Crucially, filter modulation is also a great source of movement for applying to other effects such as distortion and delay, allowing you to modulate – that is, change over time – how those effects are impacting the source signal.Īs with most things in music production, arranging a series of fairly simple component blocks together – a filter, controlled by a sequenced envelope, modulating a delay, for example – can give you incredibly complex and nuanced results, and almost infinite possibilities for sonic exploration and sound design. You can apply this kind of filtering to drum beats, synth lines, effected flourishes in a pop vocal performance, anything. Bolt a basic sequencer or envelop generator onto a filter plugin, and suddenly you have a great deal of potential for all kinds of intricate rhythmic movement that you probably wouldn’t come up with if programming the movement manually. Filter modulation: Another important way that filters are used is in combination with sequencers and other effects. ![]() ![]() Filters can do this on a sort of micro-level: they withhold elements of individual sounds, never quite revealing the raw sound in it’s entirety, keeping the listener engaged and wanting to keep listening for the moments perhaps when the whole sound will be unveiled and satisfy their curiosity – or simply release them into a whole new drop section of the track, as is a common and highly effective technique in most modern dance music. Part of why this works so well is that building anticipation, on any level, is so much about promising excitement to come – and then withholding that payoff for as long as you can without losing the listener. This can be applied to individual parts or in key sections of the whole track such as the moments around a build/drop, giving them a touch of the movement and expressiveness of a live instrument.
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