Cupwise Synth HP LP Filters for Mixing Vol.1

This release contains programs for Nebula which were sampled from three very different Eurorack synth filter modules. These programs can't be used for filter sweeps, or high resonance, but instead were made and optimized for use in typical mixing or sound design applications that require the use of high pass or low pass filters. They were also built to have the filtering, and sampled dynamics and harmonics, all contained in the same program.

There are programs for both HP and LP filter types from all three modules, as well as a band-pass from two of them, and a notch from the other. I actually sampled two differently shaped LP filters from one of the modules, so in total there are 10 unique filters here. For each of those 10 filters, there is a 'clean' version which uses less resources, and a 'full' version which adds dynamics and in all but one case also adds harmonics.

In my opinion, the best filter of the 3 is the one I call the “S-Slope”. It was sampled from a licensed remake of a filter from a well known line of modules from the 1970s (often associated with so-called “west coast” synthesis techniques). I've sampled an LP, HP, and band-pass filter from this module, for use here. This filter module's main attraction is its “slope” control, which allows you to vary the slope of the filtering from very gentle to sharp. I've sampled that range, and also allowed you to get a small resonant 'bump' at the cutoff point, of around 2.5-3dB. The resulting program allows for very precise filtering with lots of adjustment. The many cutoff positions available, together with the slope control, ensure that you will be able to dial in exactly the filtering you need.

I call the programs I made from the next module “AST”, and it includes an HP, two LP filters (one is 'leaky' and lets more of the filtered signal through), and a BP. Although they lack the adjustable slope of the “S-Slope” programs, the width control still adjusts through a nice range. These filters definitely sound different from the others, and you should find them very useful.

“Stinger” is what I call the programs from the last module, which is a clone of the filter section of the 1970s Wasp synthesizer. The circuit uses a unique method to achieve the filtering, and results in an equally unique sound. There are HP, LP, and notch filters on offer from this one. There is always a small resonant hump with the HP/LP programs here, even when you turn the 'width' control all the way down, but the unique sound of this one should find its uses in your arsenal.

Here's a graph showing the range of the 'width' control in the S-Slope LP. Notice how much this control alters the shape and allows for emphasis of a few dB at max setting:

Finally, below are some videos I made showing off the filters and Max's GUI. The first one is for the HP filters, and goes through every freq position with width at 0% (providing the most gentle slope), then with width at 100%, which always adds a resonant hump emphasizing the cut-off freqs. First I demonstrate them all using the 'clean' versions which have no sampled dynamics or harmonics, then towards the end I switch to the 'full' versions to show the difference the harmonics can make. They're usually subtle, but become more noticeable as I use the 'trim' control to drive the programs very close to 0dBFS (watch the peak hold meter/readout). This often results in the infamous 'chirps' or other ear-splitting results in other Nebula programs, but not here.