00:00welcome back to a new one on this
00:01channel and this occasion is the filter
00:03from MOG everything on this guide is in
00:05chapters so if you look at the
00:06description or the timeline you can jump
00:08to a section or skip the ones you don't
00:10want if you like this guide please like
00:12And subscribe and if you have the money
00:13and you want to buy me a coffee you can
00:15you have the QRS at the screen or
00:17everything is at the description all
00:20right so this panel has five different
00:22parts you have the drive and the output
00:24you have the envelope floor the main
00:26sole of the plugin which is the filter
00:28then you have the CV controls and the
00:31settings panel so it makes sense that we
00:34start with the filter now this is a
00:36classic mock filter and I believe I
00:39don't need to explain a lot right here
00:40we have pretty simple controls to cut
00:42off the different poles you know how
00:44hard two poles or four pole and then we
00:46have the resonance control the resonance
00:48is all the way down and the cutoff is
00:51all the way up I'm gonna be playing some
00:52kicking snares but we're going to be
00:54using this on some plugs and you know
00:56synthesizers and some bass so for now
00:58I'm just going to be playing the kick in
00:59the snare and it sounds like this now
01:03even though we're all the way up in cut
01:05off and all the way down in restaurants
01:06we are pretty much not doing anything
01:08just inputting you will see that if I
01:13it's cutting some frequencies at the the
01:17and right here on the Spectrum you have
01:19the peak From The Snare
01:22so if I turn it on it's gonna
01:25chop some of the higher frequencies even
01:27if you're all the way up
01:29if you go to four pole it's going to be
01:31more aggressive so by default it's just
01:33gonna make the sound a little bit darker
01:35you need to you know take this into
01:38okay so the cut of pretty simple control
01:40is going to cut the high frequencies if
01:42I keep going down it's going to keep
01:44cutting and cutting and cutting
01:46and then when we cut at the break point
01:49of where we're cutting we can boost the
01:51resonance and this will create a peak
01:54and now this is a classic MOG type of
01:57filter going all the way up will give
02:00you a tone yeah again this is a pretty
02:03classic control if we move the cutoff we
02:06are going to be getting the tone
02:13for pull again it's going to be a little
02:14bit more aggressive cut
02:16if I disable the resonance
02:19you can hear that it's cutting a lot
02:21more right so the next stage is going to
02:24be the drive and the output now again
02:26this is a pedal right and it emulates a
02:29pedal at least so when we play it if we
02:32drive the input which is going to be
02:33inputting or driving in harder we're
02:36going to be uh getting into a point that
02:39we are going to be getting a little bit
02:40of saturation and even Distortion now if
02:43you go up and drive you're going to go
02:44up in volume so you can go down on the
02:47output and you know gain match
02:51as you keep going up at some point the
02:53level right here is going to indicate
02:55that you're storing your saturating
02:57which is fine right so now you have a
03:01filter and you have a tiny little bit of
03:03distortion so I'm going to go back to
03:06defaults you have the link control so if
03:09you link it going up in drive it's going
03:12to automatically uh kind of a gain match
03:13and go down on the output now still this
03:17plugin does it very well you know gain
03:20matching some other plugins they don't
03:22work that well this one it's good you go
03:25up in drive it's gonna go down in output
03:34still you can unlink and it's going to
03:36remain at the same position so you can
03:38adjust the output make it louder or just
03:41make it softer right so this is the
03:44second section that you have on this
03:46pedal it's again super important now
03:48then you have the other side which is
03:50going to be the envelope follower okay
03:52so the envelope is an envelope follower
03:54it will listen to Ink the incoming
03:56signal and it will react to it by
03:59outputting some kind of a modulation
04:01some kind of instruction in this case
04:03that instruction by default is going to
04:05modulate the cutoff so we can listen to
04:08something and then the cutoff is just
04:10going to be moving you know accordingly
04:12it's still if you're starting and you
04:13don't know what an envelope follower is
04:15it's just an instruction and I'm going
04:17to give you a more visual example if I
04:19take you to my door I'm using bidwick
04:21it's going to be this one and if I play
04:22it notice that the envelope floor is
04:25generating a waveform based on the input
04:27which is you know the kick in the air
04:30so if I wanted to modulate the cutoff
04:33with this instruction I can map it
