Extreme NOOB question: Auto Filter

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pixelbox
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Extreme NOOB question: Auto Filter

Post by pixelbox » Fri Sep 26, 2008 2:59 pm

Ok, so I'm still a noob, despite years of being on this forum. I've got no excuses, so please forgive me...now my question:

I know what an auto filter does, thanks to reading the OM, and various articles on the web, but my question is how does one use it "tastefully"? The limited EDM music I am exposed to uses filter sweeps to add interest to the melody or a fill or a build up, etc., but when I play with it, it always sounds like crap.

Is their a common style or technique or effect combo (or rack) that most EDM guys use to create nice sweeps? Do you typically go for the clip automation or do you use a set-and-forget, using the envelope or the LFO? Can anyone provide a sound sample and a brief tutorial on how they did the effect? I know this question is a bit esoteric, but the more I muck about with auto filter, the more I wish to unravel this personal "mystery".

Any help appreciated.
Before speaking, learn telling. And to tear magic from science is very dumb pupil-like.

laird
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Post by laird » Fri Sep 26, 2008 5:00 pm

DON'T:
1) use filter sweeps with a single beat-synced LFO. Unless you have a time portal back to 1998.

DO:
2) use 2X autofilters with beat-synced LFOs, set to different settings. Esp. one on a dotted note. Use 2X the same filter type (lowpass, hipass) or mix it up.

DON'T
1) slowly open up the filter on a breakbeat for transitions or drum-solo sections.

DO:
2) slowly open up a filter on a copy of your beat thats been slowed down half-speed/pitch, or perhaps run thru heavy distortion, and the volume is turned down so that it doesn't dominate the mix, instead adds a growing amount of 'oomph' or 'growl'. (or 'blue'?)

DON'T:
1) use autofilter as a tremelo-type 1/8t-note gating effect in conjunction with a tempo-sync autopan, unless you got that time portal to 1988

DO:
2) use autofilter as a tremelo-type effect if you use it on the copy of your audio, with the speed set to msec, and you automate the heck out of the speed. Again, dont let this copy dominate a mix, just flavor it.


Also;
Do: put autofilter on return tracks to process pure FX rather than process loops. Tremelo your reverb? Why not!

DO: put autofilters before distortion. This can really change the tone of your distortion.

DO: use HP filters more.

DO: do ALL the dont's for ultra-hip post-ironic-type hipness.

Patch
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Post by Patch » Fri Sep 26, 2008 5:24 pm

8O - Shhhh... :wink:

blingstef
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Post by blingstef » Fri Sep 26, 2008 6:46 pm

8O woahoh
kickiest kicks with the snariest snares
http://www.dsidemusic.com,
m-audio axiom49, ableton live 7.0.12, m-audio projectmix I/O.

pixelbox
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Post by pixelbox » Fri Sep 26, 2008 6:55 pm

Great tips, laird! tyvm!

Anyone else?
Before speaking, learn telling. And to tear magic from science is very dumb pupil-like.

Superchibisan
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Post by Superchibisan » Fri Sep 26, 2008 7:17 pm

automate hte fuck out of everything. thats my tip.

TroyP
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Post by TroyP » Mon Sep 29, 2008 2:55 pm

Thanks laird. I've been wondering too.

laird
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Post by laird » Mon Sep 29, 2008 4:19 pm

i didn't even mention the side-chain of Live7's filter, as its pretty new to me.

but, yeah, route a copy of your drums to that instead of an LFO.
Can be used for the same "I'm processing my pad" type sound, only more interesting than an LFO.

Or this can be used subtly to just add some sizzle to your drum tracks, sizzle that happens to come from a muted pad or noisey loop something.

duckpow
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Post by duckpow » Mon Sep 29, 2008 7:22 pm

Great post laird

And the side-chain ability of auto-filter is awesome.

I use it when dj-ing:
2 audio track each with 1 auto-filter: one set to HP, one set to LP. Both gets sidechain audio from the other.
If you then play a little with the envelope, you can get the lows from one and the from the other. Thus getting a cleaner sound!
- Well... but no!

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