All right, we're going to have
another look at Trash from Isotope,
and this time we're going to
focus on the filter module.
So I have all of the
other modules shut off.
Note there are two filter modules.
I just have this one turned on.
You can have a filter module before
and after the wave shaper here,
but of course I don't have
any other modules turned on.
So it doesn't really matter.
I'm just going to use the first one.
So this is the filter here, and you can
with this tab show more or less bane's.
So you can have multiple
filters simultaneously here.
I'm going to keep it simple and
just have one filter band right now.
And it can do a lot of different things.
It can act like simple EQ bank here.
So that's what this is just
a simple parametric EQ.
And I can with these here change
the bandwidth of this band,
and then add a booster cut.
And this just feels like an
EQ so I have a drum beat.
If I turn this off here's the
drum beat, and I turn this on.
[DRUM BEATS]
And it feels like am EQ band.
But I can do some other things as well.
For example, I can change this to
different types of filter bands,
and I can click here.
And you can see that there's
quite a lot of choices here
so it can be a high pass,
band pass, low pass, or shelf.
And then these are all sort of different
shapes for a different filter type.
So here I have high pass,
band pass, low pass filter.
Here I have the same thing, but
the shape and color of the filters
is a little different here.
Same with saturated, which will
be a little more distorted.
And screaming only has
two types of filters.
Synth has some variations
on low pass filters,
and then vowels kind of a special case.
We'll look at that last
here, but I'll just
try, for example, saturated
low pass filter here.
It's a standard low
pass filter, and this
will be the resonance of the filter.
[LOW-PASS FILTER DRUM BEATS]
And again, it's pretty
straightforward low pass filter.
Now one of the really fun things you
can do here is modulate filter cutoff,
and that's always something
interesting to do with filters.
And that's the modulation section here.
So I have an LFO, and the
LFO can be synced to tempo.
So I can have the LFO rate be quarter
notes, or eighth notes, or whole notes,
or whatever.
Here's a half note, for example.
It's a sine wave is the waveform, and
I can choose from multiple waveforms
here so whatever I want.
And what's interesting is that here
this is the target of the modulation.
So this gives me some real
fine control over the results.
This is my band, and this is
the target of the modulation.
So the modulation will go from here,
whatever this setting is, to here.
And I can see those settings here.
This is the band setting.
It's just about 1.3 kilohertz,
and there's no booster
cut because it's a low-pass filter.
That's the resonance,
not much resonance.
If I want I can add a little bit.
And then that's the target of
the modulation, about 360 hertz
and a bit more resonance.
So what's going to
happen is the LFO will
modulate back and forth between
these two points based on this rate.
[DRUM BEATS]
And I can slow it down so we
can see that little dot travel.
[DRUM BEATS]
Or if I wanted to, I could have
it go from my 1.3 kilohertz band.
I could have a go up instead of down.
[DRUM BEATS]
Whatever I want.
In addition, this has an envelope follow
that can modulate the filter cut off.
And in this case, I have an
attack and release time here.
And this is my input signal,
and this is the threshold
that triggers the envelope.
So here--
[DRUM BEATS]
--I can see this is about
where the peaks are so I can
nice fast attack and moderate release.
And I'm going to bring down
the threshold until this
starts to modulate filter cutoff.
And again, in this case
it's going to go from here,
which is my original setting, to hear,
which is the target setting like so.
[DRUM BEATS]
One more time.
[DRUM BEATS] I could
bring it way out here--
[DRUM BEATS]
--and this could be any kind of a band.
I could even go back to the clean
peak here, and this is the clean peak.
And I can have a boost here,
and then for the target
I could maybe have a cut.
So now I'm going to go from
boosting this frequency
to cutting this frequency.
[DRUM BEATS]
Or I could go downward, so maybe
from a boost here to a cut here.
Or maybe this could
be a different boost.
[DRUM BEATS]
That's kind of neat doink kind of sound.
It's kind of cool.
Now that other one that was kind of
interesting was the vowel filters.
And so these are filters that
have certain resonances built
into the filter, and they give
you vowel like character here.
So this is it without any modulation.
[DRUM BEATS]
And you can hear there's a vowel like
character to the sound of the filter.
And again, the fun here
is when you modulate
this let's say with the envelope.
And I'll just do something like this.
[DRUM BEATS]
And it's like I got a guy singing
"doy; doy, doy" kind of thing
along with the beat.
[DRUM BEATS]
And that's kind of an
interesting sound effect.
Something you could use
in the music production,
or in a slightly different way
doing some sound design for visuals.
Let's look at an example using
a sound design effect here.
This is just an [? air wrench ?]
so without this filter on.
This is just the sound effect itself.
[CLACKING]
Let's see what it feels like here.
I'm going to bring the
threshold all the way up
so I can see the level of the signal.
[CLACKING]
Now dropping it a bit.
[CLACKING]
Kind of an interesting sound, really.
And I can tweak the filter, the original
setting here, as well as the target
here.
[CLACKING]
That's an interesting
sound design element.
I could use that for something.
So this is the idea with
the filter section of Trash.
[MUSIC PLAYING]