04:35and then we are using that instruction
04:38to modulate the cutoff following
04:41whatever envelope that we get that's why
04:44it's envelope forward in the case of the
04:46plugin we are doing this right we're
04:48going up and down following the sound
04:51nope this is the main purpose of this
04:54envelope we don't need to do it from the
04:55door we can do it from the plugin
04:58directly so if I plug it we need to
05:01provide an amount if I go up
05:03is going to start reacting and
05:05modulating this cut of control it's
05:07going up and down just like this all
05:09right this is what we are getting
05:12if I go again all the way up the all the
05:14way to 10 it's going to be a little bit
05:18but still it's not super super
05:22right here at the bottom you can see the
05:24M light this will tell you how strong
05:29now all this depends on whatever signal
05:32that you're using we can drive if you
05:35wanted to and it is that now is a little
05:38bit more reactive because we are
05:39inputting more signal so the envelope is
05:43going to be a little bit more aggressive
05:46and that's why the input is super
05:49right if I go down on the envelope on
05:52the amount we are doing no modulation
05:54now right now if I go up we are going
05:57from this point up and then back to the
05:59beginning that's how the modulation
06:01works if I go up what we can do if we go
06:04negatively we are doing the opposite
06:07instruction we are going from this point
06:09down and then back up
06:14and for now I'm just going to put it in
06:16a positive modulation I'm going to cut
06:18frequencies and this goes up and then
06:20back to the original position they have
06:22the other options now the mix control is
06:25like a blend control we are kind of
06:27driving hard right here we have a hard
06:29instruction with the envelope so we can
06:32blend it this is like a wooden drawing
06:34control even though this is really hard
06:38at the point that we get pretty much
06:44you can we can fine tune it with the mix
06:48all right for now I'm gonna go all the
06:49way up to 10. now the follow rate it
06:51controls the smoothness of the uh of the
06:54instruction of the envelope right now
06:56which is low and we can see it on the
06:58envelope light what is a smooth right
07:01it's smoothly lighting up
07:03and then just going off smoothly this is
07:06because again it's slow if I keep going
07:08up this signal is going to get a little
07:11bit harder and now the instruction is
07:14like a non and off so think of this like
07:16a like an alpha you're going to a sine
07:18wave it's a little bit smoother but if
07:20you go all the way up it's going to be
07:21like a square so it's a harder on and
07:25now we can really hear a changing sound
07:29if I do resonance again it's going to be
07:41not so floppy and just a little bit more
07:45straight to the point now all this
07:48matters the full rage and everything
07:50else it depends on the Sound Source that
07:52you're trying to process in this case if
07:54I'm doing a kick and snare I will go
07:56towards to the fast because it's a more
07:58percussive type of sound but if I'm
08:00using maybe a synthesizer or guitar or
08:02Bass maybe going to the slow is going to
08:05make the envelope a little bit smoother
08:07it's just gonna maybe work a little bit
08:10again all this depends on whatever it is
08:13that you're trying to do or process with
08:15this pedal all right so these are the
08:17main controls the cutoff the rest units
08:19and you can drive it and use the
08:21envelope to modulate the cutoff still
08:23you know we can do a little bit more and
08:25for now I'm just going to go all the way
08:26back to default values by double
08:28clicking the controls you can go back to
08:32just like that I'm gonna go cut off and
08:34resonance and if I play this is just
08:36going to sound like this because we are
08:37cutting by default a little bit
08:41now then at the top you have the CVS so
08:44here you can connect you can patch maybe
08:47different functions or different
08:49modulators to modulate different parts
08:51of the above the pedal not just the
08:54so if you take a look right here it
08:56gives you the labels of what you can
08:58modulate and below is the attenuators to
09:01decide how hard you're going to be
09:03modulating this so you can do the cutoff
09:06right here which is you know something
09:07that we can do with the envelope but we
09:09can use other sources and now you can
09:11modulate the resonance the envelope
09:13Mount and you can even do the mix right
09:15here so for now I'm just going to do the
09:17resonance because why not so by clicking
09:20the ins is going to give you some
09:22options of what you can do you can use
09:24the side chain to listen Maybe to a
09:26different track and have it react to
09:28that or you can use the envelope of the
09:30same module so we can use this envelope
09:33to maybe modulate the resonance because
