Join J. Scott Giaquinta for an in-depth discussion in this video Moog Multimode Filter, part of Learning Universal Audio UAD-2/Apollo.
- The Moog Multimode Filter, I mean first off, how can you go wrong with anything that has the name Moog on it? Secondly, a digital filter that sounds as good as analog. Yep, it's definitely one of my favorite ones. This filter combines the best of Bob's classic designs with features from his final voyageur instrument. So let's get right into it. Again, like most UAV plugins you can drive them harder like their analog counterparts. So in the left top hand corner we have a drive knob which controls the amount of saturation gain before the filter. We're going to have Steven play in order to keep it simple. Before I show you that though, I want to show you one other knob that you're going to use in conjunction with the drive knob, which is the output knob.
You want to turn this down as you turn the drive up. So I'm going to turn this down now because I know where this is going. And Steven's going to play and we're going to turn the drive up. (guitar solo) (guitar solo louder) Cool. You'll notice when we start to drive it harder, the little drive LED here goes from green, to yellow, to red, depending on how hard you've got it cranked up.
So I'm going to turn this back down again, I'm going to have Steven play, and then just watch it go from green to yellow to red as I turn this drive knob up. (guitar solo) (guitar solo louder) Cool. Okay. To the right of that are standard filter controls you'd see on most filters, cut off, resonance. Different filter types you can choose from like low pass, band pass, high pass.
There's even a two pull and four pull setting for it. So here's what we're going to do, we're going to have Steven play again, I'm going to turn the output up a little bit and we're just going to go through some of these, I'm going to play cut off, resonance, these settings, and then filter types. (guitar solo) (guitar solo with effect) (guitar solo with different effect) All right, I'll try a band pass.
(guitar solo with filter) Let's try high pass. (guitar solo with different filter) Cool. Awesome. Okay. We can also choose between step and track, which is basically a smoothing control for the filter cut off. When it's set to track, the smoothing's on. Let's move on. Next is the envelope knob down here.
Now if you're a fan of the Moog Reverter, then you might know what this one does. The cut off frequency of the filter can be controlled by the amplitude of the input signal. So let's hear what that sounds like. First though, I want to go over the console, we're going to take off the cabinet distortion on this guitar so that you can hear how this works better. I'm going to turn this up to about the middle, and here we go. (guitar solo) So the louder he plays, the more it opens up the filter. (guitar solo with filter) It's like a wawa.
(guitar solo with filter) Cool. By the way, it even works with negative values if you turn left instead of right. You get some really interesting effects. Let's see what that sounds like. (guitar solo with effect) Cool. All right, let's go back to Off here, and by the way, a lot of these knobs, the envelope one, and some of these other ones I'll get to later, when they're off they're in the 12 o'clock position.
Usually on those knobs to the left is negative values and to the right of that is positive values. So to turn it off on this one we need to turn it straight up some. Let's turn that off. I'm going to turn his distortion back on here. So next is the spacing knob. This inversely offsets up the cut off values for the left and right channels, which basically means that if I turn this knob to the right, which is a positive value, it would increase the right channel cut off while lowering the left side. Negative values, which is to the left, are the opposite. And again, the 12 o'clock position's off. So let's turn it on here.
Let's turn it to a positive value to the right, and let's hear what it sounds like. (guitar solo) Great spatial effect. (guitar solo with effect) Cool. All right. So let's check out the LFO section to the right next. The LFO, or Low Frequency Offslider, can modulate the cut off frequency. We have a few different wave forms to choose from.
You got sign, triangle, saw tooth, inverse saw tooth, square, and random. Now what we're going to do is we're going to turn on the metronome here and we're going ot have Steven play along with that so you can hear the LFO tweak the cut off in real time. All right, let me make some changes before we start here. I'm going to open up our cut off again. And here we go. (guitar solo with effect) Cool.
It sounds really cool. (laughs) I like that. You can have the LFO run on its own, which is set in Hertz, that's set to free. Or you can turn on sync here and then the rate knob becomes divisions of time of your template of your DAW. And by the way, you also need to turn the LFO amount up first in order for it to affect the cut off. The next part of this is the offset knob which adjusts the polarity between LFO signals for the left and right channels. It sort of works like the spacing knob I showed you before on the left here. This is great for stereo spatial effects. To the right is a positve value, and to the left is a negative value, and again, like a lot of these knobs, the 12 o'clock position is off.
So we'll hear Steven play with the click and then I'm going to play with the offset buttons. So here we go. (guitar solo with effect) Cool. (guitar solo with effect) Okay, so on to the last couple of controls here.
The next knob varies the amount of filtering that's happening. Now it's not a wet/dry ratio knob in the way you might be used to where you can control the amount of wet/dry signal. When the mix is at zero you're still hearing the drive happening on the input, but you don't hear any of the filter effect. So let's hear what that sounds like. (guitar solo) Say, so it's at zero, so there's no cut off right now. When we turn this up, (guitar solo) but you're still hearing the drive when the mix is all the way at zero.
Cool. All right. The stereo mono button's pretty self explanatory. When it's in stereo you hear the stereo signal, but if it's mono'd, you'll hear the stereo signal summed into one channel. The effect bypass switch. When it's off, it basically does the exact same thing as having the mix knob at zero. The drive function still works, but nothing else does. And lastly is the on/off switch which bypasses everything in the plug in, including the drive function. So that pretty much wraps up this video as far as controls. One thing I do want to point out about this plug in that makes it so cool is that you can use it for saturation on tracks without ever having to use the filter part of it.
And this just gives you another flavor of harmonic distortion, which is what gives the pro sounding record their sound. So be sure to experiment with this as a filter, or just another way to give your music some oomph. Have fun.
- Navigating the interface
- Configuring the Apollo Console
- Using the wordclock to ensure high-fidelity mixes
- Exploring the UAD core plugins, compressors, EQs, effects, processing units, and reverbs