Cupwise YouRei Band-pass and Notch Filters For Nebula-MAGNETRiXX

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Cupwise YouRei Band-pass and Notch Filters For Nebula-MAGNETRiXX
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Cupwise YouRei Band-pass and Notch Filters For Nebula-MAGNETRiXX

Cupwise YouRei Band-pass and Notch Filters For Nebula-MAGNETRiXX
Team MAGNETRiXX | 22 February 2014 | 460 MB

This is the 2nd of a two part set. Here we have a set of band-pass and notch filters that were ‘based on’ a unique, vintage filter unit that was heavily used in forensic audio work, due to its extremely sharp notch filters which can precisely remove unwanted frequency specific noises, without adversely affecting the kept audio. Some users found more creative uses for the super-sharp notches and peaks, which could make unique phaser-like (though not as extreme) effects when swept around, and that ability has been improved here, using Nebula’s built in LFO to modulate the effect. There is also a pass-through program that samples the unit’s character with all filters disabled. Everything was sampled with a Lynx Aurora 8 using high-end Mogami cables.

This 2nd part of the set includes:

A set of programs that have the bp/notch filters combined in one program, and set up to be modulated by Nebula’s internal LFO. There are different programs for several different LFO shapes. Lots of controls allow for many different types of creative effects here, from extreme to subtle. These use a custom LFO control system I developed myself which took quite a bit of work to get it just right. It gives a great amount of control over the effect.

A set that uses envelope followers to modulate the frequency position instead of LFOs. These have a similar control setup to the LFO programs and provide a lot of ability to fine-tune the effect, with almost endless possibilities.

Additional separate programs for the notch and bp filters, which are optimized for EQ purposes. Both are fully variable from around 26hz up to somewhere around26khz. You surely have no other program in your collection with this much precision in a single adjustable band. The notches are incredibly sharp and can be used for some serious forensic work. That precision comes at the cost of thousands of samples. The band-pass program can be used as an EQ-style peak filter too.

A program with the bp/notch filters combined, but optimized for FX use as with the LFO/envelope programs, and intended for manual sweeps/automation/modulation within a host program that allows it. You can sweep these around however you want. For example if you use Reaper, you can use it’s own internal LFOs.

2 pass-through programs without filtering, sampled with full dynamics/harmonics from the unit. The unit that was sampled was the 565T which is more sought after by some (than the standard 565) due to it having a transformer on the output which adds extra coloration, so these programs can be used in conjunction with a filter program to give a fuller approximation of the unit, or it can be used separately in other situations to color any sound, just as you would with other preamp or similar Nebula programs. The first has the filters bypassed, the 2nd just has them set out of audible range, so each sounds a bit different.

Audio Demos:
This first one shows off some of the cool stuff you can do with the envelope follower programs. There are 3 different clips ran through the effects, first you hear them dry then processed by various envelope follower setups.

This one shows off some of the effects you can get with the LFO. There’s a mix with drums, a bass synth, and lead synth. First you hear 3 repetitions of the ‘melody’ dry to get an idea how it sounds, then there’s a static burst and the lead synth is ran through the band-pass/peak filter which is modulated by the LFO. Several more static bursts indicate changes of settings such as LFO shape/type, rate, width of the filter AND the LFO sweep range, etc. Keep in mind that although some of these effects are fairly extreme, you can always dial down the intensity by lowering the depth of the filter (it’s like having a wet/dry control).

This one is the same mix, same setup as before, except now the notch filter is used instead of the peak. As you can see/hear, the notch can be much more subtle than the bp/peak, but if tuned just right it can give a subtle phaser type of effect, or create a sense of motion. It seems to be a bit more obvious when used with the envelope follower programs, as can be heard in the previous clip demoing them.

This next one runs a full mix through the filters with a fairly slow sweep so you can hear how smooth the effect is. First it’s dry, then static bursts between bp filter at it’s widest, then mid, and sharpest widths, then the notch with the widths in the same order.

This one shows off how the notch can be used for forensic type work. There is a sine tone at around 7khz that I inserted into this mix a few seconds into the clip. First you hear dry so the notch isn’t on, then static burst and the clip replays with the notch tuned to the tone’s freq. You can even compare the portion before the tone in both passes, to see how little the notch affects the rest of the mix, even though it drops the tone enough that it can’t be heard.

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