We all know an EF is one of the funkiest tools in the effect tool box. But what are some non-funk applications of the EF? Every time I play one my lines turn so funky! Looking for ways to use one differently.
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Envelope Filter Uses
- Thread starter JehuJava
- Start date
I have about 5 different go-to settings on my envelope-controlled filter, and only 1, maybe 2 of them, are that clichéd funk (sic) auto-wah sound a la Bootsy Collins.
- I often use it as an extreme low-pass or hi-pass filter with no envelope modulation, by turning the Sensetivity and Peaking controls to their minimum. Extreme LP yields a huge deep reggae-type sound with very little pitch definition but tons of bowel-shaking subwoofer gushiness. Extreme HP (especially with the Range control set to high and Drive direction set to up) yields a thin, quiet, tinkly metallic sound...perfect for seeding loops to create pixillated atmospheres that you can then easily play over or under once you've reverted to a fullrange sound.
- Using a bandpass filter with moderate amounts of envelope modulation is a great way to add some subtle animation to what winds up being a fairly normal-sounding grindy rock bass sound...it tends to accentuate the attack without making an overt "blap!" or "quack!" sound.
- just reversing the sweep direction from the traditional Bootsy auto-wah setting yields a sound where gentle playing sounds like completely normal unprocessed bass, but when you dig in the bottom end drops out and you get a delayed attack synthesizer-type "BEEEOOOWWWWWW" as the filter sweeps down and reintroduces the bottom end.
- I often use it as an extreme low-pass or hi-pass filter with no envelope modulation, by turning the Sensetivity and Peaking controls to their minimum. Extreme LP yields a huge deep reggae-type sound with very little pitch definition but tons of bowel-shaking subwoofer gushiness. Extreme HP (especially with the Range control set to high and Drive direction set to up) yields a thin, quiet, tinkly metallic sound...perfect for seeding loops to create pixillated atmospheres that you can then easily play over or under once you've reverted to a fullrange sound.
- Using a bandpass filter with moderate amounts of envelope modulation is a great way to add some subtle animation to what winds up being a fairly normal-sounding grindy rock bass sound...it tends to accentuate the attack without making an overt "blap!" or "quack!" sound.
- just reversing the sweep direction from the traditional Bootsy auto-wah setting yields a sound where gentle playing sounds like completely normal unprocessed bass, but when you dig in the bottom end drops out and you get a delayed attack synthesizer-type "BEEEOOOWWWWWW" as the filter sweeps down and reintroduces the bottom end.
I'm using an MXR bass envelope filter thats being fed by an el grande bass fuzz, which is a very organic and non-harsh fuzz with the settings I use. Since the fuzz pedal also applies compression to the sound at the right setting it becomes easier to control what the envelope filter does and I can apply subtle grades of wha. This opens up a whole new territory to be explored.
Of course, with digital pedals this is impossible. One needs analog gear to ooze atmosphere.
Of course, with digital pedals this is impossible. One needs analog gear to ooze atmosphere.
Roscoe...those are great ideas and would work well with what I'm doing these days. What filter are you using?
I'm using a Bottom Feeder (bandpass, I think) to create a bubbly bwop-bwop kinda spacey sound when run clean. Adding a gated fuzz before it turns it into an angry metal monster duck or something. Really cool. A phaser after it and things go all kinds of space-metal.
I never use it to funk anything...
I never use it to funk anything...
- Sep 9, 2007
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I've used filters before to add a bit more grit, instead of full-on syrupy goodness, for some tunes that have a bit of funk in them, but are more just groove-oriented rock. It mixes well with distorted guitars without being to heavy into either the "overdriven bass" or "funky bass" worlds.
I use a WMD Super Fatman for slow synthy sweeps, as a powerful EQ (see Roscoe's post: describes it perfectly!), use the LFO (triangle for auto-wah LFO and square for pulse-like trem), with my WMD Geiger Counter for dormant synth/industrial (see mpdd's post) and using my HOG in freeze gliss into it produces some very far-out notched sounds.
I also have a Fuzzrocious Terrordactyl but it's the definition of quack (in a good way)
I also have a Fuzzrocious Terrordactyl but it's the definition of quack (in a good way)
i'm using the wmd gc with a vintage dr. q, because the guy on tb i bought it from told me it was the same pedal larry graham used
I sometimes kick on the MXR Bass Envelope Filter with a Markbass Super Synth right in front of it. Adds a quick filter sweep to the synth. Fuzz/Octave/Filter combo's are also a great way to "get synthy".
If you set it right you can get a fun rubber band sound when you do some muted slaps. Also on the Moogerfooger LPF the resonance knob is self oscillating so you can get some Theremin sounds out of it.
Very interesting. I think I'm gonna try a Moog LPF. SillyFabe and Roscoe's comments are where I'm headed I think.
I use a bassballs nano - I don't use it in my current band (we play punk covers), obviously, but I do when I'm home goofing around on Muse-y sounding stuff. The built in distortion is garbage, though; I use other pedals for dirt, and it sounds great with THOSE.
Got it for $60 on Hello Music.
Got it for $60 on Hello Music.
A good distortion AFTER an envelope filter with a relaxed attack setting can give you some really cool rock wah tones.
