

LP24, 18, 12, and 6 are low-pass filters with 24, 18, 12, and 6 dB/oct. Frequencies above the cutoff are attenuated.
BP12 and BP24 are band-pass filters with 12 and 24 dB/oct. Frequencies below and above the cutoff are attenuated.
HP6 + LP18 and HP6 + LP12 are a combination of a high-pass filter with 6 dB/oct and a low-pass filter with 18 and 12 dB/oct, respectively (asymmetric band-pass filter). Frequencies below and above the cutoff are attenuated. Attenuation is more pronounced for the frequencies above the cutoff.
HP12 + LP6 and HP18 + LP6 are a combination of a high-pass filter with 12 and 18 dB/oct and a low-pass filter with 6 dB/oct (asymmetric band-pass filter). Frequencies below and above the cutoff are attenuated. Attenuation is more pronounced for the frequencies below the cutoff.
HP24, 18, 12, and 6 are high-pass filters with 24, 18, 12, and 6 dB/oct. Frequencies below the cutoff are attenuated.
BR12 and BR24 are band-reject filters with 12 and 24 dB/oct. Frequencies around the cutoff are attenuated.
BR12 + LP6 and BR12 + LP12 are a combination of a band-reject filter with 12 dB/oct and a low-pass filter with 6 and 12 dB/oct, respectively. Frequencies around and above the cutoff are attenuated.
BP12 + BR12 is a band-pass filter with 12 dB/oct plus a band-reject filter with 12 dB/oct. Frequencies below, above, and around the cutoff are attenuated.
HP6 + BR12 and HP12 + BR12 are a combination of a high-pass filter with 6 and 12 dB/oct and a band-reject filter with 12 dB/oct. Frequencies below and around the cutoff are attenuated.
AP is an all-pass filter with 18 dB/oct. Frequencies around the cutoff are attenuated.
AP + LP6 is an all-pass filter with 18 dB/oct plus a low-pass filter with 6 dB/oct. Frequencies around and above the cutoff are attenuated.
HP6 + AP is a high-pass filter with 6 dB/oct plus an all-pass filter with 18 dB/oct. Frequencies around and below the cutoff are attenuated.

Input

Adjusts the gain before the filter and distortion. This parameter only affects the wet signal.

Cutoff

Specifies the cutoff frequency of the filter.

Resonance

Emphasizes the frequencies around the cutoff. At higher resonance settings, the filter self-oscillates, which results in a ringing tone.

Distortion Type

The following options are available:

When this parameter is set to Off, the filter offers no distortion.
Tube Drive adds warm, tube-like distortion.
Hard Clip adds bright, transistor-like distortion.
Bit Red adds digital distortion by means of quantization noise.
Rate Red adds digital distortion by means of aliasing.

Distortion

Adds distortion to the signal. The effect depends on the selected distortion type. With higher settings, it creates a very intense distortion effect.

Note

This parameter is not available if Distortion Type is set to Off.

Output

Adjusts the gain after the filter and distortion. This parameter only affects the wet signal.

Mix

Sets the ratio between the dry and the wet signal.

LFO Section

LFO Wave Shape

Waveform selects the basic type of waveform. Shape changes the characteristics of the waveform.

Sine produces smooth modulation, suitable for vibrato or tremolo. Shape adds additional harmonics to the waveform.
Triangle is similar to Sine. Shape continuously changes the triangle waveform to a trapezoid.
Saw produces a ramp cycle. Shape continuously changes the waveform from ramp down to triangle to ramp up.
Pulse produces stepped modulation, where the modulation switches abruptly between two values. Shape continuously changes the ratio between the high and low state of the waveform. If Shape is set to 50%, a square wave is generated.
Ramp is similar to the Saw waveform. Shape adds a gradually increasing amount of silence before the sawtooth ramp up begins.
Log produces a logarithmic modulation. Shape continuously changes the logarithmic curvature from negative to positive.
S & H 1 produces random stepped modulation, where each step is different. Shape puts ramps between the steps and changes the S & H into a smooth random signal, with the control set fully to the right.
S & H 2 is similar to S & H 1. The steps alternate between random high and low values. Shape puts ramps between the steps and changes the S & H into a smooth random signal, with the control set fully to the right.

Freq: Determines the frequency of the cutoff modulation.
Sync: Allows you to synchronize the effect to the host application. If Sync is activated, you can set the Freq parameter in fractions of beats.
Depth: Determines the output level of the LFO modulation signal.
Cutoff: Determines the modulation intensity of the LFO on the filter cutoff.
Morph: Determines the modulation intensity of the LFO on the filter morph.

Envelope Follower Section

The Envelope Follower traces the input signal with an adjustable attack and release time and delivers a modulation signal representing the level envelope of the signal.

Sensitivity: All input signals are mixed down to mono before they are sent to the Envelope Follower. This parameter sets the optimum input level for the Envelope Follower.
Attack: Adjusts the attack time, that is, the time the Envelope Follower needs to approach increasing input levels.
Release: Adjusts the release time, that is, the time the Envelope Follower needs to approach decreasing input levels.
Depth: Determines the output level of the modulation signal of the Envelope Follower.
Cutoff: Determines the modulation intensity of the Envelope Follower on the filter cutoff.
Morph: Determines the modulation intensity of the Envelope Follower on the filter morph.

Pedal Section

Pedal: Sets the position of the pedal.
Depth: Determines the output level of the pedal modulation signal.
Cutoff: Determines the modulation intensity of the pedal on the filter cutoff.
Morph: Determines the modulation intensity of the pedal on the filter morph.