09:36we are standing on the resonance and
09:37this is you know that's what I'm going
09:39to do I'm gonna go to envelope and now
09:41we are connecting the envelope with the
09:44resonance so if I play it the attenuator
09:47will decide how hard the modulation is
09:51now in this case we are doing a little
09:53bit of cutoff and notice is that the
09:57accordingly to the envelope
09:59we can make it we're going to leave the
10:01amount because I don't want to modulate
10:03the cutoff I'm going to make it fast
10:06now the attenuator will decide how hard
10:07if I go down on the attenuator it's
10:10going to do less modulation
10:12oh I'm doing the wrong attenuator it's
10:16fine so if I stand right here we have no
10:20and the fact that you get a visual
10:22representation of how much you're doing
10:23it's you know it's cool
10:26can go up and just get it
10:29if we go negatively you're going to be
10:31modulating it down right so negatively
10:36so this is what we can do with the
10:38resonance in this case because we are
10:40using the resonance but you can modulate
10:42the envelope amount which is this you
10:45can modulate the mix and you can
10:47modulate the cutoff now you still have
10:49other options and you can do all the
10:51things with the CVS in this case I'm
10:53going to get rid of the envelope you can
10:55go to none it's going to remove it now
10:57then you have the other option besides
10:59the side chain you have the DC so I'm
11:02going to go to the cutoff and do DC so
11:04DC it means that you can connect or map
11:08whatever to this control and modulate it
11:11manually and notice I'm doing it so so
11:13if I extend on the cutoff and move it is
11:16letting me know right here that you know
11:18we are modulating this by that much so
11:21what we can do in this case I can use
11:23another foe from maybe a different
11:26Source I can map this attenuator to a
11:29modulator on my Daw so I'm going to go
11:31to bitwick and I'm gonna be mapping this
11:33control to another phone I'm going to
11:35use this waveform it doesn't matter I'm
11:37going to go up and down on that cut off
11:40and we are successfully mapping that
11:42control so that's why you get to DC you
11:44can connect whatever to this attenuator
11:47and then modulate it you know up and
11:50down or whatever instruction that you
11:54that's the main purpose
11:56that's why you get to DC now all right
11:58so you can modulate whatever program
12:00that you have right here with the
12:03envelope that you have on this Plugin or
12:05the DC which is outside of this plugin
12:08another option is to modulate whatever
12:11is that you have right here with a
12:14different pedal right so I have an
12:16instance of a facer right here and this
12:18phaser has different modules right on
12:20this one we have an envelope follower
12:21but on the facer we have an LFO so we
12:24can use this module the LFO from a
12:27different pedal and this one will
12:29recognize that we have a different Mark
12:31pedal and it's going to use whatever LFO
12:33that we have on this one this is again
12:35super cool so I'm going to go to CVS and
12:38let's say that I want to modulate the
12:40cutoff but not with the envelope and not
12:42with my Daw I want to modulate it with
12:44this LFO so when we click it notice that
12:47it says right here I'll fall from 103 s
12:50is gonna be this one right so I can map
12:52it so the ins is going to show you how
12:55it's receiving the modulation and I will
12:58need to maybe do something so we can
13:00module it if I play it we get it now
13:03notice that the phaser is active so we
13:06are processing the sound if I turn this
13:08off we can disable the phaser but still
13:10you're going to be getting the LFO
13:12instruction that is that we are getting
13:15and this of course will react to the
13:17phaser LFO we can LFO sync on the phaser
13:24now on top of that if you click again
13:26right here you can make it bipolar right
13:28now it's unipolar it goes from here all
13:31the way up and then back to the same
13:33position but if you make it bipolar you
13:35can go up and down positively and
13:44so cool you have different possibilities
13:47right you can modulate it with the
13:48envelope you can modulate it with the
13:50Daw or you can use other pedals from the
13:53you know the same the same team let's
13:56say let me just disconnect this I'm
13:58going to say none and then we have the
14:00other options which is going to be the
14:02settings now on some of the other pedals
14:05for mock you might have a lot of options
14:07like the delay you have a you know a
14:09million options on this one you don't
14:11have a lot now by default the envelope
14:14follower that we get right here is going
14:16to be mono it means that it might be
14:19receiving maybe a Stereo Sound Source
14:21but the envelope that it generates is
14:24going to be mono is the same for left
