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    Antares Filter v1.01 VST DXi WiN

    Team H2O | 12-16-03 | 6.51 MB

    Quad Rhithmic Multimode Filters

    Please Note: Filter has been discontinued. The Mac OS X versions of Filter will not be updated for compatibility with Intel Macs, nor will the PC versions be updated for Vista. It remains available for download by current owners who are still running compatible systems, but please note that we do not offer technical support relative to its use in unsupported operating systems.Here is a basic introduction to the individual modules that make up Filter.Filter can be instantiated in mono->mono, mono->stereo and stereo->stereo versions. The Input Meters change to reflect your choice. In the stereo->stereo version, the filters are true stereo filters. The input channels are NOT summed prior to being processed.

    Here’s where you make settings that affect the overall plug-in. Filter Display Style let’s you select whether your want the filters’ frequencies displayed in Hz or MIDI note name. The various Tempo controls let you select between an internal master clock or your host’s MIDI clock, as well as set the internal clock in BPM or by Tap Tempo. The MIDI Setup opens a dialog box for selecting which MIDI channels will supply the control signals for use in the Modulation Matrix and to let you assign MIDI channels for triggering the Envelope Generators.

    Selects the routing configuration of the four filters. Use Filter as four independent parallel filters, one four-section series filter or in a variety of parallel/series combinations.

    Filter includes four identical stereo filters that can be set in lowpass, highpass, bandpass and notch modes with variable resonance to create all the classic synth filter effects, plus a huge variety of new effects only possible by combining multiple filters. Each filter consists of three subsections:

    Filter Settings:
    Here’s where you set each filter’s frequency and resonance (Q) as well as choose between lowpass, highpass, bandpass and notch modes. To allow filtering from gentle to radical, each filter can be set for 2 pole (12 dB/oct), 4 pole (24 dB/oct), 6 pole (36 dB/oct), or 8 pole (48 dB/oct) response characteristics. Additionally, you can turn each filter on or off, solo it within a patch, or link its frequency to one of the other three filters.

    Each filter has its own independent delay section with feedback and mix for stunning rhythmic delay effects. Each filter’s Delay section can be patched pre- or post-filter and can be used alone with no filtering if desired. And like all of Filter’s time-based parameters, the delay time can be set in milliseconds (up to 2 seconds) or in beats or fractional beats synced to the master tempo.

    Here’s where you can set each filter’s level relative to the other filters in a patch, invert the phase of the filter’s output and pan the filter’s output in the stereo field.

    >To help you construct complex multi-filter effects, this display graphically represents the response curves of the currently active filters and allows direct graphic manipulation of each filter’s frequency and resonance.

    Each of the four Function Generators provide both an Envelope Generator and an LFO (although you can only see one at a time), giving a total of 4 Envelope Generators and 4 LFOs simultaneously.

    Each Low Frequency Oscillator offers a choice of 10 different waveforms, including three different types of random waves. Each LFO rate can be set in Hertz or BPM and, like all of the time-based parameters in Filter, can be synced to the master tempo.

    Envelope Generators:
    As a modulation source, each Envelope Generator offers Delay, Attack, Decay, Sustain Level, Hold Time, and Release parameters and can be triggered by one of the Rhythm Generators or by MIDI. All of an Envelope’s time and rate-based parameters can be set in absolute time or synced to the song’s master tempo.

    For effects like classic auto-wah (and a lot more), the Envelope Follower lets you control filter parameters with the dynamic characteristics of your input audio by providing a control signal that is proportional to the input audio’s amplitude. The Attack and Decay controls allow you to add a selectable amount of lag to the respective portions of the signal.

    Two clocked drum machine style rhythm generators designed to trigger the envelope generators and/or be used as a Mod Matrix source let you easily program loop-based grooves or complex polyrhythms. And of course, their tempo can be set in BPM or synced to the master tempo.

    Filter’s powerful Modulation Matrix lets you bring your patches to life by routing the various internal control sources (as well as external MIDI controllers) to virtually all of Filter’s key parameters. Any source can control multiple destinations and any destination can be controlled by multiple sources. You can even use one Mod Matrix patch to control the amount of modulation of another Mod Matrix patch. The mind boggles.

    Does pretty much what you’d expect.

    INFO: (Discontinued): http://goo.gl/l0Hc4o


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