Bawling Brat Filter FX

Product Description

A fair amount of possibility in the set means that if you are into filters, you should be able to get plenty of use with it. Based on 4 ‘specimens’.

Here’s what’s in this set:

• 3 different sample sets (vectors) taken from 4 units. One set used two standard models to get a stereo configuration. One used a ‘classic’ model and another used a ‘Q’ model, which allows for an adjustable filter width, and both of those are ‘mono’ but that just means that the same samples process each channel separately. They don’t collapse your audio to a mono output.
• Each of those 3 root effects are different (and sound different) in a few key ways. These include the ranges that the peak filter sweeps around in, which are different for all 3 (yet share some overlap). The sharpness of the filters are a bit different, and as stated, the 3rd filter effect allows you to actually adjust the filter width, which makes it more versatile.
• Each of the 3 has a set of 3 types of programs, which use the samples in the vector in different ways, to produce very different results/sounds. The first type is the LFO programs, which use a control system I’ve designed and refined over time. It allows you to place the LFO’s sweepable range anywhere in the full range of the filter that you want it to go, for maximum control. There are programs for different LFO shapes, which can give very different results (my favorite are the ramps).
• The next type is the envelope follower programs. They have a control scheme very similar to the one I designed for the LFO programs, but with the addition of ‘attack’ and ‘release’ controls. There are 3 ‘flavors’, going forward, and backwards. The forward ones move the filter up in frequency as input level gets louder, and the backwards ones move the filter down. The 3 ‘flavors’ were made by using some different methods and combinations of envelope followers of various types.
• The last type is the manual programs, which give you a single control labeled ‘wah’ that you can either leave in a fixed position, or modulate via your DAW’s modulation options (whatever they may be, if any), or automate and adjust directly. These would be the closest to giving you the same type of expressive ability as an actual pedal, minus the synergy of being able to hear the results while actually playing, and playing for the effect.
• Every program has an SHQ version for rendering. There is a bigger difference than usual with my SHQ programs this time. Here, the SHQ programs not only use timed mode (among other changes), but also add sampled dynamics to the filter models, which by itself increases the required CPU. In my opinion they give more fluidity to the sound. As always, they are for rendering only.
• Plenty of additional controls in each program, to give you further sound shaping ability, such as- dry, feedback, and smooth.