14:25and for right now the plugin it outputs
14:29if you're using stereo stereo signal so
14:31by default the pedals is Stereo but the
14:34envelope is going to be mono just one
14:36single instruction or left and the right
14:38but you can change this if you're using
14:40a stereo signal that is doing something
14:42in the left and something in the right
14:43this might changing the envelope is
14:45going to be listening and generating an
14:47envelope with whatever you have left and
14:49then a different envelope with whatever
14:51you have on the right and this is why
14:53you also when you go to CVS you have
14:56left and right channel right so you can
14:59modulate the left and the right
15:01differently so if I go back then I'm
15:03going to go back to mono and then you
15:05have the response which is going to be
15:06the envelope is going to be exponential
15:09which is what you get by default or it's
15:11smooth and it's going to just make the
15:13envelope a little bit more smoother now
15:15this is something that you will need to
15:17you know go to settings and check how it
15:19sounds when you do the modulation and
15:22change to exponential and smooth and see
15:24how it sounds so it really depends on
15:27whatever sound that you're trying to
15:28process right so I'm going to take you
15:30to my dom we're going to do a little bit
15:31of processing on some other sound
15:33sources for now which is we have we have
15:34the drums I'm going to keep it simple
15:36like that now it's a little bit too dark
15:38for me maybe I'm going to drive it a
15:40little bit just to get a little bit of
15:41that uh you know tiny little bit of such
15:44duration but the cutoff is way too much
15:46right even if I turn it off we are
15:48trimming a little bit of the high harsh
15:51frequencies which is something I like so
15:53I'm going to leave it just like that
15:55it's like just turning the pedal and
15:57having it and having it go through you
16:00know all the circuits I kind of like it
16:04less Bright Now I'm going to be going to
16:06some plucks for now I'm just going to
16:08solo and I'm just gonna go up in volume
16:10so these are the plugs if I combine it
16:13with a kick and snare this is what we
16:16get and I'm going to open the filter and
16:19see what we got what we can do
16:22so right now it's just default and it's
16:23not active so just gonna active
16:26so maybe I can use a little bit of drive
16:28because you know I like it a little bit
16:33a little bit of resonance maybe four
16:35pull and I want to do a little bit of
16:38modulation with this by following the
16:40envelope follower so we're going to go
16:46I kind of like it right there and it is
16:51slow I'm gonna go to the fast
16:55and right here you need to go by ear
16:59I kind of like it right there
17:01now if you are doing something right
17:03here you want to tone it down remember
17:05you can go down in the mix
17:07it's going to be less aggressive so I'm
17:10gonna be making it a little bit less
17:12aggressive if I turn it off
17:16it's fine Brian but you know
17:19I want to make it darker
17:22and push it to the back
17:26okay so I have a base right here this is
17:29how it sounds gonna solo
17:31it's just a single note
17:36pretty boring so when I stand right here
17:38this is a bit wig synthesizer I'm going
17:40to enable the filter not just my default
17:42we're gonna be just chopping
17:44so I'm gonna maybe chop a little more
17:46give a little bit of frequency you know
17:48a little bit of resonance maybe I'm
17:49going to be driving it a little bit less
17:53now why not using the CVS to do the
17:56cutoff right so I'm gonna bring the
17:58facer another top notice that we are
18:02getting the phaser and you know this is
18:03something I want I love bases with
18:06phasers and you know flangers and all
18:08that just classic type of sound I'm just
18:11turning it on that we want to use the
18:13yellow fo from this so we can use you
18:15know the cutoff of the phaser so I'm
18:19gonna find it right here LFO
18:21you can use the attenuator
18:25I'm gonna be doing something like that
18:28now let me just play the whole thing
18:32we can maybe go faster or do LFO sync
18:53a little bit grid and you know a little
18:57bit of phaser magic maybe get something
19:00you know a little bit better
19:04this is driving more why not
19:08the point of distortion or maybe a
19:12little bit you know distortion
19:21hopefully now this is not a review it's
19:23just a tutorial about the plugging so
19:25you can understand how to use it that's
19:27all so if you liked all this and you now
19:30understand how the plugin Works uh
19:32remember to like And subscribe and if
19:35you have the money and you want to buy
19:36me a coffee you can go to The Links at
19:38the description you have links for
19:40PayPal YouTube things and you have
19:42patreon and also you have the QRS on the
19:44screen right so see you on the next one
